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
  
• Getting a project under-way with futuristic textile designer Sophie Hedderwick
• 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 Collective 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

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

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.

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 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)

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

I woke up to news of David Černý’s latest antics this morning.
One of my favourites has to be Babies,  Zizkov TV Tower, Prague.

I was wandering around Zoo Art Fair last year for a quick hour wanting to be inspired ahead of a meeting and found this cool artwork by Irish artist Niamh Mc Cann. The stuffed magpie in the process of stealing the neon rainbow has been playing on my mind for months, the experience of seeing this artwork literally just keeps waving over me, it stopped me in my tracks. Taxidermy isnt a love of mine, but I am partial to a bit of neon in art and I love the thought of a magpie taking the rainbow from the sky to decorate its tree, If I was a magpie, I’d do the same.

Niamh Mc Cann’s next solo exhibition. 19 Feb – 21 Mar 2009 Green on Red Gallery, Dublin, Ireland

Niamh Mc Cann

Perch (Recreating the
Natural Habitat)’

Materials: Neon, Wood, Veneer Paper, Magpie
(taxidermy)

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I had a very pleasurable job earlier this year, organising sponsorship for a play called ‘Quality’ by award winning Canadian writer Elaine Avila. The play was both set and performed to its audience in Tracey Neuls designer shoe shop TN29 on Marylebone Lane, during London Fashion Week 08. (It would be rude not to thank our supporters, 108 Marylebone Lane, Tatty Divine, Lancome and Fused Magazine)

As a result I discovered the amazing shoe design and cool marketing of Canadian designer, Tracey Neuls. Her shop is absolutely beautiful, her unique collection of shoes and boots hang from the ceiling as sculptural and tactile forms. She frequently partners and collaborates with visual artists and the fabulous result of her collaboration with Boo Risten (who I also love!) hangs in the shop.

Perfect for all occasions, including striding to the office, Neuls shoe designs are classic and incredibly well made with an arty tweak.

I recently attended Brilliantly Birmingham, a showcase of established and up and coming jewellery makers. The Flux exhibition is always one of my favourites and is usually hosted by Birmingham City University School of Jewellery. Amongst the fabulous works by Sally Collins and adventurous soul Karen Bartlet I discovered another little gem, Sangeun Kim.

Sangeun’s collection is inspired by architectural structures and in particular, the negative and unused spaces which surround them. Held in place by a magnetic back plate, the broaches jut out as bold and brave statement pieces.

Her full collection consists of geometric spatial neck pieces and brooches in precious metals with a hint of elegant enamel. From £60.

You can view and purchase the collection at Open Studios at Design Space, Unit 2, 25-33 Hylton Street, Birmingham, B18 6HJ

13th December – 20th December, 10am – 4pm

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