Radiophrenia have commissioned a collaboration between myself and Louise Wilson which will be broadcast on May 13 at 1200 and 1800.
The experimental sound work contrasts the media’s representation of human and wildlife migration, examining how public opinion is influenced.
Migration is a necessity, both for wildlife and humans. Ecological processes operate in cycles and are the stimulus for migration. War, famine and destitution mean people must move in order to survive. Despite the necessity for migration there is a contrast in perceptions between the wonder of a “natural” animal migration and that of people. In the UK, immigration is deeply politicised and used to deflect away from the shortcomings of an inept Tory government and to progress a right-wing, white-supremacist agenda. A disassociation between people and the environment and differing perceptions of occurrences which exist in parallel are the focus of this new piece.
Radiophrenia is a temporary art radio station – a two-week exploration into current trends in sound and transmission arts. Broadcasting live from Glasgow’s Centre for Contemporary Arts, the station aims to promote radio as an art form, encouraging challenging and radical new approaches to the medium.
In March I went on residency at Hospitalfield residential art school in Arbroath.
It was two weeks of pure focus on my work with no distractions. This allowed me to carry out a raft of research and begin to develop some new work.
The main area of focus for me was the significance of materiality in my work and how this can influence future projects. This research stemmed from the reaction to my solo show, INSIDE/OUT, which used materials salvaged from the Glasgow School of Art’s Mackintosh building and was held at the New Glasgow Society in October last year.
The research helped me develop a broader understanding of how others use and utilise materials in their work and the significance of this.
Rather than drawing any distinct conclusions, the residency has furnished me with many new ideas for work and helped shaped the way I think about approaching work. It was an incredibly rewarding experience which has helped me develop as an artist.
Header Picture: Wildlife Crime (Executed March 2019, Hospitalfield)
SP!N, an exhibition where 40 artists created works from table tennis paddles to raise money from Drumchapel Table Tennis Club, ran through April. Featuring work from artists, designers and illustrators across Glasgow, including me.
My work (RES8.3), pictured, considers the changing history of Drumchapel and includes a sound element. By scanning the QR Code on either side of the paddle the owner has access to two experimental tracks which use table tennis and the city as inspiration.
DTTC is one of the biggest clubs in Britain, with more than 300 members aged between eight and 80 actively playing each week. A key driving force in the Drumchapel Community Sports Hub, the club plays a huge part in the development of the sport in Scotland.
I will be taking up a residency place at Hospitalfield next month (March). I am looking forward to spending time at an institution which is dedicated to contemporary art and ideas.
I will use the time to research and develop new work which I hope to show later this year.
Hospitalfield’s contemporary arts programme is anchored in the visual arts yet encourages interdisciplinarity. It maintains a strong national and international working partnerships with the aim of making Hospitalfield a meeting place and cultural catalyst in the working lives of artists and creative professionals in Scotland and far beyond.
In 1902 Hospitalfield opened as a residential art school later altering the constitution in the 1920s to become a post graduate school. So the building became an important home and/or place of study for the early Scottish Modern painters including James Cowie, Robert Colquhoun, Robert MacBryde, Joan Eardley. So strong was the relationship between the four main art schools that there is an imprint of Hospitalfield in many artist’s experience of their student time; the alumni covers an impressive number of generations.
I am in the process of updating my website, so please have a look. I have some exciting news about upcoming work in 2019, but I can’t share it just yet – still need to cross a few ‘Ts’ and dot a few ‘Is’. All will be announced soon enough…
In the coming weeks I will be working on some examples of sound design work to add to my portfolio, so look out for them.
Inside/Out, my installation created using materials salvaged from the Glasgow School of Art’s Mackintosh building, has recently finished a stint at the New Glasgow Society.
The exhibition went incredibly well, with close to 300 people visiting the gallery over the nine days the exhibition was on. The show garnered some media interest too, with an appearance on BBC Radio Scotland and an interview with Freeview channel, That’s TV. You can hear my radio interview here – https://www.bbc.co.uk/programmes/m0000v7n – my section starts around 32mins.
Given the success of the exhibition, the hope is to now move it somewhere else and show it to more people. I’ll be working to make that happen over the coming weeks and months.
At the centre of this work was an exploration of how and why people make emotional connections to physical objects. In both 2014 and 2018 I stood on the street and watched the Mackintosh building burn. I was surrounded by people in tears, their distress palpable. The meaning of and in material is something very important to my work, I hope to explore these themes further in the coming months.
I’ll have a short video about the exhibition in the near future, so watch out for that. Check out the Photo Gallery page for images of the exhibition (all photos by Daniel Cook).
My exhibition begins this week, with the preview this Thursday at 6pm at the New Glasgow Society Gallery.
The sculptural installation is created from material salvaged from the Glasgow School of Art’s Mackintosh Building at the New Glasgow Society gallery in Glasgow’s west end.
The exhibition examines our relationship to the built environment through the prism of Mackintosh’s use of materials and light. The scorched wood, rusted nails and wooden panelling from the building act as a connection to our fragile environment. Through the installation, I focus on the significance and importance of Mackintosh, and uses his materials to examine our emotional relationship to physical objects through use of light and darkness – a consistent theme in Mackintosh’s work.
I was given access to the Mackintosh building in February this year, crucially before the second fire which decimated the building.
More info and the Facebook event can be found here – https://www.facebook.com/events/492166167931242/