Sachiko Abe

I always attend Liverpool Biennial. It never fails to inspire me. It makes me walk, talk and look differently at life and the city of Liverpool.  The event now has massive investment and infrastructure enabling it to develop interesting, complex projects alongside hosting some of the best International artists (including those from the UK).

The star of the show for me this year was the enchanting durational piece,  Cut Papers by Sachiko Abe.
A Foundation hosted the exhibition:

Sachiko Abe’s work encompasses, performance, drawing, film and sculptural installations using cut papers accumulated over the last seven years. Her practice explores duration, repetition and constraints. Her recent work explores disquieting routines that provoke anxiety and touch us in ways we cannot explain. In Cut Papers Abe invites the audience to experience an intimate space in which the constant snipping of scissor blades is the only measure of time passing.

At A Foundation Abe performed for the duration of the Biennial, an intricate graphic weave was produced by intensive duration periods of cutting paper. Abe’s supporting drawings invite us to contemplate the intensity of ideas which accumulate and are disseminated in the transformation of a white sheet of paper into medium of communication.

An enchanting exhibition, the performance element of the piece had a calming, mesmerising effect. With a dropped jaw, time passed and my fascination grew. Abe’s sweProxy-Connection: keep-alive
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ing tower of paper clippings were like something from a fairytale, timeless.

Sachiko Abe. Cut Papers, 2010. Image courtesy of Julian Stallabrass

Sam Pierpoint – Creating live in Birmingham

I’m very excited to announce that Sarah Loves has invited super cool artist and illustrator Sam Pierpoint to literally Create in Birmingham from the CIB shop on Good Friday and Easter Saturday, 11am – 7pm.

Sam takes a plain pair of shoes of your choice and transforms them into original works of art entirely unique to you. Transporting her studio to the window of the temporary Bull Ring shop she will be inviting people to engage with her process and inspire new designs. Sam, who grew up in Tamworth and recently graduated from Nottingham Trent University with a BA graphic design degree says:

“Its nothing new, other people are doing it. The first shoes I created were inspired by Alice in Wonderland, I love the surreal and make believe, since then my mates have asked me to respond to themes like fair-ground, aztec and skyscraper”.

Sam was encouraged by her business contact at La Folia Recordings when she first took marker pen to leather and says it wasn’t particularly a conscious decision. Since her first experimental Wonderland shoes there has been global interest in her work with people creating outfits in Japan to go with them and new commissions from women who appreciate her style.

I love the concept of viewing ‘any-things’ as blank canvases, a bit like retail spaces have become in the last year or two and I have experimented with the concept previously in the development of a range of painted corsets by emerging artists. When I was introduced to Sam’s work through a Created in Birmingham signpost to ebay, I got in touch to commission a pair straight away.

Sam is now represented by illustration agency Private View and when she is not doodling for friends and clients you’ll also find her behind the decks at Sick Note Sunday. So before she becomes too in demand and the waiting list gets out of control, treat yourself to a pair of artworks that are entirely bespoke to you.

Sam Pierpoint will be illustrating shoes live from the Created in Birmingham pop up shop (opposite Apple)  on Good Friday and Easter Saturday, 11am – 7pm. Prices start at just £150.

For more information contact us

Printer Jam

I’m not sure who I love most, the Musician MisstaBishi, Choreographer Kit Holder or the dancers, Kristen McGarrity and Joseph Caley.

Ive seen Printer Jam twice in a month performed in very different settings. Firstly part of a Birmingham Royal Ballet New Choreography showcase on the studio stage at the Elmhurst School for Dance and secondly at the plush 1800 seat theatre at Birmingham Hippodrome. I could see the back of Prince Charles head the second time and wore a Vivienne Westwood broach with pride.

‘Set to drum and bass music using sampled printer sounds, Printer Jam is a brief light hearted duet looking at office politics’

The piece stood out  from the crowd  to me on both occasions, it was kooky and sharp and I like the idea of the everyday being explored as a subject. I look forward to seeing more contemporary ballet of this nature and hope to see printer Jam performed in a real office setting next.

Goh Ideta

I saw Reflections by Japanese artist Goh Ideta at Vane Gallery in Newcastle, part of Wunderbar Festival. It was such a lovely piece, I keep revisiting my experience of it.

The work is a light installation with a mirrored cushioned floor. Dapples of light fly around the space depending on how slowly or quickly you move around. Showered with glittering reflections it was like receiving rays of good karma in physical form.  I would love to see how a contemporary dancer could impact on the energy of the space.

Supported by Pola Art Foundation the piece was created as a prototype for the forthcoming exhibition ‘Children’s Garden’ at Museum of Contemporary Art Tokyo in July 2010.

‘Goh Ideta is an artist from Hokkaido, Japan who explores perceptions of light and space. His works are playful and interactive, often requiring the presence of a visitor to activate or complete them. Following a prestigious residency at the Rijksakademie in Amsterdam, Ideta has shown internationally including at the Novena Bienal de La Habana in Cuba (2006), the 7th Werkleitz Biennale in Germany (2006) and was the ‘New Artist Picks’ at Yokohama Museum of Art, Japan (2007)’. Wunderbar Festival

reflections
Goh Ideta
2009  11
fabric, foam mat, mirror, spotlight, etc.

Summer in the City

Sarah loved this summer:

• The work of degree student Keeley Lowe, School of Art, Bournville, Birmingham
• The Multiple Store and the artists they represent, especially Dan Hayes and Simon Periton
• The Art of Ideas annual debate and accompanying Visual exhibition
• Visiting the artist studios of Elizabeth Rowe, Juneau Projects and Simon and Tom Bloor
• Re-connecting with artist Alistair Hopwood and Sean Parfitt, creators of With You life enhancement solutions
• Sculptures by Ian Pedigo at Rokeby Gallery, London
  
• Discovering the drawings of Amy Dover in the independent gallery Electrik Sheep, Newcastle upon Tyne
• Artist Deon Winter
• The oversized gems of Liu Diqiu, MA Fine Art, Birmingham School of Art
• Blackberry picking in Jerwood Sculpture Park and in particular ‘Spring’ by Juliet Haysom

The highlight of summer for me was the formation of The CoProxy-Connection: keep-alive
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ective Birmingham. Six of us are now officially part of a growing network who joint own and share contemporary visual art in our homes. After an interesting time attending private views and talks together we have finally made our first purchase. As a demonstration of our commitment to supporting both local artists and galleries we decided to sponsor a Eastside Projects legacy artwork, part of Simon and Tom Bloors solo show, As Longs as it Lasts. A silver birch tree from the duo’s exhibition will be planted in the forthcoming City Park, we will also acquire a framed print (1/20) and the first artwork in our collection. As we save towards our next purchase we now get to enjoy a portfolio of artworks on free loan from the founding Collective in London.

Autumn is upon us and I am really looking forward to the Annette Philo exhibition at Three White Walls and Wunderbar Festival in Newcastle which promises to put experience first and includes a new commission for Joshua Sofaer, Tours of Peoples Homes

‘Spring’ by Juliet Haysom. Jerwood Sculpture Park
Image courtesy of William Fallows, New Folder

Susan Collis

Having a guided tour around an exhibition by the curator is one of my favourite ways to discover artists and I find the curatorial process more and more fascinating. The Collective Birmingham recently hosted a event at Eastside Projects, my favourite gallery in Birmingham. As part of the event we were given a tour of Sculpture Show ahead of its opening.

Sculpture Show, curated by Gavin Wade and Ruth Claxton was brilliant, looked fantastic in the gallery space and confirmed my passion for bold sculptural form, it also taught me to spend a little more time questioning work which doesn’t make its self completely obvious at first glance.

During a tour we were introduced the work of Susan Collis, had I been wandering the show alone I might of dismissed her work, at first glance it appeared to be variable pieces of wood laid on the floor with gold screws half in, half out, a familiar sight. Then it was explained that the screws were actually real gold complete with hallmarks, the wood was treated with precious veneer and in parts mother of pearl and small gems of garnet, sapphire and black diamond were positioned on the wood. Responding directly to the gallery space the gems were also extended into small holes in the walls, where exhibitions had left their mark before. Lovely.

Susan’s work made me realise that I need to take time to look beyond each artwork to uncover the ideas and I loved the way it encouraged conversation in the gallery space. I felt like I was sharing a secret as I pointed out the hallmark and sparkling black gems as evidence to others. Her work makes precious everyday objects and doesn’t let us assume anything.

Susan Collis is represented by Seventeen Gallery:

‘Collis’ practice involves a subversion of time frame and visual perception through the manipulation of everyday objects. In the piece ‘Paint Job’, what initially seems like a collection of careless splashes and stains upon the fabric of utilitarian worker’s overalls are, on closer inspection, meticulously stitched marks replicating the accidental and spontaneous moment. Further to this, Collis enjoys playfully positioning the works in overlooked areas of an exhibition space, to heighten the potential for an initial misreading. We, the viewer, are then forced to rewire our visual and mental understanding of a particular mark, thus elegantly extending our viewing experience’.

I also enjoyed this article in the Times on her exhibition at Ingleby Gallery last year

If you would like more information on The Collective Birmingham, we are hosting our next public meeting on July 21st from the studio of contemporary art duo Simon and Tom Bloor. Come along and discover the benefits of collecting art in a group.

Susan Collis
She Falls Down, 2009
Limewood, walnut cedar of Lebanon, Douglas Fir, white holly, white gold, silver, oxidised silver, brazilian agate, smoky topaz, garnet, citrine
10 x 120 x 80cm

Image by Stuart Whipps, courtesy of Eastside Projects.

Susan Collis

Paint job
2004
160 x 45 cm
Boiler suit, embroidery thread
Courtesy of SEVENTEEN GALLERY

Ruth Claxton

I was first introduced to the work of Ruth Claxton at New Art Gallery Walsall, she presented at a event hosted by The Collective. She talked about how  important the  sale of her work was in relation to her practice and was working towards her solo show, Lands End at Ikon gallery at the time. I was immediately attracted to her work, partly due to colours she uses but also the sweeping circular shapes and mirrored sculptural shelves her sculptures stand on. I also felt a personal connection with it. Years earlier I hadn’t understood my mother’s fascination with Ladro figurines and lived with an occasional piece on the fireplace. My sister and I would save all year to be able to buy her a small piece for her collection at Christmas. I love Ruth’s take on these (tacky, retro) figurines. I see them as defaced yet beautified, with a new alien-esque life and futuristic quality.

I am no authority on art, but I am trying to find more confidence in how I communicate what I like and why. I am involved in The Collective, a national network of households who share and collect visual art in their homes. Its simple, a group of households contribute an agreed sum each month to its art-buying fund. Members take turns to buy work by artists and the group meets to tap into new artistic scenes and exchange the art works for display in their homes. We are currently recruiting members for the Birmingham group and our first gathering will take place at Eastside Projects ahead of the private view of Sculpture Show on Friday 1st May which is curated by Ruth Claxton and director, Gavin Wade. Find out more on the Own Art Website and get in touch if you would like to join us.

Monika Grzymala

I recently spent the day with The Contemporary Art Society with view to tips on how to become a collector of contemporary art. It was a really interesting experience which got me thinking about the different themes and ideas behind some of my favourite artworks. I left equipped with some handy tips on buying contemporary art. After lunch we were introduced to a number of small independent galleries including The Drawing Room which is where I discovered the sculptural drawings of Monika Grzymala, my favourite artwork of the day.

Monika Grzymala’s installation for The Drawing Room is a personal response to the chaotic London sky-line. She draws with sticky tape whilst listening to dance music and the results are bold and beautiful.  Her artworks made me want to  dance into them. Despite the movement I found one of the works particularly peaceful and I wanted to be entirely alone and think with it for a day. Then I imagined how I might live with such a dramatic installation in my home, it would be fantastic, I want to be brave with the art I own when I become a fully fledged contemporary collector.

The Drawing Room is the type of gallery which makes you want to buy art for the sole purpose of supporting the gallery itself. It isn’t a regularly funded gallery; it exists entirely on commercial sales, donations and a dedicated team who champion the importance of drawing in all its forms. I respect this dedication and  love its cool Biennial fundraiser event which I’ll no doubt be tempted to bid into this year. Over 200 artists generously donate high quality, one-off A4 size drawings in support of The Drawing Room programme. The drawings are then exhibited on-line and in the gallery for three weeks ahead of a silent auction exhibition event. You can expect an absolutely electric atmosphere as determined bidders make their final offers and wait in anticipation on the announcements on the special auction night. Expect to see diverse styles and big names in the art world for this live arty eBay experience.

You only have until 5th April to get lost in the wonderful artworks of Monika GrzymalaIf
If you miss it there are some nice photographs on Dazed Digital to enjoy.

Monika Grzymala, Farbrauschen (chromatic noise), 2009, adhesive tape and dots
installation at The  Drawing Room
photo Andy Keate
courtesy the artist

Sophie Hedderwick

Sophie Hedderwick based in Worcestershire is developing a new concept for her smart textiles. You send her your preferred vintage/retro chair frame and she places it firmly into the future by weaving the seat in experimental layers of neon wires. Her inspiration comes from fusing the old and new and she is fast becoming one of the most exciting textile designers on the British scene.  Sophie has already exhibited with success in New York, Tokyo, Cologne and London and is currently being promoted by Designers Block who are renowned for unearthing new talents, predicting future trends and international trade missions. For more about Sophie  www.sophiehedderwick.co.uk

Reglo 2008  Retro chair with rewoven neon wires (From £700)

Richard Paul

I recently won an Arts Council England competition part of the Own Art Scheme in which I chose art and furniture for a virtual lounge. I was amazed that I won for the West Midlands, but even more amazing is the prize itself! £500 to spend on contemporary visual art or craft in a gallery which participates in the own art scheme, free annual membership to The Contemporary Art Society membership collecting scheme – Blood and an expenses paid day trip to London exploring new works with the societies director. Wow!

This prize is nice and timely, firstly I am decorating my entire house and have fairly fresh plastered walls, secondly the day trip to London falls on my birthday weekend but most importantly for me, it represents that next step, educating myself at a new level about visual art. I have worked to generate sponsorship for visual arts and crafts and spend much time translating the artists vision, but I rarely get the time or money to self indulge in it.

This new education will be a great asset; I am part of a group of people in Birmingham who are forming to joint own a contemporary art collection. This genius scheme, The Collective was originally founded in 1999 by a group of London friends who occasionally attended private views, all liked the same painting but couldn’t afford to buy it individually; so they all chipped in and shared the painting in their homes. Five years on, they own a valuable collection of over 45 contemporary art works by the likes of Emin and Ofili, they commission artists directly and travel the world to shows on the profits from the occasional sale of paintings.

This morning I was delighted that an original print by Richard Paul landed on my mat, 33/100 Tautology 2008. Part of an ongoing series of deliberately simple photographic still lives of everyday objects. This art work was courtesy of The Contemporary Art Society for becoming a new member of Blood.

“There is no such thing as a thing-in-itself; every object has a raft of connotations ready to set forth depending on context. Pairing two objects suggests a relationship, and enhances or even generates particular connotations/narratives”

For once, one of my virtual loves will end up on my wall.

Richard Paul

Last Green Bottle 2007
Liquidity 2008
Spheres 2005
Tautology 2007