Showing posts with label exhibitions. Show all posts
Showing posts with label exhibitions. Show all posts

Thursday, October 17, 2013

Catching up #2...Deptford X 2013

Continuing my blue and white theme, but changing the focus to the local campaigns I've been involved in, my Deptford X project this year was about my town's maritime heritage.



I joined forces with two other artists, David Aylward and Laura X Carlé to produce an "Anchor Fest" under the umbrella title "Deptford Is Forever". (www.deptfordisforever.net).

Our aim was to draw attention to the Deptford Anchor which used to sit at the top of Deptford High Street. It was removed earlier this year by the Council as part of regeneration works being done to the high street. Originally the anchor had been installed in 1990 as part of previous regeneration works, but was mounted on a low plinth that over the years had became a sit-down gathering point for the local street drinkers – in full view of the A2 traffic into and out of central London. Undoubtedly, the anchor's removal was intended to displace the street drinkers. A not very well publicised consultation took place in 2012 asking people if the anchor should stay in Deptford or go back to Chatham Historic Dockyard where it originally came from. Overwhelmingly, the response was to keep it in Deptford, since people had become very fond of it and it was the only visible manifestation of Deptford's rich seafaring and shipbuilding history.

When asked when the anchor would return to the high street, Lewisham Council let on that it might end up as part of the new riverside redevelopment at Convoys Wharf at the north of the high street. Lewisham Planning are currently considering an application for the redevelopment of this huge riverside site, but should the site ever receive the permission its owners want, it would be another five years before even the first phase of building is complete.


So we called on citizens to join us in our demand to Lewisham Council to "Give Us Back Our Anchor" and return it to the high street. I designed two single colour tattoos – one as a logo for the project (above), and the other a design to go on white paper counter bags, of which 5000 were printed to be given free to shop keepers and market traders to hand out to customers with their purchases.


This design also demanded that the Royal Dockyard was "saved". This year is the quincentenary of Deptford Dockyard – originally founded by Henry VIII in 1513 – which is now under threat from Convoys Wharf s.a.r.l., a company set up by Chinese conglomerate Hutchison Whampoa, owned by the 8th richest billionaire in the world, Li Ka Shing. They want to build 3,500 luxury flats, with three towers of 48, 38 and 38 storeys and most buildings between 12-18 storeys. All would be built over the historical remains of the dockyard – the slipways, the great basin, the mastponds, Sayes Court Garden (founded by John Evelyn), and other buried structures. Only two structures are to be saved – the double dry dock next to the privately owned (and listed) Master Shipwright's House, and the listed Olympia Shed which covers two other slipways.


A white "ghost anchor" was commissioned from the local florist/grocer High Street Flowers to hang in their window. This wreath was incorporated later into a procession (see below).

A day of "free" tattoos was organised with local tattoo parlour Kids Love Ink in which people could get a little anchor tattoo in return for a donation of up to £15 to a local charity Deptford Reach (who look after people like the street drinkers) and local project Build The Lenox (who want to build a replica 17th ship on the site of the double dry dock).


The Waiting Room coffee shop next door to the tattoo parlour joined in by using our specially stamped takeaway coffee cup cuffs.


And the grand finale was a procession through the high street on market day (Saturday 5th October) with David leading a giant cardboard anchor made by Laura, followed by a band of "rough music" players (brass and drums), and local assorted followers. The procession began at the Dog & Bell pub next to the Convoys Wharf site, and progressed up the high street to the site where the anchor once stood, and stopped along the way at other potential sites – Deptford station and Giffin Square. Eventually the cardboard replica was processed to Lewisham Arthouse, and to Laura's studio where she had originally built it.


We produced T-shirts and cotton shoppers to fund the project. More pix are on the website I designed to document the project.



Catching up #1...May to October 2013

Before and during Deptford X Contemporary Arts Festival 2013 (see next post), I showed work in four places.

Creekery #1 and Creekery #2 were shown at the Master Shipwright's House, Deptford, as part of Open House London 2013 (21st & 22nd September). Also shown here in the perfect setting was The Old Blue & White.


The photos of the two Creekery installations were also featured in the foyer at Arthub's Deptford X show "Boom" (27th September – 6th October 2013).


Apple Tree was shown at 8 Studios From Here, a group show of work made by artists in eight different Deptford studios during Deptford X 2013. 


Postcards from China and Stoke are being shown in Made in Greenwich gallery as part of a group show until mid-November 2013. This show was not part of Deptford X but ran concurrently.


In July, I was also part of a group show "Eight Minutes From Here", which was in turn part of My Deptford, in the Festival of Neighbourhood at the Royal Festival Hall, South Bank. I showed an old piece Sixteen Grocers.


In June, I was part of Creekside Ahoy at Arthub Gallery, a postcard auction show for which I submitted three small new linocuts.



Saturday, January 19, 2013

A Cup of Tea


Martin Parr photographs everyday life...this image is from a Tate greetings card.
www.martinparr.com

Just before Christmas I was invited by Deptford X's Matthew Couper to take part in an Art in Shops scheme he was curating in Peckham (I Art Peckham Shops, part of Peckham Space), which ran from 15th Dec to 6th Jan.

It was suggested I put my work in a greasy spoon cafe, Cafe Como. When I visited the cafe owner and asked him if he would like to use Willow Pattern to serve his breakfasts and lunches on instead of his usual crockery, and maybe put up a couple of pieces on the wall, he turned me down. He didn't want to change what he had on the walls, or have anything interfere with his imminent Xmas decorations, and was more interested in another offer to have an artist "dressed as a Victorian lady" sat in the front window for a day who would write notes on passers by.

According to the I Art Peckham Shops Facebook page, the artist who exhibited in Cafe Como was Sally Hogarth. Can't really find much more info on this. But maybe the reason the cafe owner didn't like my idea was because he'd had a look at my website and seen what I did to the crockery in Creekery.

c Sue Lawes, Creekery #1 at Ha'Penny Hatch, September 2010 (photo: Charles Shearer)

See all posts on this blog about Creekery #1.
See all posts about Creekery #2.


Monday, August 20, 2012

Friday, August 3, 2012

Old Blue and White at DX Opening

Deptford X Opening, last Thursday 26th July, at Creekside Centre. A few words from RH Dame Joan Ruddock and the very gracious lead curator Hew Locke. Flowers in foreground...



Tuesday, July 24, 2012

Installing The Old Blue And White

Last Sunday, Dave Aylward came to assist me in the second phase of installation (there will be a third before the Deptford X Launch on Thursday). Nick Bertram, Creekside Discovery Centre's resident conservationist, took some pictures.

It looks like it is going to be very hard to make good photographic documentation of this piece as a whole, since so far any photos taken from a distance are seriously underwhelming...


Wednesday, July 18, 2012

Deptford X 2012 (Fringe)

Have been making the 'flowers' for my Deptford X Fringe installation "The Old Blue & White" for the past two to three weeks (when not doing paid design work).

Have made two hundred so far, need a lot more. Emma Redstone has fashioned a steel 'spike' for me to hammer into the ground at the site to make holes to plant the flowers in – it is a brownfield site with little or no topsoil (a great environment for wild flowers).



Saturday, June 25, 2011

Creekery the movie


Creekery #2 at Creekside Open 2011 from Sue Lawes on Vimeo.

Creekery at RSVPLondon

On Friday 17th June, Studio Raw took over a ground floor unit at Faircharm to stage RSVPLondon. One of the main exhibitors were Karakusevic Carson Architects who have been commissioned by Work Space to completely redesign the Faircharm Trading Estate, or as the blurb said, "to create new purpose built studios, gallery spaces, workshops, and a new residential, live-work space". Quite controversial for all the businesses and studios presentedly housed in Faircharm, and also for Crossfields Estate residents opposite (of which I am one).

I hung two photos by Charles Shearer of last year's Creekery at Deptford X 2010 and a spanking new print of Creekery #2, also taken by Charles. I also showed my little movie looped on my laptop. I was very proud to share a space with Boro, who up-cycle furniture and fashion items (gorgeous chairs here), and the rather famous Charming Baker, aka Alan, a painter and illustrator who has achieved dizzying heights of success over the past year. Other exhibitors included Hive, Union Cycle Works, JAILmake and Based Upon.


The exhibition continued on Saturday. Meanwhile, there was lots going on in Faircharm that weekend – Core Gallery, open studios at Creekside Artists and Cor Blimey Arts, and the Faircharm Fair. Also in Creekside, Cockpit Arts were open, plus ArtHub open studios and Creekside Open Part Two at APT.

At the Faircharm Fair, artists from Creekside Artists were showing among the craft artists, and I liked Paul Coombs' work in particular. It reminded me of Yee Sookyung's broken pots stuck back together again, only these little pieces refer to the human form, being broken statuettes or nick nacks.

 Emathion Paul Coombs, 2010 Broken ceramic

Devastation


Creekside Open finished on 29th May. I was allowed to keep the plates in so that I could finish my documentation. However it rained solidly for several days afterwards. On 7th June it stopped and I went to view the damage. A number of dishes that had been in the water had been swept away down the Creek as far as the Ha'Penny Hatch, whilst the plates in the mud bank had fallen over. Some of the waterbound plates had become detached from the bricks that had been weighting them down, so had to be repaired.

For the medium format film photography and the time lapse movie I had planned, the whole lot had to be washed and re-installed. The whole thing was also to be removed by Saturday 11th before the private view of the second exhibition in Creekside Open. So I had three days to conquer the technicalities of time lapse photography and get Charles Shearer down with his film camera.

It turned out that the advice I had been given by Mo Hague was completely wrong for my project and the equipment I had available to me. I now had lots of batteries for my Panasonic and an intervalometer, a remote control device to set the camera to take shots at specific intervals, that fitted my FZ30.

On Thursday and Friday I finally succeeded in getting some footage, even though the weather was completely unreliable. It was so bad that I was unable to leave the camera to do its thing and had to stand in the wind and rain making sure the umbrella I'd attached to a pole next to the tripod to keep rain off the camera didn't fly off. I also managed to drop my pocket Lumix into the water and had to rescue it before the tide took it away (miraculously it dried out in front of the Rhino heater in the studio over the next five days and came back to life).

On Saturday 11th June Emma came to help clear the plates out. We also filmed that. See next post for the Creekery movie which I put together in iMovie the following week in order to show at the RSVP exhibition on 17th June.

Elevation

Mali Morris has a studio on the top floor at APT. Her view of Creekery was even more elevated than the one from the wharf wall. She kindly furnished me with a CD of photographs she'd taken from her french windows.



Thursday, June 2, 2011

Creekery #2 on The Culture Show tonight

Mild excitement since I've been informed that the filming done by BBC2's Culture Show team last Friday is going to include a few seconds of Creekery #2 and it's being screened tonight.

(See it on BBC iPlayer here, and fast forward 20 minutes...)

The weather was truly awful last Wednesday and Thursday (though very good news for farmers and gardeners). It pretty much wrecked the installation, quickly covering it in mud, knocking a few plates over and carrying one or two downstream. Friday was more clement so I got down into the creek and washed them all again. It was beginning to feel like a performance piece with the old woman doing the washing up in the river...

Just as I'd finished practically totally reinstalling the piece and was coming up the ladder at around 5pm, the BBC film crew emerged outside from the gallery. Fortunately they didn't want to speak to me. They also filmed Charlotte Warne Thomas's gold leaf portaloo which was situated outside, and filmed in the gallery so they'll be featuring a couple more works housed indoors. There will probably be interviews and more action coming from Bear Space, The Old Police Station and The Agency, where they filmed later on.

Meanwhile, my buyer pulled out, but may still be interested in a photograph. Getting a large format photograph is now posing a challenge because the lowtides are at awkward times of the day this week and next.

I've also been getting helpful advice from time lapse photographer Mo Hague who is a friend of my potential buyer. The work continues...

Fortunately, I am being allowed to keep the piece in the Creek a bit longer so that we can do this documentation, even though the show finished last Sunday.

Wednesday, May 25, 2011

Creekery #2 at Creekside Open: Day 18

Creekery #2 has now been in the Creek for eighteen days and has been open to public viewing for 8 of those. There are another 4 days to go before Creekside Open closes (May 29th).

A young collector has expressed an interest in buying the installation, but it has been very hard to arrive at a realistic price. I have taken advice from gallerist Bea de Souza (The Agency) who has made some helpful suggestions on how to present the work for the buyer that is of museum standards. A fantastic photograph of the piece is an important part of this.

Charles Shearer took some photos in the first week, and is coming again today. But here are four from his first proofings...


I have also spent some considerable time trying to make a time lapse movie of the tide going out to reveal the plates, so far without success...

The installation has been cleaned by hand three or four times since going in – after three or four days silt builds up on the plates and begins to obscure the pattern, damping down the contrast of the blue with the green. It is very tempting to leave them to become covered in mud. If I had not cleaned them, they would be white/off-grey by now with no pattern visible at all.

The problem with going in to wipe the plates clean is that muddy black footprints are left behind. After one tide, the deep footprints fill with water and soften so that after the next tide, they show up as dimples in the green carpet. Creekside Open's co-ordinator was keen to have a less dimpled mudbank and sparkling plates for when The Culture Show visit on Friday for SLAM (South London Art Map Last Fridays). On the off chance Creekery #2 might be filmed, yesterday I purchased a 30 metre garden hose and attempted to hose the plates down without leaving any footprints, but the jet wasn't strong enough to disperse the ingrained silt.

Perhaps that is Creekery #3 – the plates and Creek left to their own devices, as was inferred in my original text...