Thursday, 17 April 2014

Five-metre-high ceramic tree installed at the International Ceramic Research Centre, Denmark

The Guldagergård Tree (after Spode) by Paul Scott, Sculpture Garden Byparken Skælskør, Denmark 2013

A porcelain tree by Cumbrian artist Paul Scott (b.1953) has recently been installed in the garden of the International Ceramic Research Centre Guldagergård alongside ceramic sculptures by Swedish artist Ulla Viotti, Danish artist Nina Hole and American artist Robert Harrison. The garden forms the public park for the town of Skælskør in Denmark and also contains many rare trees - it was originally planted as an arboretum by the first owners who were fruit farmers.

Paul has a particular interest in ceramics and print (see his book Ceramics & Print) and in his work he often appropriates elements of pre-existing designs which are then re-interpreted in his own work. The tree image was formed by collaging decorative details from a number of existing engraved tableware patterns. These were drawn from English printed landscape wares, particularly Spode, who were based in Stoke and perfected English porcelain production (known as bone china) in the 18th century. Their designs were often based on prints in travel books, which were themselves reproductions of engravings based on paintings by artists of idealised man-made landscapes by designers like Capability Brown - a long way from the original. Paul's sculpture transposes idealistic designs from tableware back into the landscape itself.

The tree in production

A series of cobalt blue underglaze decals were screenprinted onto handmade tiles sourced from Jingdezhen in China, the town long renowned for its production of high quality porcelain. Ai Wei Wei's Sunflower Seeds were made at Jingdezhen where it is thought porcelain has been made for two thousand years. This provenance also references the original source of all blue and white wares, which became highly coveted in Europe. For years potteries in Britain tried to reproduce the pure white of Chinese porcelain without success.

Paul Scott is an artist whose work I've admired since I saw a 2002 exhibition he co-curated at the Hatton Gallery in Newcastle. 'Are You Sitting Comfortably?' displayed a beautiful and witty collection of 40 toilets (once a highly decorated item, being a luxurious thing to have). Sadly I can't find any info online to share about this exhibition as there is nothing archived, but I think from my recollection it was arranged so that you could walk among the toilets but they were displayed uniformly as if they were a single work. (It very much reminded me of a Rachel Whiteread installation I'd seen of casts of the spaces underneath chairs.)

After this I suggested Paul for a commission in the new public toilets in Workington and he later went on to produce an incredibly beautiful commission for Northern Print in 2009 called Willow Creek - I'd make the trip just to wash my hands in this sink.

Willow Creek at Northern Print Studios, Ouseburn, Newcastle-upon-Tyne, 2009

Paul's subversive and fascinating work has included tableware as well as public commissions, but the common thread is a concentration and exploration of surface, setting him apart from many other potters (although increasingly younger practitioners such as Parasite Ceramics are changing this). Paul references the decorative history of mass-produced transferware (particularly the distinctive blue-and-white willow pattern scenes of Minton) as well as the changing process of ceramic production, and many of his works have an underlying political resonance, commenting on the changing nature of our rural landscape and our human interventions, whether that be farming or signs of energy production such as windmills, nuclear power stations and electricity pylons. 

Following the foot-and-mouth outbreak in Cumbria Paul made a series of plates with smouldering carcasses on them - a view that became disarmingly normal at the time. Paul is currently making work which references old conservation methods for repairing ceramics, such as stapling and wiring.

So I'm particularly excited that Paul has a solo exhibitionConfected, Borrowed and Blue, coming up in November 2014 at the Holburne Museum in Bath, where I live. The exhibition will include the first outcome of Paul's recently funded research into the Spode copper plate archive.

Oh, and I'd love to work with Paul on a new public commission in the UK - perhaps Bath next, eh Paul? 

Saturday, 29 March 2014

The Line sculpture walk to go ahead in east London

The Line, a new 'sculpture walk' proposed for east London is due to open this summer after meeting the phase one £141k funding target on crowdfunding website Spacehive(You can visit to see the campaign and watch their mini-film which features some heavyweight support in the form of 2012 Olympics opening ceremony creator and film-maker Danny Boyle.) The Line will show existing works of 'modern and contemporary' sculpture over a 3-year period as well as a new commission, along a route following the line of the Meridian. This will create a link between the new Queen Elizabeth Olympic Park in Stratford and the O2 in North Greenwich, south east London

The Line planned route

Works will be selected by a panel through an open submission process. The selection panel will include artist Mark Wallinger, Line co-founder Megan Piper, collector Anita Zabludowicz, art critic Richard Cork, a local resident (tick) and chair of a charity developing a new 'cultural quarter' (it's a 'thing' now) at Cody Dock, Omar Kholief, curator at the Whitechapel Gallery and Cllr Conor McAuley from Newham Council. 

It seems to me quite a curious and old-fashioned project, as rather than commissioning new site-specific works for the place (which is much more difficult), its focus is on siting primarily existing work - juxtaposing them with the environment and any other nearby artworks. Any resonances at all with the location of the artworks will be entirely accidental. While it is a noble aim to show work that would otherwise be in storage, for me this project primarily misses the point (and surely the real opportunity and excitement) of artwork in the public realm - new site-specific work responds to the space it is commissioned for, and if it is successful, has a special resonance in that place accordingly. While this approach can be more expensive it would still be possible to put forward an incredibly exciting programme for £500k, particularly if some works were well-integrated into the landscape and therefore into the landscape budgets. As there are 2 phases and phase 1 is £140k, I would imagine £500k is close to what they are aiming for. The selection of pre-made work also limits the possibilities for engagement with the work as the only way of engaging with it is to go and look at the finished work (I wondered about this lack of engagement opportunity and thought perhaps it might explain why they had no Arts Council funding.) There are so many more engagement opportunities which could be investigated when new work is being commissioned, during the process of drawing up the brief, and during the development and making of the work.

I'd be interested to know The Line's criteria for selecting the sites and also the work to occupy sites which they were not created for (presumably they want work that has been created to go anywhere - a rich person's garden, Chatsworth etc). But the open submission process is also interesting - which well known artists submit work this way? None! With a high public profile project such as the Fourth Plinth several well known artists may be asked to develop a proposal. But do they all enter work into the Royal Academy Summer Exhibition? No they don't, because they don't have to - they already have offers of exhibitions and at least one private gallery showing their work. So presumably the galleries will be submitting their work for this show based on what they have left hanging around? Is this 'leftovers' approach really the right one for such an important route and collection of sites? It reminds me of the Cass Sculpture Foundation approach or the recent Tony Craggs on show near the V&A.  It raises my suspicions about how transparent the selection process will really be - presumably the organisers are already tapping up the artists whose work they really want to show, with a few spaces left for everyone else. I would prefer they didn't bother with this pretence of anyone being able to submit work - it clearly isn't hoped or anticipated that a whole group of new young artists' work will be shown if they are offered a Damien Hirst or a Michael Craig-Martin. 

It also seems that it is presumed the works will happily be lent for free for 3 years by the artists and art collections and therefore the artists won't receive any payment except for the, clearly immense, glory of having their work displayed in a public place. How many emerging artists can afford to create bronzes etc if not for commission (and therefore already sold)? There will be a fairly limited number of young artists whose work will be suitable - the only way these artists will get a look in is with the new commission being offered (I await details of the budget and brief). The approach taken will be most suited to an artist such as Charles Hadcock who creates very large bronze sculptures.

The project is clearly a reflection of the experience its creators, Megan Piper and Clive Dutton. Megan is a previous Momart employee (so clearly focused on art that is 'stuff' to be moved about, bought and sold, stored and shown). Megan founded The Piper Gallery which was open for 18 months and closed in December 2013. Clive Dutton is an  ex-local authority regeneration specialist who was involved with the regeneration legacy of East London and previously worked for the London Borough of Newham, and Birmingham Council. 

Two of the funders who have contributed on the Spacehive campaign are quite fascinating - one 'R. Todd Ruppert' has contributed a staggering £44k, and the venture capitalist 'Frederic de Mevius' a further £10k. R. Todd Ruppert, if he is this man I googled, has the most astonishing hair and teeth I have seen for a while: 
Used car salesman from the 1950s, anyone?
I kept wondering why they would have invested so much money in an arts project, and I can only guess that there are perhaps links with property they own, the value or aspect of which will be enhanced by the artworks being in situ.

I was also interested to see that Rogers Stirk Harbour + Partners, the architects who have 'come on board to create visual material for the project', have also managed to cagole £16k out of their charitable foundation towards the project - so that's handy isn't it? (Although, admittedly, it's nice to see developers/architects putting their hands in their pockets in the name of art, so I shouldn't be complaining. I guess they too must have an interest benefitted by the project - a few developments along the route - or else they will be able to reduce their section 106 agreement by pointing out that they have already contributed towards public art through this project.)

Lastly I am intrigued by the 'project managers' Nous Collaborative, who describe themselves as 'the only brand space agency that centres around bringing brands to life through collaborations with the world's best architects'. Sounds interesting. Just remind me what a 'brand space agency' is again?

I will be fascinated to see how this project develops and whether the quality of the work will win me over despite the approach they have taken.

Thursday, 28 February 2013

Dylan Thomas mural unveiled in Swansea

A major new work by Welsh artist Pete Fowler (who has in the past created artwork for album covers for the band Super Furry Animals) has recently been unveiled opposite Swansea railway station as part of Art Across the High Street, a scheme to improve the appearance of the city centre by commissioning artworks for disused or run down retail units. The artwork is on the site of a former nightclub.

The work was inspired by local icon, poet Dylan Thomas  (for which the centenary will be celebrated in 2014) and work created by local schoolchildren in workshops. The mural measures 9m x 6m and has Dylan as its centrepiece, complemented by Fowler’s unique take on Swansea including it’s maritime and mining heritage, Viking history, UFO sightings alongside two giant horses and a pair of pink octopus. 

The project is funded by the Welsh Government, City & County of Swansea and Swansea BID and delivered in partnership with LOCWS International

This work is looking phenomenal on the high street, I'd love to see a picture of the building beforehand, and I wonder what the response has been like locally?

To find out more about the project, visit: 

Wednesday, 27 February 2013

Richard Deacon commission forms part of Piccadilly development in London

The Eagle Place development at St James's (showing the artwork in red)

A new glazed terracotta cornice by sculptor Richard Deacon (b.1949) will soon be revealed on the facade of a major new development in Piccadilly, London. 

Deacon, who won the Turner Prize in 1987, was commissioned to work with Eric Parry Architects (who were responsible for the recent lauded extension to the Holburne Museum in Bath) on the work for Eagle House on the St James's Gateway scheme.

The artwork is 25 metres long and consists of 39 glazed terracotta pieces.

Map of faience facade elements

According to Will Mclean in an article on the Architectural Review website, 
'As a sculptor acquainted with the deft manipulation of matter, Deacon studied and has remade the cornice as a ‘chopped up’ performance of 14 variable prismatic forms, each mutated from a single genotypic cross-section, but confined in height, or what Parry described as ‘the field of play’ to a not inconsiderable 1200mm. In addition, each of these 39 sculptures, extending over 25m, is highly coloured with facsimiles of Deacon’s painting using screen-printed waterslide transfers (decals) in a process originally invented for the pottery industry; each facet of the cornice blocks is differently coloured, further emphasising the geometric transformations.'

The artist checks the waterslide transfers

The artwork is due to be unveiled in March 2013. Look forward to seeing it.

You can read the article (which focuses on the technical side of working with terracotta) here:

There is an article about the project on the Evening Standard website here:

Thursday, 27 September 2012

Art Across the City opens in Swansea on 29th September

An Accident Looking for Somewhere to Happen by Fiona Curran, St Mary's Church

Art Across the City, Swansea's programme of public realm commissions, opens this weekend and will run until 11th November.

The programme is organised by LOCWS International and includes five new temporary commissions by artists including Fiona Curran (pictured above...her work was last seen at Tatton Park Biennial 2010), Joanne Tatham & Tom O'Sullivan, David Blandy, David Marchant and Jock Mooney. 

The show will also include earlier commissioned temporary works by Sean Puleston and Rik Bennett (shown below) for the Art Across the High Street programme and is complemented by a number of permanent commissions by Bristow Lloyd, Mark Folds, Bermingham & Robinson, Niamh McCann and Bedwyr Williams - see images below.

Sean Puleston's commission for Art Across the High Street

Lionheart & Lightsout by Bedwyr Williams, The Kingsway

The British Empire Panel Project, Bermingham and Robinson, The Brangwyn Hall

You can download a full brochure here: 

Wednesday, 26 September 2012

Studio Troika's The Weather Yesterday

Studio Troika have been producing some lovely work over the last few years, including the V & A's moving palindromic signage and various other commissions at Heathrow Terminal 5 and the Shanghai World Expo, but I think my favourite so far has to be this recent temporary commission in Hoxton Square in London commissioned by RIBA, The Weather Yesterday.

Unfortunately being too fat to travel anywhere (I'm pregnant, not just fat) and only just finding out about it, it is no longer on display (it came down on 9th September) but looks brilliant from the photos.

I also thought it might amuse a few people given the recent downpours. 

Troika say: 
'The Weather Yesterday' takes our obsession with progress ad absurdum by sardonically changing our focus from 'forecast' to the 'past'. The five-metre-high sculpture celebrates the weather as a predominant top of discussion in British culture while offering a spin on the urgency with which we are using our mobile devices, forecasting and interactive technology.'

Friday, 7 September 2012

Last days of Nowhere Island

It would seem churlish and not least to say a little lazy not to go to this as it's only in Bristol....

Full details of programme here: