Archive for the ‘News’ Category

STUDIO DIARY // 5th April 2013

Posted on: April 5th, 2013 by Isabel Albiol

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Blimey it’s freezing.  Very glad my studio is warm and dry, thank you ASC.

I’ve been working in blissful solitude the past couple of months, just happy to be in my studio space and lost in making. Since working on Constellation (the series of small cast figurines set against a black circle) I’ve been continuing this line of thought and enquiry.  Collecting dolls, photographing and casting them, or bits of them.  I’ve found a brilliant antiques market which has become a treasure trove for me, it’s full of intriguing objects, dolls, bric-a-brac and so on.  These found objects and dolls are imbued with time and memory, it sets the imagination on fire.  I take them back to my studio and begin the process of their re-imagining, their re-interpretation.  I start of by photographing them, in the corners on the floor, bound inside an old box of some kind.  It’s an obsessive process, which feels slightly seedy if I’m honest! I then start to dismantle them, stripping them of their clothes, hair and eyelashes.

I then start to think about materials.  With Anemone her face was so fine and delicate I wanted a substance that was translucent and delicate to match her features.  I chose a pink dental wax!  I’ve used this before, many years ago and I love its sickly sweet colour, you’re not quite sure if it’s nice or nasty.  As with Metamorphosis the urge is to join them at the nape of their necks.  This duality somehow traps them into a kind of submission to each other with no means of escape.  The grey hair references the body both in its living flesh form and in its keepsake ability to remain intact after death, leaving them to oscillate between the real and the uncanny.

Fans of Feminism

Posted on: February 16th, 2013 by Isabel Albiol

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16th – 23rd February 2013
The Bank, Central House, London.

Private view: 15th between 6-8 p.m.

Fans of Feminism is a survey of contemporary feminist art.

“The show explores the notion of ‘temporal drag’, which forges an active dialogue between contemporary feminist discourse, and the strong tradition of feminist art history and criticism.

This approach establishes feminism not so much as a history, but as an on-going set of ideals – demonstrating the relevant, practical and positive impact the feminist art continuum has had, and continues to have, on the lives of women and men.”

www.thecass.com

STUDIO DIARY // 30th January 2013

Posted on: January 30th, 2013 by Isabel Albiol

It’s been a good start to the year so far.  Getting back into the studio is always a joy, it’s great loving what you do!

Open studios was fun at the end of last year, met some lovely people and new artists, always a plus.

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The dynamic duo that is Rosalind and Annabel of Zeitgeist Art Projects hosted a brilliant ‘share & exchange’ evening, where a group of connected artists came together for a pop up exhibition in Bond House Project Space.  It was such a nice way to catch up with mates and new peeps after the festive season and get a good dowsing of fab art in the process.  The evening worked on a – ‘bring a piece of work – take home a piece of work’ via a raffle ticket lottery.  I came home with a very beautiful Gemma Cossey painting – wow!  This is a pic of my little offering

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I am still addressing how to move forward with the babies heads.  They sit on a table in my studio, in a circle, waiting…..

 

Open Studios

Posted on: November 29th, 2012 by Isabel Albiol

Submit, 2012
30th November  – 1st December 2012

ASC Studios Bond House, Goodwood Road, New Cross, SE14 6BL

I’m doing open studios tomorrow night, hopefully people will be brave enough to face the cold and come along, a glass of wine and something choclatey for the thermal laden.

I’ll open my studio between 5-8 pm on Friday evening and between 12-5 on Saturday.

 

STUDIO DIARY // 4th November 2012

Posted on: November 4th, 2012 by Isabel Albiol

For the past few weeks I’ve been working on three different projects.  Firstly, covering a Rabbit vibrator with white rabbit fur.  Secondly, a Virgin Mary statue and thirdly, an installation work consisting of a multitude of cast dolls’ heads.

As always, my practise involves a plethora materials, technique and styles.  I think the art world would probably frown on this artistic infidelity, being difficult to pigeon hole or surmise adequately into a short sentence.  But as I mentioned in an earlier post it’s the idea that fore fronts the medium and object made.  I’ve always had a love of the surrealist’s assemblages of readymade with the unfamiliar and the rabbit fur vibrator is a homage to Meret Oppenheim.  A surrealist mix of humour, sexuality and provocation.  The fur covered vibrator offers a delightful mix of contratictions.  Both the wearing of fur and the owning of a vibrator are on the near-side edge of social acceptability.  The very tactile and extremely soft nature that the object is now endowed with, the rabbit fur, is blissfully silken to touch and stroke and is at odds with its original function, which, if pursued results in an and inevitably visceral conclusion.

The second work is another foray into the dark and murky waters of catholicism, my nemesis!  I was looking for a statue of the Virgin, in particular, Our Lady of the Immaculate Conception.  She has many titles, but I think this is the most provocative and indicative of the church’s will to effect control over female sexuality.  I eventually found a supplier in America, of course.  It’s a 33cm very finely made white statue.  The idea is very simple, I have placed a black silk blindfold over her eyes and given the work the title – Submit. I am currently in the process of researching an essay to talk about the work I make that deals with religion.  It’s a very complex one, so it’s going to take me some time!  Catholicism has had a personal effect on me through empirical childhood experience in Catholic institutions, which has led me to want to investigate its wider social implication and, in my view, harm.

Thirdly, I’ve been casting a series of dolls’ heads using plaster and a black earth pigment. Some projects have a very clear beginning and end, where I work from A to B.  This project seems to be going from A to Z and various places in between.  Once cast, the doll’s head becomes a haunted memory of its former self, no longer a plaything, but rather an object that is both moribund and tenebrous.  At first I thought a room full of these disembodied heads placed on the floor, surrounded with debris of pigment would convey its message of childhood trauma, like weeds of bad memories emerging from the ground.  But now I find myself wanting to cluster them together in a nest or swarm like form.  So for now I’m going to continue making them and see where their little egg forms take me.

STUDIO DIARY // 12th October 2012

Posted on: October 12th, 2012 by Isabel Albiol

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It’s been an interesting year so far.  I’ve had more shows than ever before but seem to have made less work!  I’m feeling the need to be in the studio and to get making.  I guess it’s a balance every artist has to make but what I’ve found, after the initial euphoria of being selected for a show, is that what really makes me tick is making work, problem solving, playing with materials, experimenting, making mistakes and that feeling you get when you know you’ve made a good piece of work.

I’ve learnt something about my practise recently too.  Ideas are the forerunner to everything.  They come before material and form. It means that I use a very diverse mix of materials.  This week I’ve sourced materials from Agent Provocateur to Tiranti to ebay!

I have about four projects on the go at the moment, below is an image from one of them.  I’m making a series of doll’s heads in black plaster and am hoping to fill an empty room with them, an installation of haunting childhood memories, like somekind of demented nursery.  There is a stillness in their solidity and yet an uncertainty in their disquieting form and blank eyes.  I like the oscillation between innocence and something darker, the precarious balance makes you question what you see and what you know.

The pigment that has spilled around the edge was a happy accident.  I think it gives them an element of disclosure, something revealed in their process but remains ambiguous as to whether they’re beginning or ending, falling apart or coming together.

The National Open Art Competition

Posted on: October 11th, 2012 by Isabel Albiol

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11th – 21st October 2012
THE MINERVA GALLERY, CHICHESTER

24th October  – 1st November 2012
THE PRINCE’S FOUNDATION GALLERY,  HOXTON

Yummy Mummy has been selected for this years NOAC.  Really pleased, sounds like it’s going to be a good year with various events planned.  The exhibition will also be coming to London, Grayson perry is going to be opening the show – WOW!  Here’s some info:-

www.thenationalopenartcompetition.com

STUDIO DIARY // 19th September 2012

Posted on: September 19th, 2012 by Marius Roman

The National Open Art Competition
Yummy Mummy has been selected for this years NOAC. Really pleased, sounds like it’s going to be a good year with various events planned. The exhibition will also be coming to London, Grayson perry is going to be opening the show – WOW! Here’s some info:-

2012 EXHIBITION DATES and EVENTS
THE MINERVA GALLERY CHICHESTER OCT 11th-OCT 21st
THE PRINCE’S FOUNDATION GALLERY HOXTON OCT 24th -NOV 1st

http://www.thenationalopenartcompetition.com/index.php

STUDIO DIARY // 17th September 2012

Posted on: September 17th, 2012 by Marius Roman

Santorini Biennale
I’m going out to Santorini next week to have a look at the biennale and to see my works installed. It’s been a new experience showing internationally, good but you do loose a sense of ownership on something you’ve been so very close to. Once the works are boxed up and shipped you’re relatively powerless as to its installment and thus how you, as an artist are judged and your works seen. Not that I’m a control freak or anything! In the case of Taiwan I was so impressed with how the works were installed that it really added something to their visual impact. When the curator wrote to me this is what she said about the installation,

“I placed your work in front of the window which seems more theatrical than white walls. Through the void of the window shield, you can trace the mysterious green and powerful sunlight.”

I don’t think I had realised the huge amount of trust and understanding that takes place between curator and artist until this point.
When I visit Santorini I’m very much looking forward to meeting the curators and talking to them about their experiences of the inaugural biennale. They have kindly agreed to be interviewed so sometime after next week I’ll post a review.
http://www.santorinibiennale.gr/

STUDIO DIARY // 17th September 2012

Posted on: September 17th, 2012 by Marius Roman

Annual Sculpture Exhibition, Taiwan
The curator of the show has sent me a fantastic image of the works installed at the Museum in Taipei.  A little too far for me to have gone, so it’s great to have this.  There is going got be a full colour catalogue produced of all the works in the show, if anyone is interested in seeing it,  just let me know.

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