Wednesday, December 17, 2008
I decided to create a new piece of art work for the event, which would be like a remix of existing artowrks dotted about the leopard. So on a site visit I took some photos and then worked on the amalgamation below.
Unfortunately my computer blew up in the meantime, and so I couldn't get it printed. So instead I decided to make an interactive intervention. I noticed that in my collins pocket book of butterflies one of the butterflies was called the leopard butterfly: so I took the collins pocket book of butterflies to the Leopard and made a site specific intervention which involved taking the pages from the book and pinning them around the pub in response to what was there, for example the Painted Lady butterfly was pinned to a painting of a barmaid wearing lots of make-up; or the Nettle Tree butterfly was placed in a vase of dried flowers. Hidden amongst these was the Leopard Butterfly, and the person who found it won a bell jar with a small diorama inside; with real taxidermy butterflies.
Thanks to Sarah Turner for the pics.
Monday, December 1, 2008
"Beyond Bricks is a programme of temporary creative activities that provides opportunities for artists and residents to work together to respond to the social, economic and environmental changes taking place in Lozells and East Handsworth. The programme celebrates the culture and pride of local community, its heritage and its future."
The first day of the r and d process involved a walk through Lozells - though this was no ordinary walk, we were equipped with GPS systems and cameras, and were able to document our route this way. This was a very exciting and satisfying way of negotiating a new place, and something I hope to expand upon in future. Over the four days we met a number of really interesting people: We met the other artists and creative groups that have been commissioned, these include Geese Theatre, who have teamed up with community group Mothers In Pain - a group to support victims of gun and knife crime and their families, together they will be working to create an educational dvd that can inform young people about the realities of gun and knife crime, while offering alternatives. A recently formed group Aspire and Succeed have been commissioned to create a theatre production and dvd which documents the true Lozells and Easy Handsworth area - the group have proved to be very valuable to the project already; with their local knowledge and insight into the communities and their concerns. Birmingham based Rob Hewitt has been commissioned to provide a Community clean up service; offering to paint people's doors and window frames a selection of bright and beautiful colours; and then photographer Andrew Jackson will be stepping out of his comfort zone to work with people in the area to create personal 3 minutes documents of lives lived in the area. Finally music and sound group Sound It Out will be working with the people of the area to create a soundtrack to the area. As well as all of this Lead artist Simon Poulter will be creating a project, and helping all of us to carry out ours in the best possible way. One of Simon's main concerns is that we should try to secure a Beyond Bricks House, to use as our base, and to allow us to truly inhabit the place and understand it in a deeper way. This is something that Simon has done in the past: and perhaps aims to address the problem of artists parachuting into a place in order to carry out a project which delivers to a community, rather than working meaningfully with them. This concern feels like one of the main issues which arose for me from the R and D days. Going into a community to carry out a project with various groups, that asks that community to look at itself and think about the problems/issues and concerns around change, community cohesion and race relations should not be undertaken lightly. The main question which arose was that none but the Aspire and Succeed group, and Mothers In Pain are from the area; the rest of us are from elsewhere; it made us think about the relationships we have, or more accurately do not have with our neighbours and the communities where we live. This is something that I intend to consider further as the project progresses.
Katie and I have been commissioned to carry out a project called Give Me Your Hand. Here is the rationale and project details:
Our hands show our histories, give clues to our cultural origins, our ages and the way we are feeling. Hands are expressive and can be used to communicate. The project will build up a catalogue of the people of Lozells and
Wednesday, November 26, 2008
The artworks and documentation of the process go on display in the Progressive Transformations exhibition, which opens on Saturday, 6th December at the Limousine Bull Project Space, Aberdeen.
Tuesday, November 11, 2008
'As a studio co-operative, we strive to create a home for a group of artists challenging their practices, their peers and their environment on all levels. We also act as a social hub, providing ample space and facilities to act as a day-to-day launch pad for a wider membership of artists and practitioners and a location for a varied programme of live events and social activity, and meeting space for creative organisations.' This is supported by their commitment to changing their 'Directors' every few years - a notion which ensures that the space does not end up being run like a fascist regime, means that noone becomes overburdened or fatigued, and provides opportunities for a number of people to gain the undoubtedly invaluable experience of running the space, and fixing the program.
After this show we went to another show downstairs in the Carlisle Building, and then to the pub for some much needed grub.
Artist led group Metal have taken over one of the station buildings, turning it into a gallery space. The exhibition which was on was called 'Horse Power' and was based on various artist's responses to this terms, all stemming from Nietszche's madness after seeing a horse being whipped in the street. The red walls seems to be a recurring theme; David Blandy's 'Mingering Mike' installation at the Bluecoat also had red walls.
Thursday, October 30, 2008
We first identified some artistic synchronicity in our practices in February, when we were both exhibiting art works within the public realm in Stoke-on-Trent city centre which were the result of public consultations exploring the impact of art on public space. Stephen's work was generated through a public vote, displayed on a billboard where the public could respond to the statement: Public Art regenerates local economy by voting in a phone poll; the results were shown on a billboard. My work was generated through public consultations outside of recently appropriated art spaces, that had been disused retail space in Stoke-on-Trent and Bristol, the work asked the public questions to ascertain the impact that the new use of the buildings might have on the public passing by. Click here for details from earlier blog.
"Our project for Latitude is to place ballet boxes in locations around Hull, responding to the festival itself and asking people to vote on a question about public art and its effect on the surrounding area. People will be vote via a ballot paper. After a period of 10 days the votes will be counted and the results will be presented on two different limited edition posters, designed by each of the artists for people to pick up and take away.
The project will explore ideas around the use of the term 'public art' and 'public space' as well as contesting and redefining issues surrounding site, place, and location.
People will be able to check out the voting and results on the Public Art Survey blog."
I think the process of collaborating on a project with another artist will offer new avenues for investigation, in particular the idea that each of us will make a response to the city of Hull (which neither of us have visited before) each designing a different poster by which to disseminate the results of our poll will be very interesting. The people of Hull will be told that there are 2 ltd. edition posters, and may be encouraged to cross the city in order to get their hands on the other one.
We will visit Hull on November 29th - so more details then...
A real anti-capitalism of culture stance has been taken with the paper, and I was really pleased to be included. In fact as it turns out I am actually the centrefold! Now that is something to sing about. The paper is a collaborative curatorial project by Penny Whitehead and Daniel Simpkins, commissioned by Open Eye Projects and selected by Rebecca Lennon.
"Over the course of a day during the 2008 Liverpool Biennial, this project will spread, like a virus throughout the streets of the city. Local, national and international practitioners representing a range of disciplines including visual art, activism, architecture, cultural theory and social geography will contribute varied and engaging responses to issues surrounding Liverpool, its recent history and its future, providing an antidote to the city’s hegemonic literature, art and culture."
Go to Dan Simpkins' or Penny Whitehead's websites for more info.
My piece for the paper was the Long Photograph of Venmore Street, Anfield and a textual element consisting of the lyrics of the Liverpool FC anthem 'You'll Never Walk Alone.'
Thursday, October 23, 2008
The people of Stoke-on-Trent and all those involved in the original Beauty project were so positive about the experience that I have decided to open the project up in order to see the Beauty in Cities worldwide. This was mainly due to hearing news that the magnets had made there way to other cities, as far flung as Italy! So I have set up a Facebook group that anyone can join, and sent out invites for people to request a magnet pack: by emailing firstname.lastname@example.org with their address.
'There is Beauty in the City' Blog.
The facebook group is now open: and called There is Beauty in the City. Sign up now and invite your frineds to join too! Lets get celebrating the Beauty in Cities Worldwide!
Sunday, October 12, 2008
"...a free one-day newspaper exploring regeneration, decay, the role of the artist, and the repetition of history in the context of Liverpool as European Capital of Culture. The newspaper will be distributed over the course of a day during the Liverpool Biennial, via a series of mapped routes that will take in relevant aspects of the city’s landscape, culture and communities, including regeneration areas, affluent and deprived suburbs, cultural and commercial quarters, shopping centres, government buildings, art institutions and artist-run spaces."
This is how much of the Anfield Image I got done during one afternoon in the studio. The photographs were taken on Venmore Street, Anfield. There are 24 houses on this section of the street, and at this point I have only stitched together 7. The Liverpool Football Club Stadium is just at the end of the street. The streets all around the current stadium are emptied and derelict, like this one. I spoke to some of the people that are still living in the area during my visit to take the photographs, there is an idea that the houses were emptied because of the Clubs planned move to Stanley Park, which would leave the Anfield area ripe for regeneration...The club's plans to move have been put on hold however, so who knows how long these streets will remain in this state. It does seem very shocking that the streets around such a large and wealthy company as Liverpool F.C. should be left like this, more shocking is the fact that on many of these streets, where almost every house is boarded up and falling down there will be one family home still occupied, as is the case with this street, but I haven't stitched on the occupied house yet - watch this space if you want to see the complete street...
Taking Jackson Pollock's action paintings as his starting point, Jack has produced a fantastic body of work, which is currently on display in his Kitchen gallery.
Click here to see the artist at work.
Wednesday, September 24, 2008
Each artist/house guest in both Preston and stoke was instructed to bring a bottle and an artwork with them for the window gallery, the invitation stipulated that the art work must be no bigger than A6 size if 2d, and no bigger than 3cm cubed if 3d. The art work would be weighed by the curator, and then a receipt given to the artist for their piece stating the title, artist's name and weight of art work. The artworks were then displayed during the evening on the Window (sill) Gallery, before being packaged up in order to go on tour to Preston's Window Gallery - we await the Preston package with interest.
Andrew's piece could be described as an intervention, and involved a miniature puddle being installed on the window sill; he had also brought a tiny label with him, which showed the title of his piece Unpopular Liason [sic] Causes Ultra Cool Artist to drop in Stature. Andrew also delivered a piece made by his AirSpace partner David Bethell, who couldn't make it to the opening. David's piece was two 2d pieces entitled The Ore in More.
Once a few people had arrived we set up the 'live link-up' with Preston.
Each of the artists showed the piece of work that they had brought for the window gallery, and gave a rationale of it's creation, and also showed and explained the individual project which they were carrying out via the webcam to the Preston crowd, and then the Preston artists gave us a tour of their House Gallery exhibition. There was an interesting difference in approaches; the Preston House Gallery was in a large and beautiful Victorian House, and the living room had been cleared out in order to create a white cube; whereas in Stoke, where space was at more of a premium, the emphasis was on working with the existing domestic space and creating interventions.
Already one of the Stoke attendees has approached 'The Curator' to talk about another House Gallery to be hosted in their house in the near future. DIY House Gallery! If anyone wants a copy of the PEST publication which we were all celebrating the launch of CLICK HERE, and get your hands on the DIY manual inside in order to get some ideas for starting your own house gallery.
Thanks to Glen Stoker and Andrew Branscombe for the documentary photography of the event.
Good news, I have been selected to take part in the NAN (Networking Artists Newsletter)/Royal Standard event 'The Winner Takes it all.'
This is a 3 day event which explores Liverpool's Capital of Culture status, hosted by the Royal Standard and Red Wire Studios - the 20 selected artists will be given an insider's perspective on the city through a programme which explores the city and tours the biennial and the less transient cultural offerings. Then on the Sunday there will be a debate, (open to all - click here for more details/to order tickets) talking about Capital of Culture's impact. We have been asked to bring with us a piece of art work, or a cultural object from our Cities, as well as other information about our City's networks and art spaces. This promises to be a fantastic and interesting event, which I certainly look forward to.
Friday, September 19, 2008
Elaine Speight and I 'met' over the internet last night, after fitting up webcams via a skype link-up, to make sure it was in place for Saturday's bonanza. The publication will launch from 3 sites; my house, a house in Preston and the Convenience gallery in Toronto. The 3 sites will be linked up via the internet, and we will be able to see what is going on in the other locations.
The U.K. contingents will be having full on opening events, whereas the Toronto set will join us for discussion about artists using domestic space. (it will be the afternoon in Toronto.)
Here in Stoke we will be enjoying The fridge gallery, with edible contents, an exhibition of dining room art works, which have been lovingly curated over years, but will finally be formalised for the event, and each visitor to the event will receive their own brief, for a project which they will carry out during the launch.
In Preston an exhibition has been put up, and a window gallery set up.
Visitors to Preston and Stoke have been instructed to bring an art work with them, that will then tour to the other venue after the event, to be displayed in the other space.
I will put pictures up of the event later, in the mean time, I had better clean the house...
Wednesday, September 3, 2008
Tuesday, September 2, 2008
Saturday morning we worked on the finishing touches to the WLTM exhibition - there were only a few things to do, the main one being that selected artist Elena Cassidy-Smith came in to repair a little bit of damage that had occurred to her piece in the post. I was happy with the layout of the show, and I was really pleased with how the posters looked with the works of art. I see the posters as elaborate labelling devices - giving a clue as to each individual artist's identity - and developed from their questionnaires.At around 2 The Director's team of trusty helpers arrived to help set up the event's refreshments, P.A. system and data equipment.
Then all that remained was for me to make the transformation from Anna Francis to The Director. This involved the donning of a coral power jacket with shoulder pads and gold buttons, gold shoes with kitten heels, a clip-on ponytail and of course the Director's famous nail varnish, in flamboyant coral.
Then there was just enough time for some dutch courage before the artist's and viewers began to arrive.
Artist Wayne Thexton surprised the Director with a bouquet of flowers.
The Director met each artist as they arrived and explained what would be happening and gave each a name badge so that they could recognise each other. Above: The Director greets Andrew Martyn Sugars and Christine Gray.
Above: the Director greets Steffie Richards.Above the Director meets Alex Staiger and gives her a name badge.
Above and Below: The viewer's have time to have a look at the show before the introductions get underway.Then the WLTM main event got underway - the Introductions. Above: The Director played a wind-up music box into the microphone to announce the opening of the event, the tune - Edith Piaf's La Vie En Rose.
Then the Director explained the WLTM selection process; and showed the pile of over 600 artist comparison forms.Then the Introductions began: The first of WLTM's perfect pairs were artists Lindsey Cotterill and Steffie Richards. Each artist had prepared a 'Burning Question' which they put to their perfect partner during the Introduction: I will put all of the burning questions and answers up later. Above: Lindsey and Steffie meet for the first time.Lindsey and Steffie's favourite colour is blue, they are both non-smokers who eat healthily and at a party both of them would describe themselves as an average mingler. Below: Steffie Richards 'Sculpture: Shy' and Lindsey Cotterill's 'Nightlines' are exhibited together.
Steffie’s poster relates to her use of the word ‘bear’ in her description of herself on the questionnaire, and the colour of the bears relates to her and her match’s favourite colours. Lindsey’s poster relates to the fact that on her questionnaire she mentioned that her perfect date would involve an evening of Latin American & Ballroom dancing (preferably with lessons first), and also as above the colours of the bears depicted relate to her and her match’s favourite colours.
Michelle’s poster relates to the fact that she is a Libra. Andrew’s poster relates to his ‘jokey, non-serious’ approach to WLTM, and his seeming interest in playing the clown.The third WLTM perfect pair to be introduced were Elena Cassidy-Smith and Christine Gray. Elena and Christine are vegetarians who both enjoy a regular alcoholic beverage, they describe themselves as experimental and philosophical. Below: Elena Cassidy-Smith's 'Gift Shop' and Christine Gray's 'Intimate Spaces.'
Elena’s poster relates to the fact that when asked what would best describe her character at a party, she said she could best be described as a social butterfly.
Christine’s poster relates to her interest in nature and the way that she seems to enjoy creating alternate spaces for magic to happen, out of the detritus of the everyday.The fourth couple to be introduced were Katie Hollender and Claire Flint. Katie and Claire are non-smokers who enjoy the occassional drink and describe themselves as experimental and independent. Below: Katie Hollender's 'Child' and Claire Flint's 'Red and White Dusted.'
Katie’s poster relates to her description of herself as an experimental, confident young woman, seemingly on the brink of discovering the possibilities that might be available to her. Claire’s poster relates to her answer to the question; if you were an animal, what animal would you be. Claire said she would be a tiger.
Sarah Turner to Yvette Hawkins:
What are you afraid of?
ANSWER: I am afraid I may never fold all the pages in the world, that books will no longer be needed. I am afraid I will never learn how to drive and that when I do I will kill someone. I am afraid of squishing slugs between my toes in the bathroom when I get up in the middle of the night to use the toilet, I am afraid I will never see Korea again, that I'll forget the route to Grandma's house and good Young Hua and bad Young Hua (my cousins) won't remember me. I am afraid of looking down very long spiral staircases I am afraid of looking up them (though I always do) I am afraid of the sea at midnight in the same way I am afraid of being flung threw the air by very fast fairground rides with fancy names, I am afraid of buying whole milk instead of semi skimmed. I am afraid of EAST 17. I am afraid of sudden collapses in public places, of celery, of sitting on my cat by accident, of wearing my clothes inside out at interviews, of farting during sex, of losing my keys, of laughing inappropriately, of child beauty pageants. I am afraid I have never loved, afraid I will never love, I am afraid you never loved me anyway, I am afraid the last one sounded a bit like a Corrs song, I am afraid I'm not as cool as you, I am afraid of arthritis when I'm old, I'm afraid of a painful death, afraid of a slow painful death, afriad that there's nothing after death.
Yvette Hawkins to Sarah Turner:
If you could choose only one memory to take with you into the afterlife, which memory would you choose?
ANSWER: The second time I went to Bexhill on Sea to see my boyfriend, it took me 9 hours to get there. We sat chatting for hours. It was beautiful. That’s when I knew I loved him.
Below: Yvette Hawkins' 'I Opened My Mouth and You Fell Out' and Sarah Turner's 'Beds'.'
Yvette’s poster relates to the fact that she is a smoker, and that in general her approach to life involves looking at the world in a new and enlightened way; turning it on it’s head.
Sarah’s poster relates to the fact that she described herself as shy, and also said that if she were an animal she would be a bird.The last of WLTM's perfect pairs to be intyroduced was Wayne Thexton and Alex Staiger. Wayne had brought a bunch of sunflowers for Alex, which was certainly a smooth touch. Alex and Wayne are the same age and both are non-smokers. When asked if you were an animal what animal would you be they both said a deer. Below: Wayne Thexton's 'Perch' and Alex Staiger's 'Chance Me.'
Then the Director thanked all of the 34 artists that applied to the WLTM dating agency, and in particular of course the 6 perfect pairs, and the audience for coming to see the show; and then said goodbye. Then the artists and viewers were left to their own devices; to go and have a look at the show, mingle and talk to their matches. Below: Christine and Elena looking at their paired-up work.
Below: Michelle Greenwood having a chat with Steffie Richards.
Below: The End of the Director; her ponytail, jacket and shoes discarded by her desk, and the waste paper bin, full of her cotton wool balls which she used to take off her nail varnish each day, in order to apply a fresh coat.I (Anna Francis) would like to take this opportunity to thank all of the 34 artists that applied to the WLTM dating agency and of course especially the 12 that were selected, for being part of the exhibition and taking part in the event. I would also like to thank everyone at HMS for being so welcoming, and Jackie Berridge in particular for the opportunity, and the amazing support, advice and help throughout my residency. Thanks to Phil Rawle for the design of the posters and flyers, thanks to AirSpace for the technical help and loan of equipment for the event; thanks to Staffordshire University for the funding help and a special thank you to Glen and Dee for their wonderful photographic skills, which made the above post possible. I love you all. xxx