After doing a couple of exhibitions, and with it being the beginnings of autumn, before the assault of Christmas, I felt it appropriate to reflect on the works I’ve made in the 2015 so far. For whatever reason, I have always been obsessed with dates, and the passing of time, so I’m always looking at what I’ve done during a year. Some of the works I have made this year have been on a smaller scale to what I am used to working on, but I’m wondering if this is helping my work to be more succinct, in an age when most exposure is sought amidst the endless noise of social media sites. Here is a link to less visually instantaneous works, my book ‘Stories from Forgotten Space’, and the continuation of this project on my blog. So here they are from the first to the most recent.
Not Humanly Possible (A4, ink on paper)
A Cognitive Austerity (A4, ink on paper)
Five MORE Years… (A4, ink on paper)
THE LONG NIGHT OF A NEEDLESS STORM (90x115CM, mixed media on paper)
“Hard Working Taxpayers, inconvenienced” (A4, ink on paper)
Pain is Barred an Outlet (a4, ink on paper)
Everybody’s Fracking (95X130cm, mixed media on paper)
“Sad, LONELY, Frightened” (ink on paper, A4)
The Self [ie] Under Siege (A4, mixed media on paper)
“Can We Stop Now, Please?” (a4, mixed media on paper)
STRANGE BEDFELLOWS: AN EXHIBITION OF WORK BY BARNSLEY-AFFILATED ARTISTS
JOHN LEDGER – TERRY BROOKES – RORY GARFORTH – ROB NUNNS – ELIZABETH SINKOVA
@ THE CONTEMPORARY GALLERY, 2-4 THE ARCADE, BARNSLEY
TUE 28 SEP – WED 7 OCT, 10:00 – 16:00 (CLOSED SUNDAY) FREE ENTRY
There hasn’t been a group show of this type and quality in Barnsley for quite some time now; not since Wake Up Call at Redbrook well over a year ago.
Taking in the work of five artists affiliated with Barnsley, this exhibition explores multiple mediums; drawing, painting, photogaphy and sculpture.
Rory Garforth was born and raised in South Yorkshire, and his photographs showcase the best of this beautiful county. With the Pennines and North Yorkshire right on his doorstep, Rory draws inspiration from this gorgeous part of the country and from the people he meets whilst out and about.
His love for photography started to…
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I will be showing my more smallish drawings ‘Hyper-Malaise’, ‘A Cognitive Austerity’ and ‘Five MORE Years…’ in ‘Bells From The Deep’ at The Hundred Years gallery, Pearson Street, Hoxton, London, E2 8JD
The ‘Bells from the Deep’ exhibition is the outcome of our latest Open Call for Drawing and Hand Made Prints. Hundred Years Gallery opens its space to over sixty artists of all ages, those who may have never had the opportunity of exhibiting their work, those who perhaps never dare to show them in public, and those who just want to feel free of judgement from arts panels. As well as practicing artists and print makers we have encouraged all of our neighbours from the York Row Council Estate to participate as part of our arts community
Thursday 2nd July 7:30-10:00pm
The Exhibition runs from 2nd to 22nd of July 2015
Wednesday to Friday, 10am-6pm.
‘The past is another world’. Indeed it is, full of lost what-might-have-beens. I cannot even begin to estimate how many calories and hours were put into making these works that were heading in a more-painterly/sculptural direction, nor the lost might-have-beens that may have constituted an alternative usage of that time. Dating from the bright-eyed-dawn of the perceived-shirking-of-tangled-up-teenage-trials of my very early 20’s in 2004, to works made in the infancy of the long night that proceeded from the 2008 crash, these works now seem to me like surfaces of an (un)realised planet.
Due to this they just don’t fit anymore, like architecture that has lost its aesthetic function within the light of a new kind of world, the demolishing of them was the last necessary act. Reality has changed, and they are worth more to me now as documentation of an excavation of that past reality that I cannot go back to (all a poetics perhaps [?] devised to acclimatize myself to the truth: that I had no longer have storage space for works that were becoming increasingly smashed to pieces in narrower and narrower confines).
However, perhaps what surprised me the most, and possibly came close to preventing me smashing up any more of the works, was that the paint was still wet on the inside of one of the pieces from 2007. The smell of gloss and oils momentarily taking me back to 2007…even the music I listen to from such times seems lost as if submerged under a mudslide.