Monday, 2 May 2011

Rhodio_Hats off for Venice

Michael CousinCousin is a moving image artist based in Wales, UK. He is currently a recipient of a Creative Wales Ambassador Award. He is the Founder and curator of Outcasting an online moving image gallery and is currently Freelance Curator at g39 in Cardiff. His work is entirely 'found' which is probably a nicer word than stolen.

Kathryn Campbell Dodd is interested in the projection of identity from people to their possessions and their spaces: the idea of the 'ghost' . Campbell Dodd tries to find and express the essential poetry of this

relationship. She uses fabric and threads to wrap and cover domestic objects, drawing attention to their personal and cultural significance. In the process, they become useless; obsolete as functional objects and begin to exist as symbols of themselves.

Kim Fielding is...'Dark Red & Sticky'
His work invites us into a dark and dreamlike world. A world inhabited by writhing figures strapped in endless cycles of constrained movement as if in purgatory.Such images are redolent of nightmare, horror, states of madness or intoxication confronting us with the filth of living, of being human, hence revealing that vast pre-amble ...the human condition all its recesses.... his still imagery retaining a Baconesque melange

good cop bad cop

"Chwarter Call -

An evesdropping on one side of a conversation between an unknown other from elsewhere, and his inaudible partner, about the here and now.

As part of good cop bad cop’s ‘Croeso I Gymry/u Fwyaf!’ project, Chwarter Call appropriates the welsh notion of ‘Y filltir sgwar’ and relocates it to an alien culture, as the Flaneur attempts to interpret his technologically bounded environment to the best of his limited abilities, in limited time.

Working with the complex relationships between the artist, art and the environments of its production and presentation, Chwarter Call provides an intimate encounter with process-based performance."

Croeso I Gymry/u Fwyaf!' is a Chapter commission supported by Stiwdio Safle and Culture Colony.

Richard Higlett's practice centers around actions and projects that could be considered acts of folly. A fragmentation of a process involving gestures that appear absurd. He also makes works that he describes as 'non- visual' in that they do not demand to be seen and are physically elusive in the gallery. 

For Rhodio he has responded to a picture in the restaurant, a simple image of the Grand Canal. He has recreated an alternative view of the scene as if a frogman was observing and drawing the scene from under the water, while highlighting the folly of the Biennale in that as more artists exhibit, the more Venice sinks into the lagoon.

Higlett's other current projects include: the Wally French Archive, where he makes works as a fictional outsider artist; collaborative film works with the writer Leona Jones and the creation of 'The Mobile Sonic', a car converted into a platform for sound art.

Higlett has exhibited widely internationally and also works as a curator and is the co-founder of Mermaid and Monster an artist-led project representing contemporary artists.

Penny Jones works in different media and approaches. She responds to situations in the here and now, often taking on impossible tasks. She is particularly interested in the degradation of the environment and in challenging the ridiculousness of patriarchal society. Living in rural Wales, she is acutely aware of its inaccessibility. Her practice involves the notion of the journey. Penny spends time walking and using public transport, frequently carrying large objects with her. Her practice draws you into the artist’s world and focuses you on the struggle at hand.

The works express her striving and succeeding, whatever that may mean.

Ann Jordan is based in Swansea, Wales. She is currently exploring site-specific art with a performative element. Her work references historical and contemporary culture. The chosen materials are integral to the development of each work and the ideas behind it. She deconstructs and then reconstructs the many resulting textures and layered ideas to create a relationship between the domestic, private space and the public siting of the object / performance. In this way she generates a dialogue, which engenders a cultural aesthetic and becomes a vehicle for social encounter.

Mike Murray The triptych assemblage includes the following:
dock leaves (= a soother from the sting of a nettle) + newspaper (= publication of current events)
+ formica (= composite laminate) + study of the workings of the eye (= the first point of contact of the visual perception of the world; the bridge between the world and the self, the transitional point) + Twine (= a binding agent).
Equals - a personal analysis of the way I view the world in order to self improve, a difficult thing to do in a pressurised capitalist society (unless you're in the higher realms).

Jason Pinder's sculptural interventions and process-driven installations are concerned, primarily, with the physical act of doing and of making.

Visually blunt and straightforward, Pinder works are clothed in an appearance of ‘it-is-what-it-is-ness’. Often requiring substantial amounts of base physical exertion, from sanding to stacking, the poetry in these pieces arises from the essential pointlessness of the labour that goes into them.

Since graduating in Fine Art from Cardiff School of Art & Design in 2008, Pinder has exhibited across England and Wales. He is a founding member of the British Racing Green collective, a UK-wide organization comprising artists, writers, photgraphers and designers, dedicated to facilitating collaborative projects and events.

David Shepherd's installations are part of a continuum of works that have spanned the last twenty years or so. They take on different aspects and appearances as they inhabit random and specific locations for short and long periods of time.

They are by their nature, temporary and raw and are likely to change configuration as they weather, shift, deteriorate and undergo repair or refurbishment. New elements may be introduced to the work as time and opportunity afford. For any duration that materials and objects remain in a location they carry some memory of a previous assemblage.

Part of the “ job specific ” nature of the build process is to maintain an element of labour and anxiety within the body of the work.

Elizabeth Waterhouse's work ranges from site-specific installation and collaborative projects to fastidiously biro-drawn tangles of birds. It centres mainly on the curious and the playful – drawing and tempting the viewer in with subtle hints that there may be more to see if they look a little further.

Currently studying for a Masters in Arts and Health at Glamorgan University, Elizabeth hopes to engage her art practice with community-based projects working closely with adults with learning disabilities to not only make art more accessible to them but a sustainable part of their environment.

Jacob Whittaker's work explores themes of nostalgia and memory using found objects and consumer equipment. Performances embrace the restrictions and idiosyncrasies of broken machines and degraded media, and explore ‘failure’ as a compositional device, challenging ideas of aesthetic value.
Repetition is fundamental, as are notions of process, duration and the creation of generative and evolving systems. Within installations and performances, and via the use of new media, web casting, and social networking as methods of distribution and exhibition, the work facilitates interactivity and participation both locally and globally, offering up experiences of the creative act as a collective event.

Mike Murray, David Shepherd, Elizabeth Waterhouse: The rusted and brittle remains of a reclaimed oil drum incinerator are now embedded in the mud bank of Cardiff Bay Marina; originally installed in 1994 on a piece of wasteland called ‘Cogan’s spur’ by David Shepherd. The abandoned work was rediscovered in October 2010 when the artist, accompanied by artists Mike Murray and Elizabeth Waterhouse revisited the site as on-going research for a future publication.

After the unexpected discovery was made 17 years on, the decision was made collaboratively to attempt an excavation of the remains in an archaeological dig. The artwork will be re-presented as a future exhibit.

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