I’m pleased to announce I have been accepted on the Artist Access to Art Colleges scheme at York St John University.
During my time on the AA2A scheme I look forward to working in the printmaking department, using the screen printing facilities to create printed material for large scale collages. I hope also to collaborate with public and private collections in York chronicling the display of ‘non-functional’ objects.
I’m delighted to be a part of the group show Prosaic Mosaic.
Part of the evolving Prosaic series, PROSAIC MOSAIC is a group exhibition of paintings to be held at Bloc Projects, Sheffield, 22 – 26 Oct.
The exhibition features small works from over fifty artists. Seen together, the varied works form a larger picture – a mosaic of contemporary painting practice.
Using a prosaic definition of painting – ‘pigment on substrate’ – has allowed the curators to showcase a diverse range of approaches to making. The way the work is displayed will trigger connections between the paintings.
The show brings together work by noted painters from across the UK, Ireland and beyond with artists from the curators’ home in Sheffield. The curators are keen to present exciting work regardless of the artists’ perceived status. Equal standing is given to work from artists at all career stages, from students to prize-winners.
PROSAIC MOSAIC is curated by Sean Williams, Bryan Eccleshall and Katya Robin.
Jennifer Bailey Kedisha Coakley Charlotte Dawson Mandy Gamsu Donghwan Ko Gemma Mackenzie David Orme Jill Tate
We are delighted to be presenting work from a selection of artists from across the UK who are currently benefitting from being part of the Bloc Projects Members Scheme. This annual group exhibition forms a key part of our yearly curated programme and is organised by an open call application of Members’ existing work.
This year the participating artists have been selected by guest curator Eva Rowson. The exhibition brings together recent works from eight artists who all have different approaches to making using sculpture, collage, ceramics and photography. Despite their varied practices, the artists selected share an interest in exploring anxiety, trauma and tension in their work and how these feelings intersect with their relations to personal histories, private space and the changing world(s) outside.
Eva Rowson is an artist, producer and curator. Her work is organised around questions of how we host each other, how we work together, how we build organisations – and the work and structures that make all of this possible. Eva is currently Curator in Residence at Lighthouse, Brighton.
Pronoun: A large number or amount; a great deal. Adverb: A great deal; much. Noun: A particular group or set of people or things. An item or set of items for sale at an auction. The making of a decision by random selection, especially by a method involving the choice of one from a number of pieces of folded paper, one of which has a concealed mark. A person’s luck, situation, or destiny in life. A plot of land assigned for sale or for a particular use.
L O T unites a series of new works by artist David Orme: Like abstruse cabinets of curiosity, Orme’s large-scale collages and framed fragments exhibit an assortment of quirky forms which stimulate interpretation. These cohesive arrangements lay bare a system of making, a methodology that echoes the practice of collecting and curating.
Orme paints acrylic washes onto large sheets of cotton twill before cutting and drawing onto them, continuing this intuitive process of cutting and redrawing until a new shape reveals itself. This innate process of creating, making value judgements and nurturing an enigmatic dialogue between fragments is evident in the collages.
The titles of the works on display are inspired by a short story by Virginia Woolf titled: ‘Solid Objects’. In the short story the protagonist named John discovers a mysterious object buried in the sand on the beach. The strange object, made from what appears to be glass, incites an obsession to seek and collect similar objects, estranged from function. Parallels can be drawn between John’s pursuit for new objects and Orme’s studio practice; the liminal spaces in which John finds (himself and) the abstract objects, is akin to the studio space, a realm in which transformative actions occur and new forms and structures emerge.
Besides being drawn to the discovery and invention of new, esoteric forms Orme is also inspired by the utility and potency of objects such as sentimental keepsakes, artefacts from folklore, apotropaic charms, religious relics, travel souvenirs, grave goods and votive offerings.