Form and function
I forgot to record who these are by. Chaos & confusion. Boundaries & control. Density.
This lady's work gives me lots of ideas to try out with clay.
Buttons are another favourite of mine. I am going to experiment with using them en-masse to make a dysfunctional covering for flat surfaces. A piece inspired by the sea, organic, chaotic, worn, fragile. I have used the aesthetic of fraying fabric and seams coming apart before, would be interesting to see how this could be suggested with ceramics. These are too obvious.
Where Children Sleep – stories of diverse children around the world, told through portraits and pictures of their bedrooms. When Fabrica asked me to come up with an idea for engaging with children’s rights, I found myself thinking about my bedroom: how significant it was during my childhood, and how it reflected what I had and who I was. It occurred to me that a way to address some of the complex situations and social issues affecting children would be to look at the bedrooms of children in all kinds of different circumstances. From the start, I didn’t want it just to be about ‘needy children’ in the developing world, but rather something more inclusive, about children from all types of situations. This is a selection from the 56 diptychs in the book.
Actions speak louder than words, objects speak louder than faces; well to me anyway. Interiors send out huge clues about the inhabitants, they act in a similar way to a self portrait. The images of the children to whom these rooms belong are unnecessary in my opinion.
Was Andy Warhol a Hoarder?
How Betty Woodman Became The Queen Of Ceramics
Erwin Wurm, Lost, Galerie Thaddaeus Ropac Paris
The profanity of objects is a central theme in Wurm’s oeuvre, which has included cucumbers, sausages and also cars and houses, in a wide variety of shapes and forms. One effect of this kind of subject matter is to evoke trust in the viewer, since these objects initially appear “familiar”.
His pieces are primarily developed in a correlation to the form of everyday objects. In the Lost series, it is significant that the works are derived from vintage furniture and objects. The fact that these can be placed in historical and social contexts evokes associations and emotions in the viewer of a “lost” time, a memory that can stand for the feeling of a whole era.
Wurm initially forms a clay model, which though based on a familiar object in form may vary greatly in size, adding an element of the surreal. The artist then leaves his own physical imprint on this model, for example by sitting on it or walking over it. Finally, it is cast into bronze or polyester, taking the materiality to the final, third level. The object has now been stripped of its purpose, properties previously seen as inherent have dissolved or mutated. A tension is created between the representation of the original everyday object, its deformation by the artist’s own body and the materiality of the work itself.
Thumbs up all round for the first segment of the photographer Richard Billingham’s new feature, Ray and Liz. The film was screened last night (10 February) at a fundraising gathering at the British Film Institute (BFI) in London to an enthusiastic crowd, including the photographer Martin Parr, art-loving designer and long-term Billingham supporter Agnès B, the Photographers’ Gallery director Brett Rogers and Frieze’s Matthew Slotover. The movie revisits Billingham’s chaotic early life on a West Midlands council estate that he first captured so powerfully 20 years ago in Ray’s a Laugh (1990-96), the breakthrough series of photographs that won him the Deutsche Börse Photography Prize.
Ray and Liz focuses on the artist’s parents and their tumultuous relationship, described by their son as “tested by poverty, addiction and being sold short of the better things in life.”