Friday, 24 June 2016
I started shaving foam marbling/ printing last year with my students. It is a sensory overload as you are assaulted with the potent pong of aftershave, your hands get covered in foam and paint and the colour is vivid and wonderful.
It is fun, you get great results but it can get very messy.
A tray with a lip of 1-2cm
ready mixed paints of various colours
a stick (for swirling)
lots of paper
a pallet knife
Cover your tray in shaving foam.
Smooth with pallet knife
Drip or splatter paint over the surface.
draw swirly pattern through this and print onto paper by gently pressing the paper onto surface of the foam.
Then use your pallet knife to scrape excess foam/ paint from the paper and leave to dry.
Excess foam can be returned to the tray, smooth it off and repeat the process until the foam is too brown or flat to continue.
The resulting papers can be used for collage, decoupage, book binding, or as I use them as a method of tapping into the imagination by getting the creator to look into the pattern and pull out things that they can see there.
Thursday, 23 June 2016
The work of Eilidh Page Morrissey exhibited at the Glasgow School of Art's Degree Show this week had a similarity with Rachel Maclean's work in that its visual language was one of old cinematography from the late 1960's and early 1970's. Eilidh's work also played with the kitsch, grotesque and highly saturated plastic pop culture, imagery almost made more intense by the use of purposefully primitive styles of film-making
"My film The Jellybaby is a consideration of self/girlhood in a contemporary networked society. It questions the ability for connection between humans in a world separated by screens. I like objects, and the protagonist of The Jellybaby is as much a character as the objects around her. The film explores her choreographed interaction between these meticulously sourced objects within physical and digital spaces, green screened, surreal sets.
The post-net human condition demands that you are what you “like”. I like glass jelly moulds: the shiny lumps and bumps remind me of Barbarella, they make me think of old domesticity, women in aprons. There is potentiality in moulds, a promise of ability, to change form, then take shape and settle.
I like pink. Saccharine and sugar coated, when used in abundance it can be weaponised. Emotional visibility, softness, bodies and bedrooms.
I like pantomime, melodrama, the theatrical and the artificial. Artificial gold and melodrama intersect on the surface of things, in that they are all surface: they lack depth, are deemed unnatural, and pushed into the realm of bad taste.
I like artificial gold, too." Eilidh Page Morrissey
"My work slips inside and outside of history and into imagined futures, creating hyper-glowing, artificially saturated visions that are both nauseatingly positive and cheerfully grotesque." Rachel MacleanI saw Rachel Maclean's film at the Cupar Art Festival and was struck by it's 70's children's TV and psychedelic style.
Rachel's work is a toxic shock, neon-nightmare of culture, unstable and disturbing. A mixture of the clown and cartoon, colliding the extremes of adult and child fantasy. In the era of the selfie, the selfie in Rachel Maclean has mutated into an incredible multi-faceted garish technicolour vision of childhood that blends pop culture from 'The wizard of Oz' to the manga /anime street culture of Japan
Wednesday, 22 June 2016
Mike Inglis's sun dome has landed in Cupar it looks surreal, something like an alien dwelling in an old episode of Dr Who. This installation brings lots of calm and joy with it. I particularly loved watching children take their time to contemplate the space and get lost in the details of the panels.
"Utilising structural theory born out of the eco movement of the 1960’s and Lloyd Kahn’s geodesic dome designs Mike Inglis project creates an architectural mix media assemblage. The installation combines traditional materials with new print making technologies, laser engraving acrylic panels and spray painting complete this three dimensional “print”.
This site specific environmental intervention is situated in the green space of Cupar’s riverside park within a ring of sentinel trees. The construction explores ideas based around visual perception, codes of abstraction and versions of reality seeking links with diverse theories surrounding epileptic visual auras, bioenergetics and sacred geometries.
Cupar Arts festival has been growing and growing as has its reputation as a serious organization which has such a positive approach to taking art out of traditional gallery spaces and into the heart of the community. It’s a real pleasure to be invited to show at the festival but even more importantly at a time of crisis in arts funding to actually be supported in making new work and developing my practice. It should also be mentioned that the dome would never have been fabricated on budget or with the level of precision it displays without the gracious assistance of my friend and fellow creative Douglas Kelso who gave amazing help and support." Mike Inglis
Tuesday, 21 June 2016
Kate Downie is an artist who I have long admired and she is a wonderful person. I was surprised by her work at Cupar but I enjoyed it immensely and even more so now that I realise how much the reality had been tampered with.
I had noticed the tilt of the floor propelling me towards the window, but I didn't know the whole floor had been reconstructed, as well as 'drawn', with every floor board and feature of the room delineated.
'Gaps, Distortions and Downright Lies: a complete re-configuration of space, in drawing.Kate Downie’s transformation of the former ‘judge’s chambers’, which was attached to Cupar’s recently closed court, seeks to activate the survival instincts of the audience, taking them to the threshold between what is often seen but seldom observed, and what is imagined but rarely confronted.'
Monday, 20 June 2016
Exodus by Juliana Capes at Cupar Arts Festival an installation of umbrellas breaching the divide of inside/ outside, swarming to escape, taking flight. Juliana with this art work has again created a very bright colourful installation of flight.
"Objects carry much significance, attracting bravado or anxiety. They have the potential to effect human reactions to a space. In Exodus a flock of lost umbrellas is spanning a threshold, crossing a boundary, moving en masse to escape the curse upon those who open indoors. Inspired by scenes of mass human migrations, Exodus explores ideas of curse and choice using the symbolism,repetition and form to invoke movement." Juliana Capes
Sunday, 19 June 2016
I was working in St Andrews yesterday and on my way back down through Fife stopped at Cupar to get a glimpse of the annual arts festival. Above are two of David Faithfull's paste ups found in the town and below some of his work from Cuper county buildings where there were further large scale paste up images and a beautiful book. David Faithfull is an Edinburgh based printmaker, bookbinder and currator.
'In response to the festival’s theme of ‘liminal’, a tipping point or transitional stage, David Faithfull’s paste-up drawings at various outdoor sites across the town reflect the perilous future of a number of endangered birds. Those include the dotterel, native to the Cairngorms and one of several birds on the UK’s endangered species list. The effects of global warming have altered its mountain habitat and forced it to move higher up the slopes, prompting David to reflect that eventually it may leave for the final time, never to visit Scottish slopes again. Employing various alchemical symbols and references to historical and mythical birds, David’s work considers this contemporary ecological transformation.' CAF
Many of David's images for this festival have drips pouring from them, like they are being washed away, dissolving, melting before our eyes .
Saturday, 18 June 2016
I knew this would be fun to do with kids and I was proved right. Armed with sacks of sweets on Wednesday I had a printing workshop and we had great fun stretching, printing and eating them. creating all manner of owls, bats and monsters.
Below is a selection of our printing tools.
Friday, 17 June 2016
Thursday, 16 June 2016
Wednesday, 15 June 2016
Tuesday, 14 June 2016
Monday, 13 June 2016
I have been using coffee as a medium it has a warmth, graininess and unpredictability that I love and have used to create a series of owls. The staining changes with time, maturing to a characterful patina not unlike using rust to dye fabrics.
Sunday, 12 June 2016
Last weekend at George Douglas's class we were shown the possibilities of confectionary printing with midget gems.
I wanted to try some other sweets out and here are midget gems and liquorice allsorts. I have enjoyed working with sweets to create art before and I think I may try this soon with some school groups.