Category Archives: Gallery

Visiting Jemima Brown

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Collective members enjoying the seafront at Margate

A day trip to Margate on a bright autumn afternoon had its own appeal. A walk by the sea, a visit to the Turner Contemporary and even an unexpected sighting of a grounded cargo ship narrowly missing an Anthony Gormley iron man!

But a studio visit to artist, Jemima Brown in neighbouring Broadstairs was surely the cream topping to the whole day!   Jemima is well-known to The Collective with our acquisition of both photographic works and her ever provocative sculptures which have surprised friends and tradespeople alike who happened to be visiting our homes.

A multi-disciplinary and award winning artist, Jemima produces works with different cultural and (increasingly) political narratives, often focussing on women’s own exploration of self-identity expressed through different lifestyles.  From her own self-image, Dolly, London hipsters, political wives or Greenham Common protesters Jemima explores the various identities via different mediums.  The Collective is home to two of her large (nearly life-size) sculptures, Headless Woman and Beigelbird, constructed via a complex series of processes from 3D imaging and processing to casting, modelling and adding discarded clothing.  Assuming a life of their own the “sculptural assemblages” are quite distinct in character and evoke quite different emotions, some of which I have described in a previous blog

The Collective own just one of the sculptures. The second is on loan to us as we make a decision which one to keep. Unusually it has split the Collective down the middle.  We have discussed at length the merits of both, or either, and voted on the one to keep, not once, but twice. But no resolution has so far been reached.  We hoped to draw inspiration from our visit to see Jemima and find out if she could help us reach a conclusion.  Instead our eyes and minds were swept away by some of Jemima’s newer works

Moving out to Broadstairs has changed the balance in Jemima’s working life.  Frustrated by the sometimes dysfunctional nature of life in London (and much less studio time than she needed) moving out and creating a studio in her own home has allowed her to enter a more reflective period, where she has a real chance to develop different directions and ideas.

“It’s much more productive” says Jemima “but there are compromises to be made

IMG_0872Having a studio at home and balancing family life her environment is much more “domestic” all round – ” but you have to see it as an asset rather than a liability”.

She continues to weave in found objects to her figurative explorations  (this time more domestic in nature).

The biggest conundrum for Jemima is the lack of  gallery representation, having proactively walked away twice from such relationships .

Now, what I gain in extra time and reflection for my work I lose in opportunity provided by gallery representation.  Institutions are not interested in invisible artists” .

But Jemima continues to keep her links in London, working there twice a week and so keeping pace with what’s happening. Jemima is currently showing in Collateral Drawing 5 in Folkestone with her intriguing wallpaper designs where she used her “doll” sculptures as models for the drawings in her designs.

The increased impact of politics is evident in some of the newer works we saw in her studio. Never missing an opportunity to comment on the people who live in her broader community she invites a more local and involved view around some key events.

 

There is something unexpected and yet entirely natural about Jemima’s work and the more you look, the more you see and ruminate on the questions being asked by those cultural and political contexts she creates for the viewer.  It’s all in the detail.

Are we any closer to making a choice between Beigelbird and Headless Woman?

 

Workplace Gallery: The Collective goes public

 

The Old Post Office in Gateshead, a 19th century grade 2 listed building that is now home to WorkPlace Gallery, was appropriately built on the site of the studio of the 18th century British artist and naturalist Thomas Bewick, so maintaining the location’s dedication to art.  Founded in 2002 to promote artists in the north-east, Workplace Gallery has now become an established part of the British cultural art scene with an additional gallery in Mayfair London opened in 2013.   For The Collective, founded in the same year as Workplace, it was a unique opportunity to open up a part of our collection to the public and introduce the idea of collective buying and sharing of contemporary art for domestic spaces to new audiences in the north-east of England.

As we entered the Gateshead gallery on a brilliant sunny afternoon in May, the first thing that struck me was the effect of seeing the works in a gallery space, rather than surrounded by the trappings of our various domestic existences.   Suddenly the diversity of our collection seemed all the more pronounced and intriguing with Gallery directors Paul Moss and Miles Thurlow quizzing us on possible themes within the collection.  This is usually difficult to determine as most works are bought on an individual basis by different buying panels within the Collective and the works then spread across six households.

Given this exhibition represented only half of the Founding Collective’s collection it was an eye-opener to see how far we had come with a limited monthly investment over the last 15 years. Artist names, once less known – now well-known!

As I looked at the works on the gallery wall what I began to see more vividly than before was the different acquisition “stories” behind each one, the different Collective members, the research, the learning, the gallery and studio visits with the artists.  Was it possible to determine, not themes, but the characters and influences of different Collective members over the choice of certain artists and works?  And then there were the memories of reactions to the art works within our households and the history of anecdotes that go with many of them.  Each work seemed to have a life of its own, now brought together in a single gallery space to an unsuspecting exhibition audience.

Workspace Gallery talkThe opening was preceded by an informal discussion chaired by the Gallery’s Co-Directors about the Collective, how it began, how it worked and expanded, and where we had got to today. Bob Lee and myself spoke about every aspect with contributions from members Tim Eastop and Paul Tanner.  The questions that followed were often focussed on the practicalities of the Collective objectives, the constitution, the insurance, succession, our families – all of them important elements in the success and longevity of such a co-operative way of collecting between households. Investment, however modest will always be a source of anxiety across a diverse group of people.  The individual discussions with participants after the panel discussion were equally illuminating often with very frank remarks about what they would find acceptable in their homes and what they would not!  I didn’t hesitate to remind them that having a work that was not to my taste was often part of the learning curve inherent in being part of a collective  – seeing how my relationship would change by living with the work over a period of months. It usually did.

Over the course of the evening the steady flow of visitors was impressive ranging from those working in the arts, fine art students, curators from Baltic and interested art collectors. This was especially gratifying as the exhibition was not about a represented artist(s) but about a different way of collecting amongst a group of households bound together by an interest in buying and sharing contemporary art at home.

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The Workplace Gallery start to fill up as the evening progresses

Towards the end one of the visitors said to me “I can tell how much you enjoy it from the way you talk about it” .  Fifteen years on that wasn’t a bad place to be!

Many thanks to Paul Moss and Miles Thurlow for all their hard work in putting together the Collective exhibition (on until the 3rd June) and ensuring its success at the wonderful Workplace Gallery, Gateshead!

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A view across the Tyne that bridges Newcastle with Gateshead

 

 

Things to remember

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“Witness” by Tom Dale. Owned by the Collective.

“So you’ve got a new one up” says my son’s friend as he passes from the kitchen and through the dining room.   “it’s got wheels.. what is it?”  A shrug of shoulders as they disappear out pondering what it brings to mind.  Tom Dale’s work “witness” is an eye-catching work for any audience but placed on a domestic wall it tends to attract more comments than usual. Witness to a mix of people both transitory and permanent as they pass through our house.

Growing up with changing art in our home is something our children have got used to – and their friends too.   Sometimes they just nod in acknowledgement, other times they may ask a question about it, but usually they take a quick moment to have a brief look with little more than an “interesting”! But they don’t forget .  However they remember equally, if not more clearly, what I served up for tea – asking my children years later if they can come back and have that meal again!  Tea and art, art and tea – things to remember as you grow up.

One game that was never part of our children’s repertoire of favourite pastimes or memories was “hangman” – the simple pen and paper game where you guess the letters of your opponents “word” suffering a ‘hanging on paper’ if you don’t make it in the number of guesses given!  I remember as a child the feeling of victory when I hanged my opponent who failed to guess my given word, drawing in that final limb to the picture to signify their demise. Or the feeling of defeat when they escaped the gallows and the endless paper we got through to pass the time on a slow afternoon!   Why on earth did we find it so pleasurable?  Perhaps our children had more sense: “death on paper” the punishment for failure to get the word or the spelling right? Is that the best way to encourage our children to become successful wordsmiths?

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Hangman by Mark Wallinger. Owned by the Collective.

Mark Wallinger’s work “Hangman” illustrates the steps needed for the game to be completed.  A victim hung for failing to guess the very name of the game. Taken from Wikipedia’s text description of a strategy that uses the most frequently occurring letters in the english language, Wallinger illustrates how the victim is not spared his punishment, with his simple drawing.

London-based with an international reputation and winner of the 2007 Turner prize for his exhibition StateBritain, Mark Wallinger is perhaps best known as the first artist to be commissioned to do a work for the fourth plinth in Trafalgar Square – Ecce Homo

Wallinger is not a stranger to social commentary or political statement. But it’s the combination of the sometimes playful exterior of his works combined with undertones that invite much deeper speculation that make them so memorable.   First seen by members of The Collective on the walls of the Drawing Room Biennial exhibition and auction we were drawn to the simplicity of Hangman and the fact its creator was Mark Wallinger – so we put in our bid.   Safely acquired and looking at it everyday on our wall at home I found myself compelled to find out more about the origins of the game.  Why hangman?

Apparently created in Victorian times when hanging was not only commonplace but a form of established “entertainment” that could draw huge crowds (the more famous, the bigger the crowd) hangman was first referenced in 1894 in Alice Bertha Gomme’Traditional Games of England, Scotland and Ireland .  Entertainment that could clearly be replicated on paper in a simple spelling game format for children!

The strange thing is, is that I had never considered the game in any other way than an easy way to pass the time with pen and paper.  If having seen the work in a gallery we’d left it there, I’m not sure it would have engendered the same reaction. But living with it has become a different experience altogether.   As Hangman sits on our wall it reinforces Wallinger’s suggestion that an art work can have the effect of seeing

how far we can get in to the consciousness of someone or something other…”

It was certainly doing just that.

In his video work “Sleeper” Wallinger appears dressed as a bear in the Neue Nationalgalerie Berlin, alone and late at night running, walking and surprising passers-by chancing upon this unusual spectacle. You can’t help but smile at the vision of this light-hearted “prank” in an empty museum at night! But its actual meaning is intertwined with disguise, espionage, surveillance, the history of Berlin and its physical division before the wall came down.  Wallinger suggests the art work was triggered by a childhood memory of “The Singing Ringing Tree” a story about a prince who was transformed in to a bear which originated in East Germany, but was unknown in West Germany. A symbol of a divided country. So perhaps not the first time haunting childhood themes have played a part in his art.

So for me at least Wallinger’s Hangman has become more of a statement, a piece of history, a symbol of an act that impacted our culture here in Britain until August 1964 when the last hanging took place.  But dressed up as it is as a simple word game for children that I played a long time ago.

Things to remember that are often unexpected.