Projects

DELUXE FUN LOUNGE: PARADISE 2016

Clarissa Beveridge, Melisa Erol, Ryan Miles & Sophie Taylor

Open Evening: Friday 11 November, 2016. 6–9pm
Open Studio: Saturday 12 - Sunday 13 November. 12-4pm

Deluxe Fun Lounge: Paradise 2016 is opening to the public, presenting both complete and in-progress work.
Taking place at the end of Crate's Graduate Platform Award, the Lounge seeks to develop conversations and discussions concerning each of the graduate’s practices, and is an exciting opportunity for the viewer to participate in their work. The Lounge is a communal space that embraces collaboration, engagement and participation.

For the Open Studio, visitors are invited to engage with the artist’s practices and processes. Having formed a relaxed and informal environment to aid the generation of their work, the artists have considered how the viewer engages with the space. With no blank white walls, the lounge is a working space crammed with tables, sculptures, films, lamps paintings, desks, drawings, rugs, music and chairs.

facebook.com/ClarissaBeveridgeArtist
facebook.com/SophieTaylorArtist

Machine Room: STRETCHING THE SURFACE

10 - 25 September 2016
Open: Friday - Sunday 12 - 4pm

Machine Room is the research term used in 2006 by artists Mick Finch, Beth Harland, Louisa Minkin and Claude Temin-Vergez. The artists were invited by CRATE to take residence in Margate, and employ the landscapes that they encountered as bases for research. This led to a public display at CRATE, Machine Room: A Blueprint for Painting, and it is this body of research, which is now being responded to for this exhibition. 

This response to that resulting display comes from a group of recent Fine Art graduates, who, for Machine Room: Stretching the Surface, have also considered the dérive, a form of Psychogeography that celebrates the abandonment of intention whilst moving throughout a landscape. 

Clarissa Beveridge, Melissa Erol, Ryan Miles and Sophie Taylor have practices that meet over shared interests in framings, the everyday, material and process, and the viewer’s physical interaction with their work.This exhibition seeks to place the mechanisms and notions of Psychogeography into a contemporary context, placing it within a cultural and technological history of visuality. Utilising their movement throughout Margate and the wider area, the artists have collected pictorial devices embedded in the landscape; look-outs, viewpoints and frameworks.Reading the cultural and architectural ‘eye-catchers’ around the area and building upon their previous experiences and investigations as artists, the four artists are contributing to a broader discussion concerning image seeking and image making.

Clarissa Beveridge defines her practice through attention to material, touch, tone and surface. Seeking to embrace a moment and preserve an action, her work is constantly in process, embracing a visibility of the human hand and forcing the viewer to encounter her decisions in the making.

Melissa Erol employs motifs and gestures that puncture an otherwise colliding combination of ground, colour and form. Working with an archive of objects, images, sketches and collages her work is excited by experience and provoked by the relationship between the frame and the surrounding space.

Ryan Miles explores abandonment and cites this as being key in the beginnings of his work. Responding to the architecture he encounters, works arrive through photography, manipulation and then physical realisation. Using materials such as Perspex and mirrors, there is an allowance for the incorporation of the viewer and the surroundings within the work.

Sophie Taylor responds to everyday visual happenings, approaching an understanding of locations through the patterns and forms that she experiences within them.

Engaging with mundane activities, such as walking or boarding a bus, her work looks to transform these into physical spaces in which the viewer can dwell.
Having employed physical movement to aid the generation of their work, the artists have also considered the way in which we interact with information available to us.
The unending surge of data that we receive, willingly or unwillingly, has formed a new kind of digital landscape throughout which we all pass through.This line of enquiry runs alongisde the original Machine Room research, leading to the development of new works that respond to the physical and the technological world that we inhabit.

Presented as part of the Margate Festival “Sightseeking” 2016

facebook.com/ClarissaBeveridgeArtist
facebook.com/SophieTaylorArtist
margatefestival.org

Wearing Trousers

Catriona Clayson, Kim Conway, Lucy Crispin, Kat Cutler-McKenzie, Moyra Derby, Eloise Edwards, Emma Gibson, Kate Harrison, Sadie Hennessy, Kellie Hogben, Elizabeth Loughran, Atabey (Carlos) Maria, Nova Marshall, Siobhan McGhee, Jemma Morgan, Jo Murray, Annie Nichols, Lucy Petet, Heidi Plant, Cathy Rodgers, Julia Riddiough, Lizzy Rose, Trish Scott, Heather Tait, Rebecca Taylor, Twinkle Troughton, Charley Vines, Hannah Weatherhead, Newton Whitelaw, Chris Yates

Saturday 12th - Sunday 20th March, 2016 
Open:
 Weekends 12 - 4pm 

POW!Thanet is Thanet's very own festival of celebrations for International Women's Day. Between 8 - 13 March a wide-ranging programme of exhibitions, workshops, parties, film nights, well being events and much more has been put together by a team of dedicated women to bring much needed attention to the cause.

The global focus for this year's International Women's Day is PLEDGE FOR PARITY, so by providing a platform for the female movers, shakers, creatives and voices of Thanet, POW!Thanet is highlighting the very pressing issue of women deserving equal opportunities and earnings to our male counterparts.

Wearing Trousers collects together emerging and established female artists based in Thanet. Remembering the prohibitions that have been imposed upon women in their everyday pursuits to stand as equals alongside men, the works within the show contribute to a wider conversation around the conditions for female artists today.

powthanet.com

Emma Gibson: SHELLING OUT

Preview: October 23, 7 - 9pm October 24 - November 1, 2015

Part of an ongoing series of environments known as "The Other Room", this new exhibition by Emma Gibson uses a
backdrop of the many-worlds interpretation of quantum mechanics to pinpoint a turning of the tide, when things that
were once child's playthings on the beach came to have the price of jewels.

Conchlymania or ‘shell-lunacy’ in the 17th century referred to the hysteria around collecting, acquiring and dealing these ‘works of art from God’. 

Collections became declarations of wealth and faith (the gathering of shells on the beach coffered spiritual status) and the collectors themselves had surprising similarities to dealers and collectors of fine art today- both caring passionately for the status of possessing something strange and unusual from a distant land, preferably before anyone else.

Seashells are naturally occurring and no two shells are ever alike.

Presented inside this parallel universe are two areas, one Production and one Display. Using seashells and their complex and once extremely coveted natural beauty and mythology as a metaphor, it confronts how we consider value and originality today.It is up to you to decide on the origins and meaning of these shells and ultimately, if they have worth.

egibson.co.uk

Sophie Dixon: TIME PRESSURE DECAY

Saturday 15 - Sunday 16 August, 2015, 11am - 5pm

Inspired by her recent residency in the former mining town of Lens, Northern France,Time Pressure Decay is an exhibition by Sophie Dixon of photography, text and research. This coincides with a screening of her latest film 'La Mort De L'Arbre' at Turner Contemporary.

Resonating with the story of the Kent coalfields, the exhibition explores memories of the coal mining industry and the physical traces left upon the landscape. Drawing connections between seemingly disparate fragments of experience, video and text interweave to examine the unifying power of memory.

Dixon's work is rooted in extensive historical, social and cultural research. Concerned with the boundaries between fiction and non-fiction, she deconsructs and expands narratives to explore the tenuous relationship between ourselves and the environments in which we live.

Using personal research and writing as a narrative backbone, her work is less interested in portraying a historic truth than in exploring the deep connections between events across time - an attempt to open up the spaces between the experience of an event, and our later interpretations of it.

In 2014 she was awarded the CVAN Platform Graduate Award and has recently undertaken residencies with Mission Louvre-Lens Tourisme in Northern France and the UK based artists group Blast Theory.

sophie-dixon.com

Pages

Subscribe to RSS - Projects