Exhibitions

uca image

UCA CRATE Graduate Award 2017

Crate Project Space and Studios are delighted to announce the winners of the UCA Crate graduate award 2017 James Dean and Kieran Rook. This award provides UCA BA Fine Arts Graduates with time, space and support to develop new work, seen as a bridge between education and self-directed practice. A month in the Crate project space is part of the award offering a place of research, production and display with mentoring sessions to realise a public outcome. From a short list of graduates selected at the annual degree show at UCA Canterbury, Crate invited those on the shortlist to submit a proposal responding to our annual research question.

the ships are always there

THE SHIPS ARE ALWAYS THERE

Laura Fitzgerald, Phil Illingworth, Jay Rechsteiner, ​Kyung Hwa Shon.
Curated by Chiara Williams

Open: Saturday 19th – Monday 28th August
Preview: Friday 18th August 6 - 9pm
 
Opening times: 11am - 5pm Friday, Saturday & Sunday

New works by four international artists are brought together in an exhibition that allows for a contemplative convergence of perspectives; trajectories and courses overlap, brief encounters are made, vanishing points are vague, horizons are hazy, but, the ships are always there...

Chiara Williams is pleased to curate her second exhibition in Margate, at Crate Project Space. Chiara has worked for some years with each of the four artists in this exhibition, and was keen to draw their disparate practices together under a common theme whilst uncompromisingly showcasing their newest works.

The title of the show arose from an exclamation made on a daily dog walk along Margate’s beaches, ‘the ships are always there!?’, an incredulous response to the seemingly static horizon line of ships, day in, day out; an observation that gave pause for reflection on ideas of quiet permanence versus irrefutable transience, of constancy versus change.

The works in this exhibition invite us to consider the common anchor points in our lives, who are those people, places or objects that unite us, where do our perspectives converge, our trajectories overlap, and to what extend do we take comfort in repeating, meditating upon or ritualising those blips on our radar.

www.chiarawilliams.com/projects

Katie Hare, Edge of the Frame (still) 2016

TOUCHING THE VOID: WHEN THE PHYSICAL COLLIDES WITH THE VIRTUAL

John Butler, Clay Gold, Katie Hare, Matthew Humphreys, Claire Manning, Nicholas Mortimer, Liv Pennington, Mildred Rambaud

Open : Saturday 8th July - Sunday 6th August
Private View: Friday 7th July 6pm - onwards
Opening Times: Friday, Saturday, and Sunday 11am-5pm

You wake up and music fills the room.
Your PC has identified your brain signals and coffee is brewing to your specifications.
Later you put on your VR headset and leave the house.
Amidst your view of the real world, avatars approach you.
They greet you, meet you, inform you, warn you, and sell to you.
Are you ready?
Are you ready for your future?

We are creating a discourse for people to reflect on our digital future and the ways in which that could potentially impact on our everyday lives.

How do you think the rise in virtual reality and technological advancements will effect our physical, functional, and emotional routines? How would you wish to see it advance?

About the artists:
John Butler's films recount the daily routine of children being raised in a secure compound to meet the challenges of a financialised world. His work is about human utility in an age of artificial indifference. He works with 3D animation, motion capture, digital audio and text to speech applications.

Clay Gold's “Between the Attic and the Basement” is a sound installation which addresses the space between the conscious mind and the subconscious archive.

Katie Hare's films are looking at the effects of the rise of rapid digital communication, specifically in respect to memory, both shared and personal. Katie works in video, but also across performance, sound and text.

Matthew Humphreys explores the human condition, highlighting the role of sight and sound as a component for discourse and wellbeing. His film and collages are personal recollections of his family life. His documentary video background informs his artistic practice. His camera catches the most intimate moments and transforms them into universally engaging themes.

Claire Manning's film is an investigation into edgelands and non-places. Her film technique uses distortion and collaging to emphasis the emotional potential of these ‘non-utopias’. She uses non-traditional approaches and construction methods to create her films, installations, assemblages, montages, and prints.

Nicholas Mortimer's installation creates a conversation between an avatar of justice and a vision of future man. The characters meet in a mythological ruin, and discuss how technology could make meaningful change to social, cultural and political issues. Nicholas' work explores transfictional methodologies and mythological possibilities focussed on cybernetic futures that become meshed with ancient symbolism.

Liv Pennington's films and prints examine the impact of digital forms of communication, on the social management of the likable female image. What happens when you perform, adjust and filter your appearance and behaviour for views and for likes?

Mildred Rambaud's sculptures highlight the physical, through delineating space, while reimagining a new sculptural language. She embraces a range of methods and approaches including painting and performance. Her work explores archetypal imagery, fragility and the impossible.

Touching the Void is Crate's contribution to the Margate Festival.

mildredrambaud.co.uk
john-butler.co.uk
claygoldrecording
katiehare.com
mjhumphreys.co.uk
clairemanning.co.uk
nicholasmortimer.net
livpennington.com

Image: Katie Hare, Edge of the Frame (still), 2016

Jemima Brown FIGURES IN A POLITICAL LANDSCAPE image

Jemima Brown - FIGURES IN A POLITICAL LANDSCAPE

Open: May 19 - June 4, 2017
Opening times - Friday, Saturday, Sunday 1 - 6pm (or by appointment)

Artist discussion: Thursday 25 May, 6:30 - 8:30pm
Closing party: Friday 2nd June 6 - 9pm

Artist Jemima Brown has approached CRATE with the intention of testing new work outside of the solitary world of the home studio. By working on this project in a public space she is inviting audiences to consider the processes involved in the making of the work as much as the work itself.

From recurring archetypes to fleeting memes she often explores the feedback loop between representations of women constructed within various cultural narratives and women's own self-images expressed through consumer choices and lifestyles.

Taking as a starting point the idea of ‘figures in a political landscape’, her new work involves the construction of abstract sculptural assemblages alongside figurative drawings.

By observing the tropes and visual signifiers of political affiliation this new work aims to spark broader discussion about how the construction and form of an object might relate to its initial starting point, and discuss levels of representation in the objects and images that make up the project.

About the artist:

After receiving an MA in Fine Art from Chelsea College of Art in 1995 Jemima Brown has established a career as an artist practicing in a variety of media, including sculpture, installation, drawing and moving image. In 2010/11 she was the recipient of the Mark Tanner Sculpture Award at Standpoint in London. Past awards have included a Fulbright Scholarship as a guest of the Graduate Program at University of California Los Angeles, and the Cocheme Fellowship residency at University of the Arts, as a resident artist at Central Saint Martins Byam Shaw School of Art.

Since moving to Thanet in 2014 she has been developing new work as well as continuing to exhibit ongoing bodies of work.

This project has been facilitated with generous support from Arts Council England and will include 3 days of sculpture workshops in June with Year 3 and Year 5 pupils at St Peter in Thanet Junior School.

www.jemimabrown.com

Image courtesy of the artist, 2017

 

Lizzy Rose: ARRANGEMENT

Exhibition and workshop postponed due to ill health - new dates to follow soon

A layer of living moss forms an indoor landscape in Lizzy Rose’s new audio-visual installation at CRATE.
Incorporating video, sound, hand-made objects and manipulated plant-life, the work explores landscape, form, nostalgia and the pursuit of knowledge between cultures.

Lizzy Rose visited Japan in 2016 to research a form of floristry called Ikebana which has been practised for over 600 years. Rose's interest lies in the hidden culture surrounding this art form, which she examines by drawing parallels between The Art of Flower Arranging, a book produced in the 1950's, and the classes held today in Tokyo by the Ohara School of Ikebana for International students.

The Art of Flower Arranging by Ishimoto is a instructional guide on how to use the simplified principles of Ikebana to decorate your home. Ishimoto encourages the user to observe nature and landscape. Pure Ikebana is more precise, combining geometry and natural forms; the wildness of nature meeting rational aesthetics. By replicating landscape it aims to create a transformative space that evokes the sublime, which is described as a kind of spirituality, or sacred place.

Alongside the exhibition there will be an opportunity to take part in a workshop creating your arrangement from nature. This will be a free workshop. Time and venue to be confirmed. The exhibition was funded by the Arts Council, The Great Britain Saskawa Foundation and CRATE.

About the artist:
Lizzy Rose (b. 1988) is a British artist who lives and works in Margate. Her work explores community, British identity and hidden culture. She has a severe form of Crohns disease. She studied at Central Saint Martins' School of Art and Design. Lizzy Rose was part of artist-led space, LIMBO in Margate from 2012-15 and now is part of the programming team at CRATE.

lizzyrose.co.uk

#arrangementmargate

Pages

Subscribe to RSS - Exhibitions