The Other Room Anthology 3

Series title: “Leftovers”

This is the cover of The Other Room Anthology 3.

The Other Room Anthology 2010/11 features work from Neil Addison, Richard Barrett, derek beaulieu, Adrian Clarke, Emily Critchley, Ian Davidson, Stephen Emmerson, Allen Fisher, Susana Gardner, Ben Gwilliam, Jeff Hilson, Peter Manson, Craig Marchington, Nicole Mauro, Chris McCabe, Maggie O’Sullivan, Posie Rider, Jeffrey C. Robinson, Jerome Rothenberg, Zoe Skoulding, Linus Slug, Nathan Thompson, Joseph Walton and Justin Katko, and Louise Woodcock. Click HERE to buy a copy for £6 including postage within the UK or HEREto buy a copy for £7 including postage anywhere else.

Copies of The Other Room Anthology 2 are still available. Click HERE to buy a copy for £6 including postage within the UK or HERE to buy a copy for £7 including postage anywhere else. The Other Room Anthology 1 is currently out of print.

Exhibition: A Map of You at Text Festival, Bury.

I am over the moon to announce I have been asked to exhibit some of my collage series, ‘Leftovers’ at the Text Festival in Bury, Greater Manchester. This is from the site:

The Text Festival in Bury is an internationally recognised event investigating contemporary language art (poetry, text art, sound and media text, live art). Opening on 29 April 2011, the next Festival will be its third manifestation and run into July.

Against the background of global stylistic multiplicity, the use of language spans many artforms and may even be a unifying field of enquiry, a new definition and a new field of international linguistic art practice and dialogue. The Bury Festival is the leading focus of language in 21st Century art.

The Festival specialises in experiments, in new experiences, in performances and exhibitions that mix artforms in ground-breaking combinations that challenge traditional language art boundaries and offer artists a forum for dialogue and exchange of ideas.

Art Monthly commented of the Festival:

“According to Foucault, the singularities that serve
to rupture and renew normative discourse
always emerge from the interstices – in other words, where nobody is looking. Almost certainly nobody was looking
in the direction of Bury for the emergence of this significant project…”

My work will be exhibited in a show curated by Philip Davenport called A Map of You, part of the Text Festival. Tony Trehy is the overall curator of the Text Festival. The show features truly innovative writers and artists from past and present. I’m very moved to be part of it:

Bury’s newest museum opens its fascinating space and collection to interventions and installations secreted as playful gestures and paratactic commentary. The show will feature works by Matt Dalby, Márton Koppány, Liz Colini, Peter Jaeger & Kaz, Bob Cobbing, participants in the Map of You Project and many more.

Curated by:

Phil Davenport

Commissioned by:

Text Festival & Bury Transport Museum

Ticket Prices:

Adult: £2.80; Child: £1.90; Concession: £1.90;Venue:

Bury Transport Museum

Castlecroft Road

Bury

http://www.eastlancsrailway.org.uk/bury-transport-museum-2/

Collage part 2

I decided to try using red ink as a background possibly or to draw on the text pieces. This turned out to be too cheesy. A bad idea. The simplicity of the pieces and the text was enough and my text written in ink was too literal. These were some of the words I had eaten in the performance. The quietness and subtlety of eating harsh words in the performance works far better than them spelled out in red ink. Too literal and vulgar. Not that I mind vulgar in general but not for this. There is subtlety, haphazardness and complexity that I’m very pleased with. I am always afraid of text in art as I never know whether it actually works. My fear of text is I suppose apt for me to work with as my work deals with fear, my own fears in general. This is quite a scary project for me. I’m happy with the work being made in a haphazard way as I get very nervous about choosing words. I’m terrified of poetry, not reading it but writing it. I think I would drive myself insane if I went at it too much. I prefer the breathing space I’m allowed with visual work as every day it’s something new. It’s not so concrete as the symbol of the word. I’m very free in what I say verbally, but I’m too anxious about writing things down, although I am writing this. I’m not so scared of prose, I have been writing some biographical stuff recently that I have very much enjoyed and been more frank than I ever have before. There are definitely uses for writing for me. I’ve realised I can talk about the wider things, the surface things but the deeper, finer and less graspable/tangible emotional things I need visual work to express. Some people can attain this through words, like poets. My visual work is my poetry I suppose. I would like it to be. I realised reading Heart of Darkness recently how deeply moving and visceral words can be. I forget sometimes, although that probably sounds ridiculous to a lot of people. It’s just like a long poem. Some of it has deeply anti racist sentiment for the time, but due to the time, the descriptive stuff is racist.

Dead Rat

I found a strangely mutilated rat while walking the dog around Hulme. I actually cried out when I saw it as I was so disturbed. It’s one of the most horrifying and fantastic things I’ve ever seen. It’s head was missing and it’s flesh was folded like a foreskin revealing much of the headless spine. I took some photos of it, I visited it a couple of times. I’ve grown very fond of this rat and have been drawing it and making objects that resemble it. I am fascinated by the abject… “No shit?”

I’m still trying to hone my watercolour techniques. It’s not easy. I’ve had some success but not much. Some of these are too careful. The freer ones work better but they still take a lot of work.

I decided to make a version of the rat using clay. I wanted to make an oversized version. I have thought about sound with it and can imagine the sound of rats scratching wood, like when you can hear them running under the floorboards. I need to do a lot of recording with live rats. I will approach some pet shops although it would be better to have the real sewer rats like the one I found.

I made a sort of armature with steel wire to support the clay.

I found that I wasn’t happy with the finish and the structure wasn’t strong enough to support the clay. I haven’t worked in this way with clay before so I have a lot to learn. I learnt that to dry clay without cracking you must dry it slowly and cover it with plastic and damp cloths (thanks Matt Dalby and Jennifer McDonald for the advice).