Title :-
“artspeak”
Artist :- Bill Crumbleholme
Site specific sound and text installation.
View the video piece on line here.
Follow this link to separate page with explanations about this stunning work.
Title :-
“The Collected Works of Cathy Owen”
Artist :- Cathy Owen
Title :-
“These Chains Are As Chains Of Gold”
Artist :- Bill Crumbleholme
Multi-media, time and material based installation.
Price on Application (The work could be split into individual
pieces)
Artist’s
Statement on the Work :-
There was once a William Crumbleholme imprisoned in the Tower of London
for his religious beliefs, the title of this work is a quote from him
relating to his situation. That much is fact.
The 21st Century
William Crumbleholme has been haunted by this quote, derivatives of
which are as old as the book of Solomon and were used by that other
famous William in a lesser-known Sonnet.
The current spiritual vacancy experienced by a growing number of distressed
westerners begs questions about fervour, without which do we become
unchained from reality. Is it better to be chained by dogma or unfettered
by freedom of speech and thought?
This work focuses on the great universal beauty of the simple catenary
curve, described by a suspended chain. Both arms of such a curve point
to divergent infinities. In this work multiple curves mingle to create
waveforms which reinforce the amplitude of the visual experience. By
ghosting those visions onto a starkly dark background, this work explores
the imprint of an idea through time and space, investigating the negative
impact on its surroundings of a primal event. The resonances through
the space-time continuum are surely warped by the viewer’s pre-conceptions
of causation and effectivity, sampling as it does the original and the
replicative processes, with no reference to established truths.
Criticisms of the Work
Throughout this work’s conceptual battlefield of fleeting existence
against permanent impression, it hovers between the crass nuts and bolts
of process and the higher almost spiritual plane of self-integrity.
It is a battle badly fought and sadly lost.
Without doubt this is one of the poorest examples of the so-called “container
awareness” school of installation art. The skill involved in construction
and execution is negligible, the use of material culture is inadequate
and the resulting visual impact is unsatisfactory in the extreme. “Go
back to your pottery!” shouts the viewer.
Chains & eyes - B-linking good!
Unchained Melody
The symbolic link between Bondage & bling
I don't know whether this is a f***ing piss-take or absolute genius! Either way congratulations.
Title :-
“Burnt At The Stake I & II”
Artist :- Bill Crumbleholme
Burnt Timber with Gold Paint.
Price on Application (As a Pair or Singly)
Artist’s
Statement on the Work :-
As a corollary to “These Chains Are As Chains Of Gold”, this
pair of gold tinted stakes offer a starkly troubling comment on the cruelty
inflicted in the name of religious fervour. Many devout people suffered
horrible deaths by being burnt alive because of their refusal to deny
their beliefs. This level of spiritual certainty has almost vanished these
days at the individual level within so-called civilised western society,
but are we poorer because of that loss? Religious persecution is frowned
upon, but it persists. Perhaps modern clashes between major world religions
are still just as divisive to human rights, world order and peace, but
sanitised by being hidden within the “War On Terror”.
Criticisms of the Work
This pair is truly evocative by nature, at first innocent, but as conceptual
integration is achieved and perceived, maybe concurrently if not simultaneously,
then the horror of the statement being made is felt in a deeply disturbing
fashion. But, somewhat contraventionally, the blankly visual discussion
of such dire issues begs consideration.
Title :-
“Blue Wave I”
Artist :- Bill Crumbleholme
Blue Emulsions on Chipboard.
Price on Application
Detail under brighter light
Artist’s
Statement on the Work :-
Living near and playing on the sea for almost all of my life, I am fascinated
by waves from the ocean or ripples in a pond. This work attempts to
capture my delight at the complexity seen within the face of an advancing
wave. Eye-watering bright blue is used to portray purity, mingled with
mellow translucency.
A bold statement of admiration for natural curves and colours.
Criticisms of the Work
Beauty is in the eye of the beholder … My eyes are indeed watering,
but is that tears of joy or just strain? A conundrum awaiting an answer!
Rigorously executed, this piece demands attention, but may receive small
acclaim considering its understated provenance within the genre of “limited
pallet” (sic) paintings .
Title :-
“Blue Wave II”
Artist :- Bill Crumbleholme
Blue Emulsions on Chipboard.
Price on Application
Artist’s
Statement on the Work :-
It is a shame this item does not match the splendour of “Blue
Wave I”, but I wanted to exhibit them together to show the struggle
truly self-critical artists have – that nearing the sublime –
this a near tragedy, oh how fickly the artistic muse can wander! After
this short display, this sad piece will be recycled.
Criticisms of the Work
A brave act to put on show the failures with the successes, but perhaps
a service is rendered in helping to show the viewing public that not
all artistic achievement is procured with ease.
Obviously inspired by the Bluesbury group?
I'm in need of a decorator - I won't ask you!
I've got a fit of April Fool's Blues!
Move
aside Yves Klein you've been out-blued !
Title :-
“Blue Wave III”
Artist :- Bill Crumbleholme
Blue Emulsions on Chipboard.
Price on Application
Artist’s Statement on the Work :-
This work in the
series is an attempt to replicate texture and form by a type of offset
printing process. It performs, without tenure, but within the scope
of the parameters artificially imposed.
Criticisms of the Work
Almost a breakthrough in the sequence of interpretative function against
the harsh reality of a quintessential manifestation of azure.
Title
:- “Something Vaguely Flaglike II”
Artist :- Bill Crumbleholme
Copper and Aluminium Sheet.
On Loan from the Artist's Private Collection
(i.e. dug out of the garden shed)
Artist’s
Statement on the Work :-
Revisiting a methodology first encompassed at the turn of the century
for a commissioned work as part of the Flying Colours flag making project
within Dorset Art Weeks during the Year of The Artist, this assemblage
of modular panels (based incidentally on the aspect ratios of the humble
tin can) compounds itself into a statement about entrapment and escape.
The subtle, yet intriguingly varied, surface textures have been revitalized
in this edition, by distressing the copper sheet in a bonfire then mechanically
brushing the skin of the metal as part of the cleansing.
The stark image is timeless in human existence, the spiral being found
in all so-called primitive art. The Celtic swirl and the more regimented
Roman mosaic both use the motif with consummate ease. As a Mandala for
the concentration of thought away from reality into more spiritual realms,
the spiral edges its way into the mystical.
Criticisms
of the Work
A stunning approach to 21st Century iconically motivated art practice,
this powerful rendition of primal paternation speaks, nay shouts, at many
levels, to grab the viewer’s attention and speedily transfigures
it into inner solitude, without becoming aware overtly of the transition.
Full marks, consider giving up the potting.
Title :-
“We Were Young Once (2)”
Artist :- Name Withheld to Protect The Innocent
Garlic and Plastic
Price on Application
Artist’s Statement on the Work :-
A study of aging in the allium community.
Criticisms of the Work
This item repulses my senses and that’s not because
I am a vampire, I’m an art critic! Perhaps if I was a creature of
the night I might see some merit, or perhaps not.
Is this tacky enough to deserve conversion into a snow globe? Or does
the apparent protected fragility serve a mightier purpose in describing
the harmonious conflict between the inner and outer echelons of negative
space within this contextual framework?
Magic upturned!
Allium aging is a pertinent subject - maybe you could get a grant to study it?
This is the best piece of work here.
Title :-
“As The Crow Flies”
Artist :- Name Withheld to Protect The Innocent
Plastic
Price on Application
Artist’s Statement on the Work :-
The frustrations of rural bus travel.
Criticisms of the Work
If this is about transport, I’m not an art critic! It is a circumspect
truth to behold in this object a more tangled psyche than should be allowed
to walk the streets, let alone catch a bus. However the skill and dedication
with which each convolution is created within the box may point to a sub-conscience
yearning by the artist to control the thought processes, yet remain observably
transparent to the untrained witnesses. The use of colourless materials
which allow light to pass through them, yet which matchlessly distort
the optical perception, demonstrates a particularly cogent grasp of deviant
linear topography.
Visual Hernia - ouch!
Know the feeling - aaaaaagh!
It's a pipe dream!
Title :-
“String”
Artist :- Seymour Twining
Mixed Media
On Loan from the Artist’s Retrospective Collection
Artist’s
Statement on the Work :-
Taking issue with the Wittgensteinian stance relating to language and
the impossibility of discourse on certain topics, my preoccupation is
with attempts to answer the unanswerable.
My present work explores the interface between the known and the unknown
and takes as its subject matter age old philosophical debates concerning
string length. Definitive answers to questions on this topic prove illusive
even though they affect and problematize everyday life insofar as deficiencies
or over-abundance cloud the issues. My endeavour to unravel some of the
knottier aspects of this question leads me to conjecture that when there
are no strings attached the problem may well be solved.
Criticisms of the Work
An indefinite test of the viewer’s grasp of quantum mechanics,
this venture into the territory of “String Theory” must be
one of the most cutting edge conceptual items to immerge from the neo-rural
environment in recent times. The complexity of the work is likely to tie
the unwary in knots, however the answer to the almost unasked question
must be attainable within human finite possibility.
It is with deep regret that the artist’s did not complete the work
relating the bifurcated conundrum of Schrodiger’s Cat.
My mind is just a muddle, maybe my cat could sort it out!
Nice Frame
Title :-
“Where Will It All End ?”
Artist :- Seymour Twining
Mixed Media Installation
On Loan from the Artist’s Retrospective Collection
Artist’s
Statement on the Work :-
Grappling with unanswerable questions freights my chosen medium with questionable
answers.
My work concerning string length gives the viewer opportunity, in quiet
contemplation of the piece, to satisfy the deep inner desire, profoundly
human, to find some solution. In another context the number “42”
no longer requires explanation.
However, where numerical solutions obscure rather than illuminate, other
means must be sought. “Where will it all end?” seeks to incorporate
a spatial dimension with an object in view, ultimately connecting the
beginning with a tangible destination recognisable as common to much human
endeavour.
Criticisms of the Work
Where will the genius of this installation end? Reducing the artwork
to only one dimension – the definition of a straight line –
and then re-engaging with the three dimensional world through a torturously
intricate site-specific installation, does this seemingly simple concept
question the very existence of pan-dimensionality?
On a completely introspective higher level it also surely rightly questions,
directly and indirectly, the future economic outcomes of textile derived
installation work in a neo-rural microcosm.
Am I being Strung along?
Tread wormitis
Title :-
“Circuit Training”
Artist :- Iris K Diggatitall
Reconstructed Electronics.
Price on Application
Artist’s Statement on the Work :-
The bringing together of 20 year old components from a piece of military
hardware and a modern Pentium chip forms the basis of this statement
about the futility of the arms race. In two decades that terrifying
race has moved into a higher gear, with the power to size ratio increasing
exponentially, while humankind magics up new more efficient ways of
killing people, in the guise of improving communications and world wide
knowledge. The pentagrammatical layout of redundant circuit boards is
a reference to ancient symbolism. Their hinging spatial instability
purposely mimics the delicate balance of power, whereby a whimsical
external force can precipitate the collapse of the system. The centrally
focussed chip is suspended in a sacred place, being diametrically balanced
between awesome and awful.
Criticisms of the Work
Perhaps the most thought provoking conceptual item on display, this
work offers innate mystification to the human eye. The artist has strung
up for inspection the physical manifestation of moral disarmament. But
does this fit within a neo-rural gallery context or has the line been
crossed into proto-urban statementhood, which by definition should appear
in a more internationally influenced environmental scenario?
Title :-
“Eye Fool”
Artist :-
Collage/Montage/Oldage
Price see below
Artist’s Statement on the Work :-
Withheld awaiting ruling on copyright infringement
Criticisms
of the Work
The a
I love this strong feminist statement - the painted lady returns her gaze on the viewer who would seek to objectify her.
A pupil of Einstein, maybe?
The ayes have it!
A real eye-sore!
What an eyeful!
Blink and you will miss it.
Title :-
“Find Wally”
Artist :- Mothko
Mixed Media
Price see artist’s statement
Artist’s Statement on the Work :-
Criticisms
of the Work
The artist’s statement somewhat pre-empts any
attempt to tempt empathy from this undreamt emptiness. This work drains
the colour from any other art within the room, by astute mis-use of severe
entonation under the handicap of a self-imposed stricture towards invisible
wavelengths of the light spectrum.
This has been the bestest bit of my school field trip to the Monkton Gallery. I like the colour - Red is my second favourite colour after baby pink.
I like the fuschia bit - shame it's not all pink - I like pink.
Post Menstrual or Post Menopausal?
.
Title :-
“Portrait of my sister Ingrid on Midsummer’s Day”
Artist :- Kristina Offalsen
Mixed Media
Price “Whatever … !”
“My Soul is a smorgus board”
Poor Ingrid, I do feel so sorry for her. Your mum must be quite worried.
I like it - warts and all!
Awfully Offally!
Pearls before swine.
Title :-
“Tree I”
Artist :- Jez Merton
Tree, found objects, fishing line
Not For Sale
Artist’s
Statement on the Work :-
A wry work of Neo-Eco-Deconstructivism inspired by and a reaction to the
21st Century Post Modern Global Consumerist Society in which we currently
exist.
The tree symbolises the earth and our connection to all things natural. The tree is dead, brittle, signifying the drying up of our natural resources The tree roots are severed, epitomizing our disconnection to our planet and the abuse of our natural reserves. The roots hang by a tenuous thread above the ground- we have the ability to reconnect, but do we have the will?
The prosaic found objects that languish from the branches suggest that global corporations are exploiting our collective resources, creating the chatter of rubbish that inhabits our streets, countryside and landfill sites, taking maybe hundreds of years to biodegrade and squandering our precious reserves in the name of materialism and profit.
There is dynamic tension in the juxtaposition between the popular notions of man made and earth made. The tree floats effortlessly as an Axis Mundi between heaven and earth, yet is compromised by the visible artifice of our throw away society. The tree is the soft, harmonious feminine, the adornment thereon the male, brittle, discordant materialisation of our global culture..
Criticisms
of the Work
Certainly an installation to hang one’s reputation on. The dismembered
vacancy of the piece is enhanced by the use of trash to symbolise the
artist’s claim of making a valid statement. However this stance
is shattered by the total lack of empathy or sympathy with the truncated
portions. The complete disregard for any established level of appreciation
of the innate subjectivism of the found objects, even within the parameters
of the rampantly provocative school of Neo-Eco-Deconstructivism, is a
sad indication of the artist’s failure to grasp even the simplest
methods of operation within this genre.
Title :-
“Low Light Series 1”
Artist :- Shazzer Goodeye
Photographic prints
Not for Sale
Artist’s
Statement on the Work :-
In her seminal book On Photography, Susan Sontag described photography
as “a loose co-operation (quasi-magical, quasi-accidental) between
photographer and subject – mediated by an ever simpler and more
automated machine”. This series of photographs explores what happens
when this mediation process breaks down. The resulted images are a subversion
of the idea that photographs capture realistic depictions true to that
which is seen by the naked eye. Instead through their abstract quality
they hint to a concealed truth below the surface.
These images explore photography as a medium, or a process, so that it
is the surface of the photographs that the viewer notices, not –
unlike most photographic images – what was in front of the lens.
In much the same way as a minimalist sculpture explores the physical manifestation
of the art object, these photographs search for simplicity by stripping
the subject matter back until there is nothing left but the purest representation
of form, colour and tone. Indeed letting the raw materials speak in this
way is an approach that has been inspired by much of the contemporary
practice of sculpture. Like a rough chisel may leave its mark on stone,
these photographs maintain a sense of Truth To Materials: accepting that
the tools, and the limitations of the tools, should be seen in the finished
work.
Criticisms of the Work
A bold exploration of the photographic process. This work throws into
question our perception of photographs as articles to document and enters
with relish into to world of photography as art for arts sake.
Taken at their immediate face value, these images are mundane and uninspiring,
even somewhat lacking in discernable visual flavour, however from the
perspective of a disciple of photographic behaviourism they become animated
diatribes on the process being the key to realisation of the destination.
Is it plausible that bold displays of this fundamentally obscure nature
can radically alter the so-called perceptional logistics of lens based
media combined with paper based output criteria?
Title :-
“Counter-Culture”
Artist :- “Collaboration of Various Artists (from more than one
country)”
Reconstructed Electronics
Not For Sale (Booked for forthcoming Touring Display)
Artists’
Statement on the Work :-
The use of redundant MOD equipment as a starting point lends this piece
a serious quality of devastating poignancy. Did the digits count down
to Armageddon? Did that multitude of wires carry the signals for mass
destruction? Have we as artists harnessed for good the re-cubist nature
of the architectural design and structural components?
Criticisms of the Work
The stark metallic composure of this apparently naive piece echoes the
frightening energy and power of the Cold War period. The ability to count
such huge numbers is a reminder of the qualitative nature of science and
technology. The artists have done little to counter-act that malign influence,
the trailing wires appear to be the result of a ritual disembowelment,
rather than corrective surgery.
Title :-
“Metallic Light I”
Artist :- Boris Ivanideer
Brushed Sheet Aluminium.
Price on Application
Artist’s
Statement on the Work :-
From roots in communist eastern European culture, I struggling to reconcile
myself work within the westernisation and materialism inherent in the
changing political systems.
This piece begins the journey for me of reconstruction as the first
step on a pathway by exploring the recycling of sheet aluminium.
By scarring the metallic surface with a carefully contrived attitude,
light reflecting properties are enhanced to create a heightened visual
spectacle, it changes as the ambient lighting of the space alters, concurrently
with the relative position of the viewer.
Gallery Footnote
Boris established contact with us through the internet and his exciting
approaches to surface treatment captivated our imaginations. After a
problem with export licences was resolved by declaring the work to be
a sample of industrial process, rather than a work of art, we are proud
to give it a British premiere.
Criticisms of the Work
Quasi-holographic patterns leap from the piece as the viewer moves.
Despite working in a restricted environment, this artist’s creative
energy manifests itself in a very subtle yet movingly sublime manner.
The painterly use of bands of fluxing texture trick the pattern recognition
centers of the brain into seeing what is not there in reality.
Title :-
“Metallic Light II”
Artist :- Boris Ivanideer
Brushed Sheet Aluminium.
Price on Application
Artist’s Statement on the Work :-
See Metallic Light I.
I am having no more to say about my work, it is speaking for itself,
I think.
Criticisms of the Work
The adornment of this work with cylindrical protruberances enhances
the play of light and reflection on the viewer’s encounter with
the work in an almost proto-gothic reactionary way. This is an obvious
reference to the fickle cultural shift undergone by the artists emerging
from behind the Iron Curtain into the Aluminium and Silicon Age .
Title
:- “Metallic Light III”
Artist :- Boris Ivanideer
Brushed Sheet Aluminium.
Price on Application
Title :-
“Silicon Menhir”
Artist :- Iris K Diggatitall
Reconstructed Objects.
Price on Application
Artist’s
Statement on the Work :-
This minor item strives to explore the dichotomy raised by the juxtaposition
of power sources from the recently modern and the distantly ancient.
Standing stones and henge monuments are huge artificial symbols of mystical
power, whilst circuit boards encompass technological prowess in minature,
however both are venerated for harnessing massive predictive potential
in an uncertain universe.
Criticisms of the Work
This small work handles a colossal payload, perhaps the pinnacle of
human endeavour embodying as it does a scientifically eccentric comportment
layered against a primeval conceptual rational.
Title :-
“When the Chips Are Down”
Artist :- Iris K Diggatitall
Reconstructed Objects.
Price on Application
Artist’s
Statement on the Work :-
The spiral of circuit boards echo blindly inside the DNA of my soul.
Criticisms of the Work
Useless junk strung up to mimic art. Must not to be given room to influence
an esthetic argument.
Title :-
“Of All The Bars, In All The World!”
Artist :- Dim Lee Glee Ming
Aluminium.
Price on Application
Image to follow
Artist’s
Statement on the Work :-
I am being inspired by the mass of new structures in my new home city
of Beijing. I enjoy use bare metal to construct rigorously futile tall
edifice in search of greatness. The hint towards anthromorphism is beyond
my reach, but within the grasp of the viewer.
Gallery Footnote
Dim Lee’s work has been well received in the West, as it brings
an oriental sophism, somewhat missing from much of the output of his
western counterparts. This piece was shipped over in kit form and put
together by the curator, following instructions from the creator.
Criticisms of the Work
Nearly achieving cult status is no excuse for shoddy conceptual thinking
before execution of half-baked constructions. Maybe the ineptitude of
the curator’s assembly is the root problem!
There is however hope for a small inkling of sanity within this work.
Title :-
“Olympian ”
Artist :- Bill Crumbleholme
Reconstructed Artifacts.
Price on Application
Artist’s Statement on the Work :-
A single ring makes a comment on the fragmented nature of the
“Olympic Ideal”. Performance enhancing strategies have taken
over from old fashioned human effort.
Criticisms of the Work
There is no excuse for just putting junk together like
this and calling it art. My 85 year old uncle could do better!
TTitle :-
“Breakages Must Be Paid For”
Artist :- Bill Crumbleholme
Interactive Sound Installation
Reconstructed Vessel - Part Raku Fired.
Artist’s
Statement on the Work :-
This especially commissioned collecting vessel for donations
from the public, is an interactive sound based installation. The flawed
nature of the body lends it an unexpected timbre when coins and notes
are dropped in it. The almost ritually ceremonious nature such deposits
echo with the visual clues towards understanding of prehistoric attitudes
concerning the distribution of mere monetary wealth. The giver feels
satisfied and enchanted that the small token of appreciation will accumulate
into a more generous support of the good cause which is supported by
the gift. That support is seen to be urgent by the very disparate condition
of the coffer and indeed the work that it stands to the forefront of.
This edifitic statement was thrown in coarse ceramic, with an asymmetric
bias, it was texturally scarred in its infancy and then pieced together
after a deliberately executed destruction. The separate parts have been
treated and mistreated in the Raku firing process to engender a juxtaposition
of atonal and darkly rigid highlights.
Criticisms of the Work
As a functional pot this vessel performs much more astutely
than many more traditionally fashioned wares. After all, it has to be
said that patronage is a very important part of the struggling artist/maker’s
portfolio. It is a stroke of near genius to give the viewing Public
such an obvious hint about the part they can play in supporting the
on-going life and work of small scale creative industrialists by including
the collection of payment within the installation. Hats Off.
Title
:- “Waiting for Mickey”
Wood and galvanized steel
Price £500
Caution – This is not an interactive work
Title :- “Chevron
V”
Wood and galvanized steel
Price £500
Artist’s Statement
I am intrigued by the use of everyday objects in art. Works by Warhol
for example. My current work is strongly influenced by the modernist constructivism
of Lázló Moholy-Nagy. Whereas he mainly used a two dimensional
approach to his work, mine also embraces technology into art in three
dimensions. The current Tate Modern exhibition – Albers and Moholy-Nagy:
from the Bauhaus to the New World – expresses the current influences
in my work.
In these two works I have tried to link the humour of Dadaism with the
“uberseriousness” of the neo “unterkultur” of
late 20th Century central European urban structures. My work strives to
erode the boundaries between high art and art that provokes both amusement
and wonder through impromptu elements. It is a sort of retro-modernism
responding to the influences of Russian Suprematism and Dutch Neo Plasticism
of my early life.
BIOGRAPHY
Date and Place of birth unknown.
Found wandering in Eastern Europe after World War II.
Educated at various educational and definitely non-educational establishments,
mainly in Europe. Early education hampered by inability to speak any known
language but aptitude for mural illustration soon became evident.
Surprise winner of New Surrealists Expo 1969 in Madras which successfully
raised his profile as an emerging artist.
Following a lecture tour of the northern United States he became Regulus
Professor of Alternative Art at West Dakota Institute of Advanced Art
Studies in 1975.
Travelled extensively in 1980s and 1990s and was found again wandering
in Eastern Europe in 2002. Although his linguistic skills had not shown
much improvement his artistic abilities had developed to the highest order.
Now living and teaching in London.
His work has achieved cult status worldwide and because of the very low
output of his work prices are extremely high. We are therefore very fortunate
and privileged to be have these pieces on show here.
“Britain needs a lot more of this” Southern Water March 2006.
Criticisms
of the Work
This joyless, yet strangely uplifting design of “a better
mouse-trap”, encompasses the all too familiar neo-rural dilemma
of dealing with unwanted vermin, as an art critic I can relate all too
strongly to that feeling. However the inscription belies a far deeper
comment being constructed and almost performed by the artist, that of
a fiercely anti-globalisation stance! The trap has been baited for the
eponymous Disney Corporation and all the associated cultural garbage that
comes with it. A soul-searching masterpiece of understatement from one
of the country’s leading exponents of the genre.
A tragically minimalist voyage of discovery is embarked upon by this almost,
but not quite, flat work. Not an artist whose work can be put in either
a square or a round hole, what we encounter here is the pre-eminent dissection
of space into closed states, but with the all too necessary potential
to open and catch us unawares.
Stupidly over-priced.
Most people steal the clothes, not the pegs off my washing line!
Title :-
“Ritually Significant Icon”
Artist :- Deirdre O’Connaught
Ceramic and aluminium.
Price on Application
Artist’s Statement on the Work :-
A life dedicated to the study of Mother Goddesses has left
me in a state of enlightenment and deep understanding about the nature
of ritual iconography. This token represents the binding of the ancestor’s
spirit safely within modern materials, thus enabling it to continue
to operate as a talisman, contraposed against the normally corrupting
influences of 21st century technology.
Criticisms of the Work
Not another New Age Earth Mother, with her yearning angst! This is not
art, it is pseudo-religious mumbo-jumbo of the worst kind. Go back to
the forest, you witch, and let the rest of us deal with living in our
troubled times in a more enlightened manner!
.
Title :-
“Bound IIB”
Artist :- Deirdre O’Connaught
Aluminium and copper.
Price on Application
Artist’s Statement on the Work :-
The combination of New Age aluminium sheet and Prehistoric
copper strands, brings together the natural forces of pure elements.
The symbiotic juxtaposition of two metals entraps the potential difference
to create an electromagnetically generated field of influence. This
will assist the neighbouring environment to attain a low level of negative
aura.
Criticisms of the Work
Yet more pathetic yoghurt weaving clap-trap! There
is no place for this type of cheap tat in the serious contemporary art
scene
TTitle :-
“Silicon Circle”
Artist :- Iris K Diggatitall
Site Specific Installation of Circuit Boards.
Price on Application
Artist’s
Statement on the Work :-
Harking back to the ancient practice of gathering totemic boulders
and erecting them as ritualistic centres of gathering, this installation
uses the miniaturised circuit boards to form a circle of considerable
power. The Stone Age has been replaced by the Silicon Age, but have
we found out how to harness natural energy and knowledge? It comments
on modern humankind’s reappraisal of what is going on in the universe.
Do the alignments have a deeper purpose? Do they point to the stars?
Do the shadows they cast hold a secret message?
Criticisms of the Work
This reduced piece of so-called artwork poses more
errant questions than it will ever aspire to answer in any meaningful
methodology. No serious collector would consider for a moment that it
has any merit. Perhaps an impressionable new age hippy might buy into
the clapped out notions proposed.
Title :-
“Names Hurt”
Artist :- Caz Scott
Contact 01305 757096 carolinemscott@hotmail.com
Found Objects
Price on Application (subject to availability)
Artist’s
Statement on the Work :-
This piece aspires to challenge accepted wisdom and the cliches embedded
in the consciousness of our culture.
`Sticks and stones
may break your bones
But names will never hurt you'
Within this
context the piece reflects the enduring nature in terms of the physical
world as juxtaposition to our spiritual and psychical selves. It is constructed
mainly from found materials lying randomly on the sea's edge. The contrasting
states of earth and water reinforce the contrast between mind and body
and the work as a whole is strongly suggestive of outside forces exerting
strong influences on the resulting form.
The erosion of self is a theme that recurs throughout our lives at all
levels and healing the mind can be as difficult as healing the body.
Criticisms of the Work
This assemblage speaks deeply of shamanistic ritual practice. The
age old fascination with objects found on beaches is a significant intrusion
into the human need to both hunt and gather. It capitalises on the joy
experienced upon finding objects with natural apertures and raising their
status into the esoteric. The deployment of ancestor worship through bone
veneration is similarly archaic.
Artist :- Boris Ivanideer
Brushed Sheet Aluminium.
WITHDRAWN (Due to Health & Safety Issues)
Artist’s Statement on the Work :-
See Metallic Light I.
What is wrong with sharp edges and rough surfaces in the West?
The forced removal of this work constitutes a breech of my contract and may have far reaching consequences.
Criticisms of the Work
I am currently consulting experts with the aim of making a substantial claim for damages from this dangerous artist. How was I supposed to know about the hidden spring-loaded catch which activated the release of sharpened sections of metal? My nose will never be the same again and I dare not think of what happened to my lower body. To say the artist made his point is redundant!
Title :-
“Untitled”
Artist :- See below
metal
Not For Sale
This work was found propped against the Gallery door one morning, the designer/maker is unknown, but the work is of such stunning originality and quality that it has been included in the display.
Extracts from Visitors' Book :-
Victoria Beckham - Ooh David would love this, but I am just confused. I have forgotten my cheque book.
April Showers - Very provincial. Where's the elephant droppings?
Condoleeza Rice - Make War Not Art!
Colin Farrell - I fell madly in love with Kristina Offaliseu - Wow! Can I have her number?
Tracey Emin - Where are all the men I haven't slept with? My number's on the phone box outside.
Joe & Leigh King - What Can I say?
Bridget Earle - Australia - Oh Yes!
I Pampers - "Taking the Piss"
This is truly the most presumptious, crass and most uninspiring exhibition I have ever seen - congratulations & well done!
The layout of the exhibition could have been better to the work more justice - ore white walls and another spotlight would have helped.
My ears are hurting!