Art at the Heart Conference

Students from MA Art in Public were invited to Arts Council Conference 2007. It was raise issues that would emerge from the Arts Budget 2008-2011. The Current Arts Council assessment is that the arts in Northern Ireland require an additional £26m investment over the coming three-year spending period – the equivalent of £11.55 per capita. The Arts Council’s request per annum is approximately £9m and with the prospect of an additional uplift of only £500k for next year, the sector faces immediate financial problems. The draft settlement falls far short of the Arts Council’s assessment of need and losses were highlighted briefly by the Arts Council. “We currently have to turn down on average 60 per cent of applications annually from artists primarily due to lack of funds, and we have been forced to close important funding programmes due to lack of resources”, concluded Roisin McDonough. “If we are to stem the continuing decline, we urgently need to bring about an improved settlement for the arts through the public consultations on the Draft Budget.” I questioned whom the conference was targeted at, as it certainly didn't seem to reach most of the audience. It was a celebration of the arts and guest speakers weren't raising the issues the budget would caused but only asking "Is art important"? A ridiculous question to ask an audience, all of whom worked in the arts in a variety of ways! The day was filled with guest speakers ranging from Feargal Sharkey, musician and former Chairman of the Live Music Forum, political playwright David Edgar and Turner Prize Nominee Nathan Coley, Legendary Irish novelist Edna O’Brien shared insights into her work in conversation with Northern Ireland author, Glenn Patterson. After lunch we were split up for Workshops with actor and director Dan Gordon or educationalist Dr. Lawrence Riccio. The purpose of which was to explored the benefits of prison arts and educating young minds through the arts and also to debate the disappointing news of the moment. I went with Dan. He gave us and insight into prison art but there was no debate done. This should have been the most important thing of the day. The only opportunity for discussing the budget issue was an optional half hour at the end at which point most people had gone home.

I did get some benefits from the day. Nathan Coley's Landscape Sculpture was inspirational. He tends to use whatever material fixes for the context materiality of the art object. He is concerned with how people perceive the material he chooses to use. 'Show Room:A Temporary Art for a Permanent Dream' is a two bedroom rural cottage, presented in three different locations in North Shields, UK- Housing estate, a primary school play area and the docklands. All of which areas are contested spaces. Placed in the housing estate it highlights one of the last remaining green spaces in the estate. The primary schools play area was being sold for housing development and the docklands was being redeveloped. The show house turned into a real estate promotion. Viewers came to buy into a dream, a dream of owning a rural Irish cottage in such spaces. But unfortunately it was all make believe. The 'Show Room' was an illusion, constructed as a stage set. It was installed once in Dublin at a busy intersection in the city centre, opposite Dublin's financial cnetre, the IFSC, which couldn't be more appropiate. It raises viewers awareness to urban development, ownership and identity. Students in the University saw their own show case of the cottage in a installation room at the college as this project was curator by Locus+, a non-profit organistaion from Newcastle, UK. Locus+ Archive exhibition ‘This Will Not Happen Without You’ opened in the Gallery Space at the college at the end of September.
Nathan's work can be seen on..
http://www.artnet.com/artist/424151224/nathan-coley.html
http://www.recirca.com/reviews/nathan_coley/index.shtml

Nicola Hicks

Nicols Hicks' primary media are plaster and straw, and huge sheets of brown paper on which she works up her dynamic charcoal drawings. Many of the sculptures have subsequently been cast in bronze, often with such subtlety that every fragile detail of plaster and straw is reproduced. The study of anatomy and the discipline of drawing cannot be underestimated in Nicola Hicks' work. Although not concerned with mimetic representation her achievement is founded on a unique ability to capture the physicality and psychology of the animal and human figures she creates. Her work often combines charm and menace in equal and sometimes devastating measures.

Boat Trip on the River Lagan

As part of my external collaboration with the Golden Thread gallery. We had our first meeting on the Lagan Boat with participants on the Duke of Edinburgh award (www.theaward.org).

FIX sight observations

Observations for Fix performance. We as a group decided on Ormeau Bridge, a crossing point between Down and Antrim. We choose the name Contact for our show as it boils down to the essence of what we aim to do through interventions or performances. As a build up to this event I researched the area and it's history.

Step one:
Walk the area, read about the history or the current situation, find out the demographic data of the area, examine the architectural substance of the street. What do I know about the area? Employ primary and secondary research resources appropriate to my project. Where do I go to find out about the area? Libraries, local councils, community centre, internet? Take notes, take images, draw, film, record sound, whatever helps you to visualize and fix your thoughts and ideas.

Step two:
What attracts my attention? What do I wonder about? What do I find interesting? Take notes, take images, draw, film, record sound, whatever helps me to visualize and fix my thoughts and ideas.

Step three:
Consider the frame of the project task: The time, the finances and the organisational frame. What do I think is realistic to realize for me? How much time can I spend in the preparation, how much time in the realisation of your work? (The given time for a performance or presentation is 2 x 4 hours).
Write a timeline from now to the days of realisation for myself.
Do I need help? What for? Do I know whom to ask?
Do I think I need equipment or money to realize my idea?

• Description of the project / idea
• need of material, technical equipment involved
• exact location
• estimate the crew I need
• estimate the time I need to realize the work (with timeline)
• estimate expenses
• estimate my wish for documentation and what I would need to gather feedback for the work

Oxford Island

Logbook – Oxford Island


Day 1

We were given a brief - Design and build a wood fired bread over in the Artspace Area. The cob will be made up on the spot from local clay and sand. The design can be based on traditional Ulster or Cornish examples or on Italian/Spanish ovens. We took a synergetic, humanity, community approach using traditional methods and materials in our construction. We researched the Ulster oven as we liked the simple design of the form. We spent most of the first day planning and researching. I learnt basic things in building about clay ovens – Face door away from wind, 1part clay to 4 parts sand: cob combo.

In the afternoon firstly we put up a canopy to shelter us if it rains. We naturally split up into two groups: builders and twisters. The builders constructed the block structure that was to be a platform for the clay oven. The twisters well twisted!! The cob was made by mixing the clay and sand together using your bare feet. It was an enjoyable experience I must say being allowed to muck about in the dirt.

Day 2

At this stage we had constructed the platform and mixed up some cob and were ready to get stuck in. we added extra support to the platform to support the weight of the oven; laid down planks of wood on to platform, then an inch of sand and finally the layer of bricks. We were now ready to create the mound. The mound will be the belly of the oven. Eventually in weeks to come the sand will be taken and the oven will be ready.

We ran out of sand so combined logs and several objects we found lying around to form the belly of the oven. We covered it with newspaper to soak up excess moisture in the cob and also to separate the cob from sand. At this stage the cob was ready to be fixed on. We built the cob up by forming layers and pressing it down giving it more structure.

Day 3

We had a lot to complete by home time: finish moulding the clay, pat down cob, collect firewood, attach wooden panels and mould door on to the front. The surface needed to be smooth so that the rain water runs off. Furthermore the wooden panel fixed to the base of the platform protects the clay from getting eroded by rain water. We fixed more wooded panels to the front section to cover the blocks and make it aesthetically pleasing. Holgart made tea with the Kelly Kettle’s and soda bread on a wooden fire for us which were nice refreshments to the days work. We celebrated our work by combining the finished pieces together: the clay oven with the wooden table created by the rustic furniture makers.

Brendan Jamison

Artists' Statement

Drawing inspiration from eastern philosophies and the science fiction genre, my sculpture practice involves the construction of objects from the everyday world that are transformed into vibrant-coloured 'exaggerations' and at times surreal 'other-worldly' forms. As the original identities and functions of the objects become altered, they can emerge as both strange and familiar, abstract and figurative, floating between the realms of fantasy and reality. Employing an intensity of colour, the installations imbue an immediate sense of fun and playfulness. Engaging the viewer on a level of simple elemental appreciation of colour and form, the pieces can evoke a return to the more innocent, curious, magical and fantasy-driven mindset of childhood. This viewing process can temporarily empty the mind of anxiety and negative thinking which can sometimes be bound up within our adult outlook on life. Therefore while the sculptures may appear escapist in nature - taking us to a place of pure imagination and freedom, they can also perhaps act as a catalyst to transporting us back to the present moment of reality with a fresher perspective and a renewed sense of optimism. In this sensory-heightened state, the mind has a stronger sense of awareness and connection, seeing things in the world as they truly are - in their simplest and purist form. WOOL SCULPTURES: WAX SCULPTURES: SUGAR-CUBE SCULPTURES: Energetic. Vibrant. Sweet. Warm. Fantasy. Fragile. Non-violent. Fun. Structured. Gentle. Playful. Controlled. Feminine. Pouring. Geometric. Comforting. Dripping. Architectural. Weightless. Spontaneous. Organic. Flowing. Organic. Masculine. Enveloping Fluid. Feminine. Transforming. Accident. Androgynous.