BAD SIGNS/Adjustments - Closing Party Saturday 16th July, 4 - 6 pm

BAD SIGNS/adjustments

15^th May – 16^th July 2016

Closing party: Saturday 16^th July, 4-6 pm

Atkinsons' Kram Gallery, 302 Garrat Lane, Wandsworth, London SW18 4EH

'Following a public residency at the Harley Gallery in the East Midlands the collaborative trio of Louisa 

Chambers, Craig Fisher and Rob Flint use Atkinsons - Kram Gallery as a project space to explore their varied interests in dazzle camouflage, hazard signage, and blurred boundaries between object and background, revelation and concealment. During their time in this space the artists will create ’adjustments’ -intervening to alter each other's installation in ways that interrupt and redirect the points of focus in this very public space. BAD SIGNS/adjustments will be present during May and June. Adjustments will be made unannounced throughout this time.’

See below for images of Craig Fisher’s intervention/adjustments in the space.

Spectrum, PS Mirabel, Manchester

I am pleased to announce that my painting Inverse (2016, gouache on board, 30 x 23 cm) has been selected for Spectrum an open competition at PS Mirabel in Manchester.

This year’s art prize features artworks that have colour in their final appearance. The open submission was selected by Mark Doyle (Touchstones Gallery Curator and Collections Manager), Lisa Denyer (Artist and 2015 Winner), Magnus Quaife (Artist and Lecturer at MMU) and Robert Miller (Contemporary Art Collector).

The opening event is Friday 1st July, 6pm – 9pm and the show runs until 13th August 2016.

PS Mirabel is an artist run project and exhibition space in the centre of Manchester.

Open every Saturday 11am to 5 pm and by appointment.

Mirabel Studios, 14/20 Mirabel Street

Manchester. M3 1PJ

BAD SIGNS/ adjustments

BAD SIGNS/adjustments

15^th May – 16^th July 2016

Below are images recording the collaborative process that both Rob Flint and I participated together in the space last week. Both Rob and Craig Fisher will be intervening and making further ‘adjustments’ at Kram Gallery in the very near future. I will be posting more images of these developments on this page when it happens.

BAD SIGNS/adjustments, KRAM Gallery, London

BAD SIGNS/adjustments

15^th May – 16^th July 2016

Following a public residency at the Harley Gallery in the East Midlands the collaborative trio of Louisa Chambers, Craig Fisher and Rob Flint use Atkinsons - Kram Gallery as a project space to explore their varied interests in dazzle camouflage, hazard signage, and blurred boundaries between object and background, revelation and concealment. During their time in this space the artists will create ’adjustments’ -intervening to alter each other's installation in ways that interrupt and redirect the points of focus in this very public space. BAD SIGNS/adjustments will be present during May and June. Adjustments will be made unannounced throughout this time. There will be a closing party on Saturday 16^th July. More details to follow shortly.

Atkinsons' Kram Gallery, 302 Garrat Lane, Wandsworth, London SW18 4EH 

For more information about the space please visit the website here

Razzle: All that Jazz - The Harley Gallery, Wellbeck, Nottinghamshire

Over the last couple of weeks I have participated in a collaborative exhibition Razzle: All that Jazz at The Harley Gallery in Wellbeck, Workshop with artists Craig Fisher and Rob Flint. The exhibition is a two part show entitled ‘If a pair is two, what is three?’ and was initiated by artist run space Primary in Nottingham.

“This collaborative exhibition takes as its starting point ‘Dazzle Camouflage’, with the three artists each employing pattern as a form of pictorial disruption, interruption and spatial collapse. Initially each artist will work site-specifically by making work directly on the gallery walls. Over the duration of the exhibition they will develop work by responding to the space and each other; artworks will butt up against each other, they may be shown on top of each other making individual practices both indistinguishable and jarring. Works within the exhibition will be concealed within the overall dazzle effect of the installation producing interesting juxtapositions and correlations.”

Below are images recording the collaborative process.

The exhibition continues until Sunday 28th February and there is going to be a closing event with discussion and performance from 2-4 pm (refreshments provided).

Week One:Day One- Sharing ideas

Sharing ideas and artwork

Craig Fisher installing a wall painting

Arranging artworks

Rob Flint's installing a wall based work

End of day one: my painting Disruptive Zigzag juxtaposed with Craig Fisher and Rob Flint's work

Day Two: Week One - Installing Craig Fisher's fabric made sculptural installation

Craig Fisher's Riot Masks butted up against my wall painting (in process)

Installation photograph of exhibition: Artwork by Rob Flint

End of day two - week one: Installation view of exhibition

Two paintings Reveal I + II juxtaposed alongside Craig Fisher's wall painting depicting a wired fence

Install view - Craig Fisher wall painting, Riot Masks and my painting Stepped

Rob reflecting 

Zigzag wall painting interjections 

Final install view

Final install view with completed wall painting

Final install view

Final install view- Razzle: All that Jazz

IF A PAIR IS TWO, WHAT IS THREE? Razzle: All that Jazz, Harley Gallery, Nottinghamshire

IF A PAIR IS TWO, WHAT IS THREE?
PART 2: 8 – 28 FEBRUARY

Harley Gallery

An exhibition in two parts which presents the outcomes of different collaborations initiated by artists based at Primary in Nottingham.

Closing event with discussion and performance: Sunday 28 February, 2-4pm (refreshments provided)

Razzle: All that Jazz
Craig Fisher, Louisa Chambers & Rob Flint

This collaborative exhibition takes as its starting point ‘Dazzle Camouflage’, with the three artists each employing pattern as a form of pictorial disruption, interruption and spatial collapse. Initially each artist will work site-specifically by making work directly on the gallery walls. Over the duration of the exhibition they will develop work by responding to the space and each other; artworks will butt up against each other, they may be shown on top of each other making individual practices both indistinguishable and jarring. Works within the exhibition will be concealed within the overall dazzle effect of the installation producing interesting juxtapositions and correlations.

Now For Tomorrow II, Nottingham Castle Museum & Art Gallery, Nottingham

Guise, 2015

Now for Tomorrow II 

30 January – 17 April 2016

Marion Adnams, Craigie Aitchison, Phyllida Barlow, Helena Ben-Zenou, Melanie Bilenker, Richard Billingham, Jon Burgerman, Helen Chadwick, Louisa Chambers, Alice Channer, Thomas Joshua Cooper, Giovanni Corvaja, Craig Fisher, Tina Hage, Tristram Hillier, Permindar Kaur, Christina Mackie, Nick Mobbs, Anne Morrell, Yelena Popova, Bettina Speckner, Ian Stephenson, Sam Taylor-Johnson, Shizuka Yokomizo.

When Nottingham Castle first opened as the ‘Midland Counties Art Museum’ in 1878, it began straightaway to collect art and craft by artists living and working at that time. Work was drawn together from near and far, including the 1878 Paris Exhibition, in order to inspire and delight local people.

This approach to collecting the art of our time for today’s and future generations has continued. Now for Tomorrow II looks at some of the contemporary art and craft acquired by Nottingham Castle Museum & Art Gallery since 2010, thanks to the support of individuals, funders and charitable trusts such as the Art Fund, Contemporary Art Society and the V&A Purchase Grant Fund.

Before any new work is acquired, consideration is given to how it will sit alongside the existing collection, making connections across time and between different media and disciplines. The recent contemporary acquisitions are therefore shown here in the company of mid to late 20th century works that place the new arrivals in a wider context.

Just as in 1878, artists today are interested in landscape, the body, the human condition and pushing the boundaries of what art can be – yet they approach these subjects with new eyes, in different ways. For example, the exhibition invites visitors to compare Marion Adnams’ line drawing of a young woman, with a brooch by Melanie Bilenker, in which the outline of a woman is created with strands of the artist’s hair. Thomas Joshua Cooper’s photographs of landscapes in Derbyshire and Shropshire from the 1970s show a fascination with the details of landscape, in trees, rocks, light and shadow. Similar interests can be seen in Christina Mackie’s references to the Australian landscape in her sculptural work The Judges III.

Now for Tomorrow II: Private View, Friday 29 January, 6 – 8pm

Nottingham Castle Museum & Art Gallery, Lenton Road, Nottingham, NG1 6EL

Tel: 0115 876400

Email: nottingham.castle@nottinghamcity.gov.uk