Reasons To Visit Stow!

February 12, 2014 in Uncategorized

Those that have visited the popular Cotswold market town of Stow on the Wold will know what a beautiful town it is. Steeped in history and nestled in an area surrounded by beautiful countryside and other amazing towns such as Moreton in Marsh, Broadway and Burford to mention a few.

Our gallery is located right in the centre of Stow on the Wold in a building know as Talbot House. Formerly known as the Fosse Way Hotel, it dates from the early 1700s. It is built of coursed rubble, having three storeys and an attic, with a Cotswold stone roof and is Grade II listed by English Heritage. The building itself is indeed a piece of art!

Currently we have over 200 paintings from a range of the best living contemporary artists on display over the three floors. And as we specialise in showing a broad range of styles, you’re sure to find something you’ll love! 

So when thinking about visiting our gallery why not make a day, a weekend, or even a week of it and explore the area? Here’s a little snippet of the history of this beautiful market town;

Stow-on-the-Wold is an ancient Cotswold Wool Town situated beside The Fosse Way, the Roman road that runs from Exeter to Lincoln. It is set on a rounded hill at a height of about 800 feet above sea level. This elevated position, and the effects of the wind and rain have encouraged the creation of the enclosed town square. Keeping the winter winds out of the town centre does, to certain extent, seem to work! It is a delightful market town and along with Moreton in Marsh, perhaps the best known of the small Cotswold towns. The word ‘wold’ as in Cotswold means hills, so Stow-on-the-Wold simply means Holy Place on the Hill.

The large Market Square testifies to the town’s former importance. At one end stands the ancient cross, and at the other the town stocks, shaded by an old elm tree. Around the square the visitor is faced with an elegant array of Cotswold town houses. At the height of the Cotswold wool industry the town was famous for its huge annual fairs where as many as 20,000 sheep were sold at one time from as far away as Wales.

Originally called Stow St. Edward or Edwardstow after the town’s patron saint Edward, is said to have originated as an Iron Age fort on this defensive position on a hill. The Abbey of Evesham obtained the Manor of Stow as early as 714. Originally the small settlement was controlled by abbots from the local abbey, and when the first weekly market was set up in 1107 by Henry I, he decreed that the proceeds go to Evesham Abbey.

In 1476, Edward IV gave a charter to the town authorising two fairs, the first on the 12 May, the other on the 24 October. Over 500 years later these dates are still used to fix the two horse fairs held each year.

The Kings Arms is a good example of a coaching inn where the main entrance was through the arch leading to the stables. Charles I stayed here about the time of the Battle of Naseby in 1645.

In March 1646, the last important battle of the Civil War ended in the Square. The Parliamentary army under thecommand of Colonel Morgan overwhelmed Sir Jacob Astley’s Royalist army. 1000 prisoners were held in the Parish Church while the wounded were laid in Digbeth Street. It is said the street ran with blood.

So, in and around this hill top town of Stow-on-the-Wold was fought the last battle of the English Civil War which was ultimately to lead to the execution of the king and to lay the foundation of our parliamentary democracy.

We look forward to welcoming you soon!

Fine Art Fair & Retail Therapy Combined!

October 12, 2013 in Curator, Curator Showcase, Current Events, Featured, Uncategorized

Of all the fabulous art fairs up and down the country there’s only one that enables you to mix your culture directly with some serious retail therapy! That’s because the Love Art Fair is situated in the heart of the huge Milton Keynes shopping centre, right outside John Lewis!

Love Art Fair, Middleton Hall

This year is the second fair and it all starts Thursday 17th October at 4 PM and runs until 5 PM on Sunday 20th. Entry is totally free and you’re guaranteed to find a huge range of styles and with prices from less than £50 to many £1000′s, there’s something for everyone.

There will be live painting & sculpting and live music to keep you entertained while you browse the art work in a totally relaxed and informal environment. Kids are catered for with a handy drawing area where we’ll be on the lookout for the next top talent!

Love Art Fair Hospitality!

Fancy winning a £500 painting? Just REGISTER your email address to be entered into a prize draw. And check out the venue HERE.

Love Art Fair Invitation 2013

October 9, 2013 in Uncategorized

Hope to see you there!

Smart Words – Your guide to writing about your artwork (Part 1)

July 23, 2013 in HQ

So, you’ve nailed a unique style of artwork, perfected your technique, explored, constructed and deconstructed a concept, and taken onboard feedback from your peers. Now it’s time to get your work in front of people, get eyes onto canvas, and spread the word about your talent. When you’re marketing your own artwork, there’s just no substitute for some seriously hard work and a plentiful supply of hours composing emails, penning letters, making phone calls, visiting galleries and finding buyers. But hard work can be unrewarding without being smart about what you’re doing, and one of the best ways of being smart about the promotion of your artwork – is to write about it effectively.

You might be surprised at how important writing is when it comes to the creative industries as a whole. Writing isn’t just important when it comes to art, it’s profusely used in the music, literary and film industries too. Just think about how many times you’ve read a film review, the blurb on the back of a book, or listened to a music track just because it had an interesting title. However much we might believe that we’re exclusively visually expressive as artists, and however much we may rail against the media’s tendency to pigeon-hole our work, compare us to others (past and present), or place us into the context of a particular generation or time – the written word is a powerful tool. When wielded with focus and care it can be the boost you need to get the right eyes onto your work.

Write Smarter Not Harder

Write smarter not harder!

Writing is more important online

Well thought out, highly communicative, concise and powerful writing is important in conveying the essence of our artwork, the quality of our skill, and the achievement of our practice. That should be enough to motivate anyone to spend the time it takes to create good written copy, but in today’s world there is another important factor that comes into play – the internet.

As artists, often working in quite traditional media that may not have changed very much in centuries, it can be somewhat daunting to enter the fast-paced, ephemeral, dynamic online world. But effective marketing of your artwork is most definitely going to incorporate at least some work on the internet. Do you have a website showcasing your work? Do you have a Facebook Page or a Twitter account to show your work to friends, family and fans? At the very least, you have a Curator HQ account (good choice).

Writing Online

Posting great work to Curator HQ and elsewhere online is obviously the most important route to bring attention to your work from browsing art lovers, but the written word will make a big difference both to the number of visitors that get to see your work, and more importantly to ensure that the right visitors see your work.

If you’ve been investigating online marketing of any kind, then you’ve probably heard the term “SEO” (Search Engine Optimisation) thrown around quite a bit. For business and website owners, it’s a critical part of any marketing strategy. We don’t advocate delving too deeply into SEO for artists, but we do believe that having a brief understanding of what SEO is and how to write with search engines in mind, is rather important.

Search engine optimised writing, in the simplest possible terms, refers to the identification and inclusion of “keywords” in your writing for the purposes of search engines like Google. We think this is important for individual artists because there are plenty of art lovers (and art buyers) out there who are actively looking for new artwork, and using Google to find it. Including important keywords in your writing is going to help those Googlers in their hunt for work just like yours – and ideally, to put your artwork at the head of their list.

Keywords that you can include might well be as simple as “Portrait” or “Landscape”, they could include the name of the subject you paint, the materials you use to build a sculpture, the type of camera and lens you use to shoot, software you use in post-production, the name of a location in which your studio is based, or the University at which you studied. The more in depth information you can provide, the higher the likelihood that someone searching for a specific image will find yours, then allowing that person to delve deeper into your Curator HQ account or your website to explore your work more thoroughly.

Curator gets plenty of visitors originating from Google, and many of those visitors are searching for generic terms just like “Landscape artist”. Don’t miss out on those eye-balls because they have every chance of landing on your canvas!

Sadly, people are often in a rush when they’re searching online, and will be very quick to move on if they don’t find what they’re looking for – so making sure your work contains highly relevant keywords in its descriptive text is going to make sure that not only do more visitors see it, but more of the right visitors see it.

Writing

Penning a profile? Photo courtesy of JCarlosn

Where do I write?

Although this list really could be infinite, it might be helpful to isolate a few particular elements of writing that you can use to give your promotional efforts a serious boost. As artists we need to keep focused on our creative practice, so our time can be very limited. Equally, the process of writing can be laborious for many of us, especially if it’s not something that we’re in the habit of doing every day. So if we’re going to write at all, then having a list of priorities is an important starting point.

Here’s a brief list of writing categories that we feel are important to focus on:

  • Naming your work

    We don’t advocate the inclusion of keywords specifically in the names of your individual artworks, but we do think that naming your work at all is important. Often here at Curator HQ, we find artwork that has no name – by which we don’t mean it’s called “Untitled” – some people just forget to complete the title field when uploading their work, so by default the piece is titled the same as the filename that was uploaded – usually this is something like “IMG_0441.jpg” which looks really quite unprofessional. Don’t forget, naming your work is important! If nothing else, it helps people find it again when they love it and want to tell a friend.

    Work Title

  • Describing your work

    A good written description is even more neglected than a good name. At the most basic level, ensure the description field for your piece includes the critical details that a potential buyer will need to know. These include the dimensions of your work (84 x 92cm, unframed – for example), the materials used (oil on canvas – for example), the date on which it was created (January 2012 – for example), and a price if it’s unsold (£2,440.00 – for example). Here’s that example in full:

    Richard Curator – “Ivory Coast”
    84 x 92cm, unframed. Oil on canvas. Painted January 2012.
    Available for purchase at £2,440.00.

    This is a really basic description and provides very little information to the viewer aside from the absolute essentials. In order to convey meaning, use the description as an opportunity to express the concept behind your work, describe your technique, refer to inspiration and source material, or pose questions to the viewer. We feel that descriptive text should be concise and professional in tone to attract a buyer, but at the same time it’s a great opportunity to let your personality shine through too, so don’t be afraid to be a little quirky in the language you use. Here’s an extension of the same example:

    Richard Curator – “Ivory Coast”
    84 x 92cm, unframed. Oil on canvas. Painted January 2012.
    Available for purchase at £2,440.00

    An abstract exploration of three figures dancing, painted during the festival period in January, on the first day touring the Ivory Coast. Danger and uncharted country lays deep beyond the horizon. Do we go on, or turn back?

    Painted using sustainable oil paints sourced locally.
    Part of my 2011-2012 “Ivory” series, view more online here…

  • Your personal statement

    Curator HQ has a dedicated page (Profile) for your basic information (Basic Details), more detailed content about you (About Me), and your personal statement (My Profile). We leave it up to our members to decide how much, or how little, information you want to publish about your work and about yourself as an artist. We insist upon only the most basic details that are used to create your account, but when you get the time we advocate filling in as much information as you possibly can. This helps searching visitors find your work, and to list your profile when searching for specific categories that you might fit into (for example, searches against artists having studied at a particular University).

    Profile

    Writing a full personal statement is a daunting task for even the most experienced writers, so we’ve divided up your Profile into a few easy to manage chunks that will help you focus on specific areas of your career and work at any given time. When you’re working on your Profile, if you leave any of the fields blank, that area simply won’t feature on your Public Profile – there won’t ever be big empty spaces or uncompleted questions. Equally, you’re free to add as much information to each of these fields as you like – so if you have a Personal Statement that you’ve used elsewhere, you can just copy and paste it straight into one of these containers to feature it in full.

    We’ve divided the ‘My Profile’ segment up, starting with what you’re doing right now – ‘Current Direction of Work’. This is a great opportunity to discuss the artwork you’ve most recently published, and to touch upon the work you haven’t featured yet. Have you just discovered a particular medium, just started a piece exploring a particular concept, reached a critical turning point in your work, or maybe you’re facing artist’s block. Be open and frank with your audience to attain greater engagement, because visitors really do want to know more about what you’re doing right now.

    Secondly, we provide a field called ‘My Work as a Whole’. If you have an existing Personal Statement that you want to publish, then this is probably the ideal field to paste it in. If you haven’t, then use this as an opportunity to discuss the concepts and working methods that you use throughout your entire body of work. This could be as thorough as to cover your work as a student, early exploratory work, progression to develop a style, leading to your current direction. Or, it could be as brief as to just touch upon the style or genre you work within. Does your work explore a particular theme, examine a question, or push the boundaries of a specific movement?

    Thirdly, the ‘Influences’ field gives you an opportunity to discuss or to list other artists that have directly influenced your work. But don’t be limited, there’s more to influence than just the art world – perhaps your work is affected by music, time you spend travelling, strict limitation to a specific medium, a philosophical idea, or by a piece of literature?

    Fourthly, we provide a short field to list your ‘Skills’. Here, we hope you’ll include a comma separated list of tags for your Profile, that includes some of the key skills that you use to execute your work and during your day to day practice. This can be as simple as “Oil Painting”, “Pointillism”, or “Assemblage of Mixed Media”.

    Fifth in the list is a ‘Career History’ field. You may have already covered some of the information within this category inside your “My Work as a Whole” field, but this is an opportunity go go into more detail about individual, chronological steps and achievements in your career. For example, you may wish to provide details about your graduation date and degree score, to discuss an artist residency, the first piece of work you created, the first piece of artwork that you sold, notable commissions, a teaching or mentoring role perhaps.

    The sixth field is ‘Exhibitions’. Use this box to complete a list of exhibitions that you have completed or have coming up (you may wish to separate this into two distinct lists as such). Listing at least the number of exhibitions you’ve completed can add considerable credibility to your Profile as an established artist, but adding detail about more notable events is going to give you the credit you fully deserve long after it’s completed. Don’t let your real-world exhibitions fade away, give them permanence by listing them thoroughly within your Profile.

    Checkboxes

    Lastly, we provide a series of checkboxes that allow you to select additional public preferences within your profile. This is our ‘Seeking’ section, and is designed to show visitors to your profile that you are looking for particular opportunities that may be relevant to them. For example, tick the ‘Artist Residencies’ box in order to attract attention from schools and colleges who are looking for artists to work with. Select ‘Exhibition Opportunities’ to attract gallery owners and community related exhibition organisers. Select ‘Gallery Representation’ in order to attract galleries who are actively looking for new artists to populate their walls. You are not limited by selecting these, so feel free to choose as many or as few as you like. These fields are fully searchable within Curator HQ, so a gallery owner can easily see all artists who are looking for representation – well worth completing if this suits you.

  • Your micro-statement

    Within your Curator HQ account, we don’t provide a field for a ‘Micro Statement’ because we want to encourage you to be as comprehensive as possible with the completion of your Profile. However, you may well find that after you’ve completed your Profile, it can be useful to pick some of the most important segments to merge into a short paragraph or two that summarises your career and current direction of work. Having this to hand is especially useful when you’re signing up for accounts elsewhere online, for example on Saatchi Online, Behance, a Facebook Page or on Twitter. Having a short description of your work to hand is going to save you a considerable amount of time instead of writing from scratch.

We really hope that this has inspired you to write a little or a lot, about yourself as an artist and about your work individually and as a whole. At Curator HQ we do try to make life easier for those of us for whom writing doesn’t come quite so naturally – but if you feel there’s anything we can do to improve then please do let us know.

Good luck and happy writing!

In the next part of this series, we delve deeper into the specifics of writing a strong Personal Statement, including some great examples. Plus, we show you how writing Status Updates can help visitors discover your work and keep fans up to date. And lastly, how blogging and social media can rapidly expand your personal marketing effectiveness.

We Love Horace Panter! The Interview

September 26, 2012 in Featured

Those of a certain age may remember him as Sir Horace Gentleman, bassist of iconic Ska band The Specials but there’s a lot more to Horace Panter than this. 10 years as a teacher of art to autistic children and an admirable collection of his own distinctive artwork reveals a man not afraid to take his creativity down different avenues.

We managed to grab a short time and a few questions with Horace in what seems to be an extremely busy schedule between musical and artistic events.

You can view and buy Horace’s art work at the Love Art Fair in Milton Keynes 11th-14th October www.theloveartfair.com. Horace will be pleased to personally dedicate work bought at the event.

Q. Some might think that being a member of such an iconic band as The Specials would make it easy to get into the art world and make a name for yourself. What’s the reality?

A. This is very flattering of you but I am not a household name like Ronnie Wood or Bob Dylan. The Specials are known but, outside of their fan base, I’m probably not. In one respect, that’s good as I feel my painting is going to work on its own merit rather than in the ‘celebrity’ bracket. I’ll admit that it’s a good way to get gallery owners initially interested, but in my experience, it’s ultimately the art they’re interested in (or not). Generally speaking, Specials fans don’t buy art. Hey, it’s a jungle out there!

Triumph Of Orthodoxy By Horace Panter

Q. You achieved a Fine Art Degree as a younger man. On reflection, did this formal education help you develop to the level of artwork you produce now? How has the formal process affected you either positively or negatively?

A. The work I am doing now is very different from the work in my graduation show in 1975. Minimalism and Conceptualism carried the swing back then. The Art Language movement had a firm foothold in Coventry in the ‘70s. People would come to college wearing a suit and carrying a portable typewriter!! If you were an object-maker you were considered a lesser human being. Painters were compared to single-celled animals. The grounding in Art History which I seem to have assimilated through a kind of osmosis, rather than from any formal lecture series, has been invaluable. Also, I’m nearly 60, much older than Damien or Tracey.

Q. If you were to write a CV then you would certainly have at least 3 occupations down; Musician, Teacher & Artist. Is there a common thread that runs through these that links them? Why do you think you have chosen these activities to invest much of your life in?

A. It would be good to mention the creative element involved in these professions, and probably some sort of altruism. Back in the day The Specials were concerned with voicing anger about social/political issues, such as racism. I taught kids with autism and thought art was an excellent medium through which they could express themselves and achieve satisfaction. I can’t say that my art is particularly concerned with any sense of altruism but I use some of my art to raise funds for Teenage Cancer Trust (I have just designed their 2012 Christmas card) and other charities. I worry more about money (or lack of it) as I get older, but perhaps that’s the downside of having these highly emotional careers. Teaching was definitely the most taxing job I’ve ever done, physically and mentally, despite the long holidays. I consider myself to be very lucky and see no point in wasting talent and opportunity … seize the day!

Q. “Creative” is a word that is usually associated with the Arts but of course creativity runs through all professions and industries in some form or other. What does “creative” mean to you? And do you think that all humans have the ability to be creative? Is it just a matter of applying themselves, or finding the right activity to do?

A. The best explanation of ‘creative’ I’ve heard is the expression ‘thinking outside the box’. This was when I was teaching art in a school for children with autism and ADHD. I had to sell my subject, make it both interesting and relevant. That experience has definitely helped formulate my current working practice. I think some people are more creative than others, but I wouldn’t say it was a prerequisite for anything. As a musician, I’m a bass player, a supporting musician – I don’t sing or play a melody instrument, therefore, I am dependent on the ‘creative’ members of the band to write the songs. I’m good at getting behind an idea and making it work but I would suggest I’m more ‘creative’ as an artist than I am as a musician. As an artist, I am more vulnerable … I sometimes say my art is my solo album! I also think creativity exists on many different levels, for example, in everyday things like cooking … is cooking a task to be completed or something that is invested with thought, research, imagination, love? I would suggest the outcome when creativity is applied is different, and that applies to most things … gardening!

Q. You have a lot of experience within the music industry. Music is created primarily for the enjoyment of others, just as art is. But comparatively a tiny minority of people engage with art compared to music. What, if anything can artists and other parties involved in the art industry learn from the music business?

A. I have the music industry model in how I approach my painting. If you write a song or form a band, you don’t just leave the song on a tape somewhere, you try to perform it in front of people or get a record deal. The same is true with my painting. I am very fortunate to have a partner who is my agent/manager/record company and harshest critic, who does all the ‘other stuff’ and allows me the time and head space to get on with the painting. She brings years of experience and an MA in marketing to the project and the fact that she happens to be my wife helps an awful lot. Like I say, I’m very lucky! To return to your question about what artists can learn from the music business, I would say musicians are usually very proactive; they know from the get-go that it usually takes years of slogging away and perseverance … I’m not saying artists don’t push themselves but they are often a quieter breed!

The Scooterist By Horace Panter

Hello Collective

September 21, 2012 in Featured

“Emily Gosling is What’s On Editor and Reporter for Design Week [www.designweek.co.uk]. Recently she visited an artists’ residency in Poland, spending time with the artists and observing their practice. Here is her fascinating report;”

Earlier this month, I spent four days visiting the Hello Collective artists’ residency in the rural village of Cieplice, South West Poland. The simple studio-cum-house sees young artists open their lives and art practises to frank and critical discussions in a setting far-removed from the urbaneness and privacy they’re used to.

The programme, which aims to use this honest, supportive environment to help artists develop their work, was started last year by Berlin-based artist Abigail Liparoto, a Camberwell School of Art Illustration graduate turned fine artist.

In early 2011 she first visited the house, which belongs to her boyfriend’s stepfather, Richard Zajac, upon the death of Zajac’s mother, Danuta Wolak. She instantly fell in love with it, and decided it was the perfect setting to realise her dream of creating a space where artists could come together and engage in productive, non-judgemental, and open dialogue about their work, while potentially collaborating with others.

During the 1960s, Zajac – a painter and sculptor himself – had used the house and the surrounding area for a series of artistic ‘interventions’ – a legacy living on through many of the young artists participating in the residency.

For this year’s programme, Glasgow School of Art Fine Art graduate Michael Smith is co-running proceedings, having participated in the residency as an artist last year where he continued to develop his performance-based work.

Disillusioned with the amount of ‘stuff’ in the world, his practice has moved away from creating tangible works into performance, and the act of minimalizing over making, finally culminating in what he feels is the most significant project of his residency this year. ‘The next logical step was to destroy myself’, he says.

Avoiding the actual act of immolation, he’s formally sublimated his artistic identity through contractual obligation.  In the second week of the residency, Smith created a contract meaning that another resident artist, Jasmine Poole, will become custodian of his artistic identity as of 8 September – the final day of the residency. This will be valid for at least six months, though the specified period is indefinite, and can only be revoked when the two artists meet again in the same country.

Smith’s next step is a residency in China, and here, he feels, it’ll be easier to achieve his goal of shedding his increasingly frustrated and uneasy current artistic persona. He will become someone new, Charlie Dance, free of the shackles of his previous practises and ideologies.

The living space for Hello Collective residents is fairly basic, with accommodation attached to the studio space itself. Unlike last year, there’s now an internet connection and lighting in the upstairs attic area, though a fridge, washing machine and other 21st Century utilities remain absent. Rooms are shared with one or two others, and artists each pay 60 Euros per week to cover accommodation and studio costs, weekly invited mentors and basic living supplies.

‘This isn’t like a holiday. Well it is, but it’s a pretty tough holiday if it is’, says Liparoto. ‘People criticising and questioning you – “why are you doing that”, “why can’t you do this” – it’s not that relaxing. It’s a very small space, you’re producing work very publicly when people often see making art as a very private process.’

‘It’s hard work, from mopping the floors to everyone’s keeping the positivity going’, agrees Smith. ‘But when the people are right you can feed off each other’s energy. It’s a worthy project that gives people a lot in whatever it is they’re looking for.’

The lack of fridge means food is bought fresh from the market or small store in the village, and chores are shared, though in a relaxed, rota-free way. Away from the distractions, trappings and constraints of normal life, it’s not hard to see why people feel inspired here.

‘It’s really easy to produce work, but it’s hard to produce good work’, says Liparoto. ‘Here, it’s more a place for germination: there is work being produced and pushed but it’s more about the mental state.’

Liparoto’s work is usually portrait based when working from her studio in Berlin, focussing on painting and drawing, with the subjects primarily those close to her. This subject matter, she says, is inspired by the work of Danuta Wolak.

‘When she worked here she was sat here alone and had few visitors so she painted her family to remind her of them’ says Liparoto. ‘I felt like it was a bit like me when I moved to Berlin. I made a parallel to how we use Facebook now – seeing pictures of people you can’t see in real life: but instead she filled her walls.’

This year’s residency has seen her move towards more tactile, interactive sculptural pieces and installations as a reaction to the ‘uploadable’ nature of images today. Perhaps the most fascinating piece is a huge, golden swathe of suspended fabric that recreates a hug, using a pulley system to apply pressure to the viewer.

‘I was trying to address the question of “can you recreate a feeling”? All touch is really is thermal and mechanical sensors of pressure and warmth. So with this piece, we know a hug is nice, but this is a mechanical hug. When people pull the string it’s a hug – but a detached one.’

During my stay, artists Hyojun Hyun and Marie-Andrée Pellerin were completing their residencies.

Canadian artist Marie-Andrée Pellerin completed an Architecture degree at Université de Montréal, before moving to Berlin for a year, then returning to Canada. Her work frequently draws on her architectural background, incorporating urban elements and objects to create drawings, photographs, installations and video works. Though she’s completed other residencies – most recently in Romania – she was drawn to the Hello Collective due to the supportive atmosphere and unusually conversation-focused aesthetic.

‘It’s different here as all the space is shared’, she says. ‘It’s more an exchange with others, rather than just focussing on your own work. Others can push you in your own practice.’

Much of Pellerin’s work uses site-specific found objects, formed into installations that subtly challenge the nature of their components once reformed into new entities. In Cieplice, she’s using discarded building materials from around the house – some scavenged from the disused building next door – which will be used to create installations within the studio.

‘I like to create worlds that aren’t viable’, she says. ‘That’s why it’s interesting to come into this immersive experience. I’m working more with the area around the house and trying to make a transition between the primary materials I find around here and transpose them into my work.’

During the penultimate day of my stay, I go on a bike ride with Smith and Pellerin to scope out abandoned buildings for Pellerin’s work. She’s fascinated by the work of Gordon Matta-Clark, an American artist who cut up entire buildings. He died at only 35, and Pellerin’s artistic interventions seek to ‘propose new buildings for him to cut’, by finding disused spaces and spraying on painted ‘cut here’ lines. We end up clambering through a breath-taking (if rather terrifying and precarious) abandoned factory site, and small artistic interventions are quietly formed through the dust, rubble and shattered tiles of the former industrial behemoth.

Hyojun Hyun was born in South Korea, and now works in Glasgow, where he completed the MFA program at the Glasgow School of Art. His practice is focused on abstract paintings and experimental drawings, and he applied for the residency in order to explore what he terms ‘impromptu drawings’ through working outside the studio and drawing inspiration from nature.  The most reserved of the residents, during my stay he’s mostly head-down working on watercolour and acrylic paint pieces.

It’s an obvious and clichéd statement that we’re all now more connected than ever. Artists and non-artists alike can view art and read about its creation process and creator at the click of a mouse, but it’s not too often that sculptures, drawings, interventions, or the elimination of an artistic identity happen right in front of you, opening themselves up to immediate questioning and critique.

‘The 1960s interventions and happenings have so much more relevance now: with online there’s all these communities, but this is a real community’, Liparoto points out. ‘Here there’s no washing machine, no fridge – we all eat together but it’s not in a hippy way. We’ve all got Mac Books for fuck’s sake, we’re not hippies. But it’s an actual community where we see each other’s work – we don’t just upload it to Facebook and click ‘like.’’

We Love Erin Burns

July 17, 2012 in We Love

Erin Burns

We love the work of Erin Burns. Here’s a little about Erin…

“I began this latest series by photographing the environs of my new surroundings, including images of spring buds and alien foliage in an unfamiliar landscape. I am interested in catching quiet moments of natural beauty which i then subjugate with mark making. Creating moments in time that reflect a melancholic attachment to the organic world, I investigate the formal qualities of painting utilising a process of layering various mediums. A process that is both additive and subtractive develops into an exploration of the relationships created through the juxtaposition of shapes. Intuitive responses to the images with paint, marker, bleach, heat, and resin occur in the instance; the moment of making inspired by what is on the mind, letting go, rebirth, love and loss, and isolation – all subjects that have arised from moving across the pond. The titles for this series predominately come from music listened to while working and literary influences. Hope you enjoy.”

Erin Burns

Erin Burns

Erin Burns

Erin Burns

Hypercolour? We Love Andrea Mastrovito

July 17, 2012 in We Love

Andrea Mastrovito

We love the work of Andrea Mastrovito!

Andrea Mastrovito

Andrea Mastrovito

Andrea Mastrovito

We Love Alberto Cerriteno

July 17, 2012 in We Love

Alberto Cerriteno

We love the beautiful illustrative work of Albert Cerriteno! What a genius! Here’s a little about Albert…

“Alberto Cerriteño is a Mexican illustrator & designer who has lived in America; Portland for nearly four years now. Strongly inspired by urban vinyl toys, alternative cartoons, and the pop surrealism movement, Alberto Cerriteño has developed his own very personal technique and style, having always present a delicate hints of traditional Mexican artistic influences in his management of rich textures and decorative patterns. These contrast strikingly with the blending of desaturated colors and ink, sometimes featuring a vintage coffee finish. Alberto Cerriteño illustrations have been recognized by progressive art institutions such as Juxtapoz, Create, Drawn!, The Little Chimp Society, Computer Arts, Communication Arts and IDN among others. He has also been invited to participate in collaborative art projects all around the world and diverse solo and groupal gallery shows.

With more than ten years of experience as Art Director in several agencies doing advertising, print, interactive, installations and educational work. Now is working as independent artist to collaborate with talented people with quirky and creative ideas focusing in anything where he can apply his illustrative creations.”

Alberto Cerriteno

Alberto Cerriteno

Alberto Cerriteno

Alberto Cerriteno

We Love Karen Turner

July 17, 2012 in We Love

Karen Turner

We love these wonderful ceramic buttons from Karen Turner. Here’s a few words about Karen…

“My work primarily focuses on the non functional vessel. Individual, one off pieces explore forms such as teapots, plates, and cutlery as well as small dishes and bowls. These everyday objects make reference to both function and decoration; however, I am particularly interested in what a piece becomes when the function is removed. My work combines personal expression with a social consciousness and I often use found objects as visual inspiration for my work, sometimes incorporating elements of them into the finished pieces. I use a variety of techniques in my ceramics including slip casting, press moulding and hand building but I am particularly drawn to the fragile quality that can be created by dipping various fabrics into liquid porcelain; once fired, the fabric burns away leaving a ghostly presence.”

Karen Turner

Karen Turner

Karen Turner

Karen Turner