Art, Exhibitions

Auckland Art Gallery – Whizz Bang Pop

Auckland Art Gallery – I saw some marvellous things: (Most in the ‘Whizz Bang Pop’ exhibit)

Unsure of the artist of these two images.

Jessica Stockholder – Untitled (2003)

Ed Ruscha – Love Chief (1986) writing something massive on a canvas, especially something like ‘Love Chief’, how self-affirming.

Luc Piere – Environment III. Spent a while in this mirror-box. Reflections going on forever, stuck in a time-warp, can’t find the door. Shame is smelt of feet!

Rosalie Gasgoine – Web / Piece Work / Foreign Affairs (1994) ‘choosing to work with materials that “have had sun on them”‘ grids of weathered woods. order and repetition.

Tony Cragg – Clear Glass Stack (1999) assembelage, interlocked

Thank you Auckland Art Gallery, so much variation, and I never usually find much that I really am inspired by, so this was a nice hi-light of my trip.

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Art, color, Design, Exhibitions, Interesting and Inspiring

Peter Combe’s ‘Pink Interference’ and Rivane Neuenschwander’s ‘I Wish Your Wish’

Peter Combe, Pink Interference, 32″ x 39″, mixed media, 2009. ‘Artwork created from thousands of shredded Architect/Designer size household paint swatches in ordered/random placement.’

To me, this is perfect. The colour – a mix of sickly sweet and delicious – all mixed together, erratically but completely organised neatly, rows and grids, staggered and making the diagonal line in the lower half. How I want to touch it, would it feel like one of those butcher’s curtains? A piece of art where it’s so delicate, it’s only attached at one point, each paper could easily be torn.

This piece seems very similar to Rivane Neuenschwander’s ‘I Wish Your Wish’ where ribbons are silkscreened with one of 60 wishes left by previous viewers. Visitors can take a ribbon to take home, from a hole in the wall, in return for writing their own wish on a slip of paper and inserting it (in the ribbon’s place) into one of 10,296 small holes within the walls.

Rivane Neuenschwander, I Wish Your Wish, 2003. Silkscreen on fabric ribbons, dimensions variable. Installation view, St. Louis Art Museum.

“Rivane Neuenschwander is like a conductor of invisible orchestras: she engages external forces to make ephemeral art with sensuality and rigour but also with the lightest possible touch.

‘Ethereal materialism’

Secondary Stories (2006) consisted of brightly coloured tissue-paper circles of varying sizes that were blown by fans inside a false ceiling made of translucent plastic, creating kaleidoscopic compositions as they drifted about.

A lingering resonance that was hard to shake.” Kristin M. Jones (Frieze.com)

Drops of water, bubbles, sprocket holes, hole-punched confetti, eggs, moons, constellations, and cascading zeros all play a role, sometimes as soundtracks or symbols of fragility. Much of her oeuvre is also about measuring passing time: calendars, both marking the past and rushing to the future.

Her maps, whether tracking visitors’ paths through the exhibition or presenting the blurred boundaries of those exposed to the elements during the rainy season are about creating new geographies for new explorations. New Museum.org

Peter Combe’s Blog,

Peter Combe’s Twitter

An Article about Rivane Neuenschwander’s exhibition ‘A Day Like Any Other’ which contained ‘I Wish Your Wish’

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Art, Drawing, Exhibitions

Yayoi Kusama – ‘Obliteration Room’ and ‘I’m Here, But Nothing’

Back in the third year of my Fine Art degree, my great tutor Amanda Couch organised a trip to galleries in London. One of the first galleries was the Victoria Miro in Mayfair and I was dazzled. Yayoi Kusama’s drawings were ignored, all I could see where her installations and get absorbed in her ‘Infinity Mirror Room’.

When I saw Kusama’s ‘The Obliteration Room‘ (above) I didn’t realise it was her work. I was reminded of ‘I’m Here, But Nothing‘ which I saw back in my Uni days (see below images) but the work is slightly different. The viewer can interact with the artwork; children only being allowed to add stickers to the walls and domestic items in the room. How I remember ‘The Obliteration Room’ was that you opened the door, slid into the room, which was pitch black apart from a UV light and thousands of equally spaced glow-in-the-dark stickers. The room made me dizzy, people were stumbling and any sense of surroundings was lost.

I’m Here, But Nothing

I’m Here, But Nothing

Narcissus Garden

Infinity Mirror Room: Love Forever

‘En masse Kusama’s work is beautiful but overwhelming, the product of a self-described obsession.’ Victoria Miro Gallery

‘The encounter with my work is extremely important at this stage. I am a factory worker and the monotomy of these tasks I make myself complete have an effect on me. The balance of control is off-kilter as I feel like I am being controlled by my objects.’ 3rd year Project Plan from uni

‘Obliterate your personality with polka dots. Become one with eternity. Become part of your environment. Take off your clothes. Forget yourself. Make love. Self-destruction is the only way to peace.’ Yayoi Kusama

Since the visit to the gallery, I have found a love for her drawings, especially the repetition of Infinity Nets.

What excited me is the idea of painting an entire room and objects completely white, as in ‘The obliteration room‘.

More images of The Obliteration room here

More images of the entire exhibition ‘Look Now, See Forever’ here

Kusama’s website

Anyway, watch out because she’s coming to the Tate Modern in February: 9th feb 2012-5th jun 2012


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Bristol, Design, Exhibitions, Light Box

Flyer for Light Box Exhibition

This was yesterday’s job, 4 hours of flyer design. Is that fast? I’m not sure, but i’m really pleased the the outcome. I nipped around cutting textures and shapes out of magazines, looking at other flyers for inspiration, scanned the best texture and the best shapes in, used a photograph of our painted pistachio shells, in a triangle formation (which links brilliantly to the content of the exhibition) 5,000 being printed right now, and will be looking at you from tables in various Bristol locations soon

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Art, Exhibitions, Process

Apples, two years old

I have kept the Apples from my degree show piece – ‘Sense’ which was exhibited in the following shows:
Barcode, University College for the Creative Arts, Farnham, May 2008
Free Range, Truman Brewery, London, June 2008
Lucy Barfoot,Room 212, Bristol, January 2009
New Contemporaries,Fairfields Arts Centre, Basingstoke, January 2009
They are like tiny little rocks, and they don’t smell any more. They are turning powdery – I wonder if one day they will just disappear? The blue and baby pink apples are three years old now. Older, but bigger. Must be something to do with the lacquer? I just spray painted those two and the others were covered in car lacquer, two coats.

I wanted to upload a video I have of the process of creating these apples, but the internet is not on my side today. Instead, I have here my learning proposal, which I haven’t worked on since, but still feels relevant to my practice now.


CONSTRAINTS, AESTHETICS AND ENJOYMENT.
I have an addiction to experimenting. A compulsive need to make things. I am experimenting with the process of limiting the creation of artwork. As well as this, I place importance on two inner workings; pleasure in creating and simple aesthetics. Both are vital to my work.

I have no control over THE HAPPY ACCIDENT. I have an influence over my materials, but they are ultimately allowed to do what they want. I am only manipulating, having minimal involvement, such as dripping, pouring, filling, hanging. I am not always part of the work, it creates itself in the time when I am absent. Time and chance allow this to happen. I witness what the materials do, which is absorbing, a degree of immersion is involved – not just being a witness, but being the work; making a performance.

It is important for me to be excited, stimulated by what I’m making. I have a constant dialogue with myself whilst making, whilst still working fast to avoid being too self conscious. The thinking process is important – to keep changing my mind, thoughts evolving and changing.

I have an encounter with the work, my hands transforming the surface. There is a lot of time investment and use of multiples. The monotony of making and labor intensity is important. I appreciate the ENERGY TRANSFORMATION which is taking place, I create rituals of making.

My work relies upon structure and good planning. I figure things out. It is casual, but has beauty and order. It has an intimacy to it, a sensual appeal.
Within this, I regularly work with creating objects which are natural but manmade, I am making things artificial, sometimes influencing the longevity of there natural things, preserving them. I am very drawn to using candy colors. This color selection is important. It is what’s first seen, catching the eye and drawing you in. “what is this”.

I place importance on two inner workings; pleasure in creating and simple aesthetics. Both are vital to my work. this simple aesthetic is shifting to become economy and lightness. I see that this is contained in each of my pieces, drawings and ideas. I embrace this and feel like I have found out what my art is about.

Recently colour has become more important, something to think about rather than to pick at random. Great efforts are going to be made in finding the perfect colour for my sprayed apples. The optic effects of this colour when applied to many units of the same shape will be immense. This links to my sensuality and the enticement of senses. The sickly smell of fermenting apples will increase this optical dazed effect – the viewer will find it absorbing to view.

The encounter with my work is extremely important at this stage. I am a factory worker and the monotomy of these tasks I make myself complete have an effect on me. The balance of control is off-kilter as I feel like I am being controlled by my objects.

AIMS AND THOUGHTS
At this stage, I am thinking about exhibitions, how my work will stand on its own, how it will communicate – will it be site specific? I need to develop a confidence with placement. What will it be like to watch the reaction of the audience?
The use of words and writing will become manifested in the work in the following ways:
oI am thinking about titling work, what that could bring to my work, or if it would detract from it.
oI am reading more text, such as Bachelard’s musings.
oI am thinking of writing my own texts, using my imagination, and having writing exercises – such as a piece on what I imagine my final work to look like.
I will also talk about my work more. Advocating the work, speaking about it with authority and care. Having discussions.
I want to use the camera more thinking of the idea of video art, playing with time. Attempting to capture something – a moment when something strange and beautiful happens.

Looking into art as performance. The live art development agency.
Thinking about my ambition, looking to the future.
Commit to being present throughout my impending exhibitions. See this is a chance to advocate the work and be confident with it.
Still thinking about my ambition, looking to the future. How can I use my degree?

INSPIRATION
Susie Brandt – “A compulsive need to make things.”
Javier Peres – “I think people try to overemphasise the analytical and intellectual aspect of contemporary art. The reality is when contemporary art is being made, the people who are making it are just making it.”
Helen Chadwick – “Gorgeously repulsive, exquisitely fun, dangerously beautiful”
Joseph Havel – “Even though I make discreet works, I like to consider the way in which everything works together as an ensemble so that there is an accumulative effect, so that not only the work will have a specific intention or construction or some specificity, but the whole group of things will build to one kind of idea.”
Stockwell, Spencer Fitch, Ian Davenport, Anya Gallaccio, Phillida Barlow, Mona Hatoum, Fischli & Weiss, Anish Kapoor, Cornelia Parker, Eva Hesse, Jessica Stockholder, Susan Hillier, Christian Boltanski, Joseph Havel, Permindar Kaur,  Halen Chadwick, Matthew Barney
Anne Bean
Richard long
Richard tuttle
Yayoi kusama
contingent: 1 subject to chance

 

Exhibition Plan

My work is concerned with the sensations and placement of materials. I am attempting a detachment in the making, allowing accidents to happen and time to lead. Pleasure and attraction is involved in this.  My exhibition piece lies somewhere between installation and sculpture.

The piece will be vulnerable, light, and it will have a presence in the space. I am buying 1320 apples wholesale. These apples will be varnished and colour will be applied. This creates a seal, starting fermentation inside the apple. This is a long process of decay from the inside out. it which will be in its initial stages at the time of the Farnham Degree show. the fermentation will shrink the apples, giving off a sickly sweet smell.

I have arranged to use a spray booth as Drakes Shop-Fitting in Bournemouth. I am liaising with the spraying technician, who has suggested using a lacquer paint mix, which would require three coats. The spraying will be completed before May, allowing some time to ferment in time for the degree show.  The significance of using apples is to do with the minimal shape, yet keeping the essence natural. The accumulation of all these units is important also due to the repetition, both aesthetically and in the making; I become a factory worker with a production line.

The placement is key to my work. I am inspired by Richard Long’s closeness to materiality, and wish to create a perfect circle of apples (see drawings) The apples will have a relationship to the space. They will be placed directly on the floor, viewers will be encouraged to touch and get close to them, and will need to kneel or bend over to get closer to the objects.
Budget
1320 Apples – £150 (need to make more calls and find cheaper/sponsorship
Use of spray booth – FREE
Paint and varnish –  £70
Time
Spraying apples – 3 solid days at spray booth
Apple placement – 2 solid days to work perfectly place each apple
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Art, Exhibitions

Frigid Fingers

“Live Drawing, Painting, Spraying, Sketching and most other art mediums under the sun. Free styling it, all night long in the hope of mustering up some visual delights for your viewing pleasures.

Eight artists will be creating one, 2 metre x 1 metre blank canvas – Armed souly with, one White, one Black and a one wild card colour, kindly provided by londons largest spray paint supplier store, Chrome and black.” 

This Thursday 12th Nov, 19:00 at LCB surf/skate/snow, 121 Bethnal Green Road, Shoreditch, E27DG

My lovely friend Samuel Squire is in it. Innit.

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Art, Exhibitions

Charm and Trove

My friend Adrienne Wroath and Jo Hummel-Newel have collaborated for the exhibition ”Charm & Trove” which is in an empty shop in Sandown, Isle of Wight. They have created work in response to Sandown – Victorian building/ pastel colour schemes/ vintage hotels.

Boojum & Snark is a creative 12-month social business, aiming to connect with the community. The exhibition is open until 21st November . More info here – Boojum & Snark and here is Adrienne’s blog and website and here is Jo’s website
Image Courtesy of Adrienne Wroath
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Barfoot and Duggan, Exhibitions, Lists

Thank You



Thank you to everyone who came to the ‘There’s More To Life Than Lists’ exhibition. I especially want to say thank you to those who supported me by attending the private view and came from far and wide to see the show.

Barfoot and Duggan had amazing exposure for the exhibition, thank you to the Western Daily Press, the Bristol Evening Post, BBC Radio Bristol, Tom Bigwood of Bristol Community Radio, Venue and A-N Magazines.

603 people came through the doors, breaking Centrespace records. One man stayed for 4.5 hours, reading all the lists. People have been inspired to collect lists for us, one man is angry with the queen for not giving us her list (“she’s no queen!”) we sold 60 catalogs, had a great time setting the work up, and great fun taking it down. We both made hundreds of cups of tea for visitors and had countless interesting conversations.

It is fair to say that we were knackered afterward! Barfoot and Duggan have paused their Lightbox work for 2 weeks, I have been spending all possible time in the studio, ready to return to our hard work soon, refreshed and powerful. We are also thinking about our next art project/how to continue the list project.

If you have any lists you would like to donate, please email me!

I have photographs too! Some mine, some Nigel Barfoot’s (photographer extraordinaire) and some I am waiting on from a delightful freelance photographer who kindly took some snaps for us. I will be posting the rest of the pictures tomorrow, hang on

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Barfoot and Duggan, Exhibitions, Lists

Lucy Barefoot?


SO apparently my name is Lucy Barefoot, Thanks A-N magazine. How excited I was, featured in A-N! I can put this in my C.V, loads of people will come to my exhibition! But woe is me, I am Lucy Barefoot apparently. And It shouldn’t have even been ‘Lucy Barfoot’, It should have been ‘Barfoot and Duggan’ But still, mustn’t complain! There’s More To Life Than Lists is getting free advertising!

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Barfoot and Duggan, Exhibitions, Lists, Stop Motion

There’s More to Life Than Lists Preparation

Here are some pictures from Barfoot and Duggan’s exhibition preparation. We’re displaying the lists hung from thread from the tall ceilings of Centrespace Gallery, Bristol. And also inside a canopy. There are articles on the walls and displayed on plinths; letters from list donors (including letters of ‘no donation’ from the Queen, Prince Charles and Armando Iannucci.) We will be asking for list donations throughout the week of the exhibition, to add to the show.






*Exciting News*

‘There’s More to Life Than Lists’ is going to be a featured exhibition in the ‘Spotlight’ section of the October issue of A-N Magazine. How exciting! I’m predicting lots of people through the doors of Centrespace!

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Art, Exhibitions, Thoughts

The Surface/Space/Time Exhibition is on now!


Lucy Barfoot
Ladle Moulds 2009
Glues, Watercolor ink, water, wire

My colours are sickly and my matter is sweet. I want to satisfy. I want to fulfil the materiality of objects, allowing them to talk. What is it to sense the texture, shape, and the smell? The viewer forms a unique relationship, which I have no control over.

The letting go and holding onto control has a powerful effect on my work. The process of gathering objects is something I ‘have to do’, similar to my compulsion to repeat actions. My practice is obsessive and process-led. I am physically absorbed into a daze of making.


Images:

1. View from the door – I wanted people to enter the space, get close to the sculpture. I worked on the lighting to create a semi-lit, eerie feel. The Crypt is such a haunting place, I thought I could dull-down my bright sculpture to fit the space better – but once people got close, the piece was more vivid.

2. Detail of ladle moulds with light shining through. Reminded me of stained glass windows. The color was different from behind.

3. Me in the sculpture. Hello!

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Exhibitions

Ladle Wall


I have about 40 ladles in my possession. anyone want some soup? I cleared both Tesco and Pearce’s Hardware out. I’m speeding up the drying process today (hopefully) by letting the glue dry in the afternoon sun. The microwave drying failed – too bubbly and toxic. I’m off on holiday soon and have to set up a lot of ladles ready to meld together upon my arrival, before the ‘Surface/Space/Time’ exhibition at the Crypt in St Pancras. Come on glue!

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color, Exhibitions

Surface/Space/time at the Crypt


My London show is fast approaching… It’s at ‘The Crypt Gallery’, London, August 26th – September 9th.

The Artists whom I’m exhibiting with:

Sam Clift
Eve Wheate
Richard Jack
Sue Hotchkis
Mary Louise Evans
Simone Wallace
Lucy Fergus
Mark Houghton
Joohee Hwang
Luke Stones
Rona Smith

I’m creating my glue molds, something I find very enjoyable and is of course all process-led. I used to do lots of this mould making whilst at uni. I have some old pictures, and once some of the current molds are dry, I’ll take some pictures. but for now…

Thinking about color here -all these colors together, one for each mold. some quite pastel-ly, very aesthetically pleasing, and fitting into The Crypt well. It reminds me of stained glass.

More good color?


This was as far as I got whilst at uni, but I want to make a large piece, about 4ft squared. Need to think about transportation, glue consistancy, how to speed up the process.

Also need to buy about a hundred ladles. Watch this space.

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Art, color, Exhibitions, Process, Studio

Glue Quilts

I have been prolific today. I was in the studio till 8pm, inspired, I kept finding more things to do and I’m only home now because I’m hungry for fish and chips mmm. A Friday night treat from Bishopston Fish Bar!

Today, I have: caught up on last night’s Big Brother with my neighbour Mia, taken home all the crockery from my studio and put it all in my dishwasher, recycled, taken rubbish to the dump (I’m the ‘head housekeeper’ of the studio you see), done a layer of papier mache on the balloons ready for the Big Lebowski festival tonight at The Lanes, Bristol, put up a wall in the studio, painted that wall, watched 4 episodes of the L word whilst doing most of the above, made a friend a birthday present collage, bound my birthday blind-drawing papers, wrote this blog, started my glue molds,

So these ‘glue molds’, they are for my my exhibition: Surface/Space/Time’ at The Crypt Gallery, London (26th Aug – 9th Sept) which is curated by and also showing the work of Sam Clift who is a nice chap that I went to uni with.

I have been meaning to get on with starting the glue molds for months. I created some whilst at uni, and made this small quilt with them:


The idea I have for the exhibition is very similar, but with edited colors and on a much larger scale. The patchwork is made by filling big spoons with a mix of PVA, water and ink. They take AGES to dry, and the final stage sewing the patches together (but i’m thinking about spray-mount??)


Today I started working out the quantities of glue to water I need to make the perfect mixture for the molds. I have five plastic cups, 1-5, 1 has 30 parts water to 70 parts glue, 2= 40:60, 3= 50:50, 4= 60:40, 5= 70:30 I need the mold to be the perfectly supple, and not brittle. I have poured the liquids into 5 different ladels, and I’ll wait (about a week?) to see which mixture makes the perfect consistency of mold. Process! It’s been a long time since I focussed on process. It’s where my heart lies with my art, and it felt really good to get into this again today.

 

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Art, Barfoot and Duggan, Bristol, Exhibitions, Food, Lists

There’s More to Life than Lists Exhibition

Crystal Maze geodesic dome





There’s More to Life than Lists

When: Friday 9th Oct to Thursday 15th of Oct From 10AM-5PM daily

We are building a two-man wind machine. Thousands of To-Do lists, collected from anonymous donors will be circulated in this machine, and participants will be trying to collect these flying lists. This is surrounded by an accumulation of grocery lists covering the walls from floor to ceiling.

The uncontrollable nature of wind is a metaphor for the chaotic and the unpredictable way that life is. The attempt to grab these lists parrots the way in which we struggle to maintain a sense of order – to discern a meaningful pattern in our lives.

The grocery lists raise questions about the disparate way in which we, in our society, live in such an atomised way. Disintegration of kinship and communities is reflected by how we eat; in small numbers or alone.


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Art, Exhibitions, Thoughts

A warning to Arts Graduates: The Creative Times

After my London Free Range degree show, I recieved an email from ‘Bird River Love God’ who goes by the email editor@thecreativetimes.co.uk and the website http://www.thecreativetimes.co.uk/

He told me how much he loved my work, and that he wanted me to feature in his magazine, The Creative Times. I stupidly handed over £200 after speaking to him on the phone, and deciding I could trust him. BAD IDEA. There is talk of Bird having done this before, taken about 20 young artist’s £200 and giving them nothing in return.

He approached me in July, it’s now May, this magazine was due to be produced at the end of 2008, distributed to all the arts galleries in London, sent to major art dealers, it sounded great!

I now envision more of a collective effort. Not least reason being that I don’t particularly like being responsible for everything. Once the mag is printed, I’m going to be asking you guys to distribute it.”

So let this be a warning to everyone, I hope if he contacts people, they will have the sense to at least google his name, (like I did – but nothing was found when I was searching)
DO NOT give him your money. I have given up hope with this Creative Times, what was once so exciting and flattering to me, is becoming more and more of a scam. I wonder if i will ever see a magazine, and if it’ll be any good at all.

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Art, Exhibitions, Process

Room 212 + New Contemporaries


This Saturday I showed my apples in the window of Room 212, which is a tiny Art Gallery in Bishopston, on the Gloucester Road. Three in each window, close to the glass so that people could peer at them and wonder what they are. This great little place is usually brimming with paintings; i got a few funny looks. Here’s my profile on the Room 212 website.

Today i was at Fairfields Art Gallery in Basingstoke setting up ‘Sense’ to show as part of the ‘Young Contemporaries 2008′ show. The circle or apples look a bit ridiculous to be honest. It’s tiny! There is no impact. The original circle of the 1,200 will be included in the catalogue, so there will be a history shown.

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