Curatorial Writings

Nicolette Murin has enjoyed looking at the artwork in the show, thinking about context and relationships and doing research into the artists’ intentions.

Her writings are quite interesting and help to enhance the viewer’s understanding and enjoyment of the work.  They will be displayed on the wall by the work.

Her writings are posted here as well. Some of them contain the artist’s statement.


Kerrie Ahern

Porcelain is made from Kaolin, which was first mined in Jingdezhen in Jiangxi province, China, some 1700 years ago. Kerrie Ahern uses this local Kaolin to produce her fragile delicately perforated vessels with striking interiors. The cobalt blue against pristine white irresistibly recalls the coveted blue and white of other vessels from the Ming Dynasty.


Julian Beere
Leytonstone Waitings’, Digital Video, Installation.
Written by Julian Beere:

‘Leytonstone Waitings I’ is one of a series of field studies intended as an exploration of liminal spaces in Waltham Forest. A ‘waiting’ is a term I’ve coined for a situation in which there has been an attempt to lose or immerse oneself in the relative minutiae of its various visual fields – in this study, my own vision and perhaps those of others haunting the spaces.

‘Leytonstone Waitings I’ is told as a circular route and virtual passage made between benches around and about Leytonstone. The transitional stages in the passage have been rendered in a manner similar to a ‘spot the difference’ puzzle, created using relatively basic digital image manipulation software (‘Microsoft Paint’).

As a participant you are invited to imagine or project how the objects and sites act collectively as thresholds and thus begin to form a rite. Some of the benches have potentially very specific social contexts in terms of life passages e.g. a bench outside a hospital wing and the associations that would have with birth, healing and death. Each site might share your presence as a ghost waiting in a moment as time goes by between a departure and an arrival – ‘the quickenings and retardings, the approaches and separations, all the shifting detail of its march and ordinance, according to the irrevocable caprice of its taking place’.*

‘Leytonstone Waitings I’ – assorted Jpeg images (2304X1728 pixels / 72dpi) treated using Microsoft Paint and revisited using Windows Movie Maker 2.6.
‘Leytonstone Waitings I’ is presented as a full scale projection for As Time Goes By, on 13th, 14th, 15th and 21st July and as a reduced scale playback on 12th, 16th, 17th, 18th, 19th and 20th July.
* – Samuel Beckett, Watt (1953).


Julie Caves

Julie Caves’ paintings explore colour and light through multiple translucent layering. The rendering of this time devouring process is deceptively intangible and invites the viewer to draw in close for further examination of its trajectory.


Gillian Drinkwater
Weight of Ages Portland Sculpture

Portland stone was formed at the end of the Jurassic period, around 145 million years ago, when the Isle of Portland in Dorset – was nearer the equator, and is where Gillian Drinkwater quarry carves in flow with the sights, smells and sounds of the sea.

Weight of Ages shows Gillian Drinkwater exploring the relationship between formal and informal, carved and letter cut stone interventions.

This Portland stone grew over many thousands of years, gathering its weight and history. The quarry tool marks are visible markers of the heaving and splitting of a piece of the past. Covered by hand, a form in space, now and forever with the weight of ages.”


Diana Furlong
Etching

Whilst working with this etching plate at each stage of printing the plate was modified so that the previous version could no longer be printed. So the transition through time began, ending at Transition III at which point versions II & I are lost forever, a reminder that in life we should always go forward as it is impossible to go back

Diana Furlong’s etchings show the cumulative process of the methodical numerous stages of etching that usually remains unseen. Etching is an intaglio process where the image is cut or incised onto a metal surface with a sharp needle tool. Ink is applied to the plate and then wiped clean leaving ink only in the incisions. The plate is placed under a printing press to print onto paper.

The printing process used by As Time Goes By two printmakers Diana Furlong and Kate Hardy, demonstrate a connection between the many stage printing process and Julie Caves’ multiple layered paintings of translucence and opacity, where each stage is hidden or almost glimpsed.


Kate Hardy
Blocks Woodcut

Though woodblock-printing dates back to 9th century China, it was not until the late fourteenth century, when paper became commercially viable, that it really took off.

The material used is about an inch thick of quite soft wood such as beech, pear, or sycamore, sawn lengthwise across the grain and planed smooth.
The wood surface brings its texture to the artist design by giving depth to Kate Hardy’s tactile painterly architectural blocks. In turn linked to Timothy Kraemer’s tower block, Holly Street Estate.

“Kate Hardy’s work is informed by a sense of place and explores atmosphere. She uses architecture as a metaphor for the emotional history of the spaces which we inhabit, which were inhabited by others where experience of our inherited spaces we can only imagine.”


Robert Jackson
Appearance of the Civilisers Recycled Nails on Board

Robert Jackson’s work questions the practice of according objects special significance.
“Building refurbishment to a terraced house in Walthamstow uncovered nails whose distortion and subsequent decay allows them another personality. The overlooked can be a thing of natural beauty. What exactly is an ancient relic, what has archeological significance? Each arrangement of nails depicts a setting

Robert Jackson’s recycled nails are wrenched to resurface as a mute surprisingly tactile rust oozing presence. The debate about using existing objects or specially made objects calls up Susan Collis’ Enter, us (2009) 18-carat white gold white sapphire encrusted nail drilled directly into the gallery wall.


Timothy Kraemer
Hackney Tower Block Panorama Photography

Timothy Kraemer’s photography unfolds the 10 seconds detonation of 1960’s Hackney tower block, Holly Street Estate. The footage was shot from Timothy’s neighbour’s roof in the late 1990’s, with an analogue (film) Canon camera with a motor drive for very fast continuous shots caught on just one roll of film. These have subsequently been transferred to digital format.

“The dawning of the tower block in the 60’s was a new world which would solve our housing problems. In 10 seconds this tower block was reduced to rubble. How times have changed.”

Those hideous blocks that slam the sky.” John Betjeman


Veronica Lindsay-Addy
Textiles Mixed Media
Diary of a Housewife 7 aprons hung on a rail

Veronica Lindsay-Addy sums up her work in five words: homespun, colourful, calm, pattern, and people. Veronica’s seven aprons reveal this and more…

The witty perfumes and headache tablet’s apron may remind you of the heady fumes of liberally applied Poison.


Shaffique Manson-Visram’s
pen and ink Architectural Delights feature Waltham Forest curiosities.

The 1905 tramways office in Walthamstow was local council run, first for trams, then trolley buses and finally for motor buses. The last tram ran on
12th June 1937. It now houses a set of flats but the Tramway name still remains in stone set on its façade


Paul Morris
Her Lips Were Red Mixed Media

Images derived from the subconscious based on real events, relationships, dreams of love, sex and death passing through layers of time. Paul Morris’ images can sometimes push religious and tasteful boundaries – but it is not his intention to shock but to explore the darker side of sexuality and love.

Paul Morris’ interventions co-opt existing objects to engender another potentially subversive narrative. There are books with inserted old found photographs overlaid with hand written scarlet ink inscribing a counter story fixated with red lips script, and diaphanous vermillion blindfolds over early sepia photographs of women.


Nicolette Murin
Index

Nicolette Murin explores the partial and tenuous nature of archives and memory. How it is almost irresistible to join the dots even when the line veers off page with current sensibility stepping into the gaps.
Having graduated from St Martin’s in 2011 Nicolette has remained intrigued by a 1936 card index from St Martin’s archives of Byam Shaw School of Art. This has formed the basis of a seductively addictive research trail that has led to unexpected quarters.

The original card is on loan for As Time Goes By with the kind permission of Central St Martin’s Museum curator Judy Lindsey.
Christopher Andrew’s Defense of the Realm: The Authorized History of MI5 is on loan from Leyton Library .

Also shown, in Leytonstone library’s octagonal wooden case, is wonderfully evocative illustrated sheet music from the 1930’s –1940’s whose covers register potentially other meaning to contemporary eyes.

Index     (Nicolette murin)

Index card in Leytonstone library study room display case with “Defence of the Realm” showing MacNamara name check


Devyani Parmar
This jar contains a rotten mushroom in tap water

“The fleshy, spore-bearing fruiting body of a fungus has been rotting away in this jar since the date stamped on it, but still remains imperfect in its decaying state, impermanent in its metamorphosis and incomplete with its potential to grow something new.”

Devyani Parmar’s Mushroom in Tap Water dating from 18th February 2011 will accrue in value during the course of the As Time Goes By show.


Julia Spicer
Scraphead

“Remnants of a bonfire on an industrial estate near Blackhorse Road photographed for some long-forgotten project unexpectedly yielded a hidden profile when printed in black and white.”

Julia Spicer’s Scraphead photograph questions the nature of perception and mediation. Do we tend to see faces everywhere because such a large part of the brain is shown by scans to be devoted to this particular recognition? Witness the many objects, circling the web ((I like the Angry Pepper),

Perhaps it’s part of pattern recognition, as seen with removing colour in the pared down monochrome design serves to reveal the latent image?


Andrew Super

“By photographing the everyday occurrences of my life for the full duration of an event I’m able to create documents that show me everything I miss by participating in the event. I am experiencing that which I am unable to see.”

Early photography’s prolonged exposure process required the sitter to remain still for twenty-five minutes or more so that the photograph would not be blurred. This led to many a stiff and unsmiling face emerging. Out door shots show uncannily still landscapes bereft of inhabitants, since the long exposures simply couldn’t pick them up as any passers by had moved out of shot long before the camera could get a fix on them.

Andrew’s long exposure photographs yield an interesting contrast between the inanimate and the animate. There is high definition and fixity of architecture such as stone statues as in Occupy Rochester against human soft blur.


Paul Tucker

“Images from a factory site in Tottenham Hale, since demolished. Once the largest furniture factory in Europe, it later became a government suppliers, storage facility and car depot. The images are imbrued with the sense of time passing and the inevitable feeling of abandonment as it awaits its fate.” -Paul Tucker

Paul Tucker’s contemporary looking colour photographs form a poetic record of the neglect of transitory spaces. One such features a centrally positioned lone defiantly vibrant verdant weed eruption at the intersection of car parking markings on a Tottenham Hale back road. It is interesting to have two contrasting presentations of treatments and interplays of the animate and inanimate by the two photographers Paul Tucker and Andrew Super in As Time Goes By

Advertisements