Over the last month myself and Sharon Mossbeck – under our arts initiative Fronteer – have been busy organising, curating and promoting an open call exhibition and arts prize, entitled The Fronteer Open 2018. Sadly, this has now come to an end, but we hope to be back again next year with slightly amended plans and bigger prizes. Here’s a bit more information about the exhibition and how it all went.
We had around 550 visitors come through the exhibition, including around 100 visitors to the Private View. If you didn’t make it along to the Awards Evening, and you haven’t yet seen it on social media, our winning artists are:
Professional Winner: Caroline Greyling, One Second in Covent Garden
Amateur Winner: Susan Wright, Contours 2
Student Winner: Charlie Ottaway, Fish and Chips, By the Sea
People’s Choice Winner: Philip Lee, We Are All Wanderers
We were so impressed with the standard of work throughout the exhibition, and we hope that you all consider yourselves as winners for getting into the exhibition out of the more than 120 entries we received.
The feedback has been fantastic, with many visitors coming specially to see the exhibition. Everyone we have spoken to has said that the exhibition was excellent, the standard of work was really high, and the diversity of the work meant that there was something for everyone, so very well done to you all, and thank you for being involved.
We received more than 150 votes in the People’s Choice Award, and people really engaged with the exhibition when they decided to vote. The voting was spread pretty evenly across the exhibition, with every piece of work in the exhibition receiving at least one vote.
For a comprehensive collection of photos, take a look at our Facebook page: www.facebook.com/FronteerArt/
We cannot wait to deliver more open call opportunities next year!
Since early September I have been working on an upcoming Perfume as Practice range of fragrances ready for exhibiting at BasementArtsProject, Leeds. It will take a departure from my usual approach and process to Perfume as Practice exhibitions. Firstly, rather than a display of portraits, my perfumes will each describe the reasons why artists make art – revealing the capacity perfume has for socially engaged creative action.
Secondly, the exhibition – entitled Desire and Alchemy – will mark the first time Perfume as Practice has been placed alongside another artist – Emilia Telese.
Emilia and I both have an established interest in utilising scent within our artistic practice, with the aim of revealing how scent can be a powerful and meaningful mode of communication.
My work – Entitled Perfume as Practice AW18 – will house 15 perfumes, and will take influence from alchemist practices in order to achieve desired fragrances, with the viewer invited to experience and interact with each perfume.
Telese’s work – entitled Scents of Self – will utilise Scratch and Sniff technology to explore image, pattern and body. Her work will invite the viewer to touch the artwork in order to reveal scents hidden within.
The Opening Evening will be on Friday 19th October from 7.30-9.30pm. The evening is free, and both artists on hand to discuss their work. Refreshments will also be available.
If you can make it, it would be great to see you!
This open call has now closed
Fronteer (an arts collaborative initiated by myself and Sharon Mossbeck) presents The Fronteer Open, an open call to submit work for an exhibition at 35 Chapel Walk, Sheffield from November 19th – December 2nd 2018. With the opportunity to win cash prizes of up to £200.
Artists are free to submit a piece of work on any theme they wish, which will then be separated into the following categories; Amateur, Professional and Student. Artists will be responsible for choosing which category they feel they belong to, with a prize of £100 for the winning artist in each category. There will also be a People’s Choice audience vote, with the work that receives the most votes being awarded a prize.
The open call is open to all artists except for staff and volunteers working at 35 Chapel Walk, who are unfortunately exempt.
The open call is free to enter, and artists are invited to submit one piece of work for consideration. Work can be 2D or sculptural, and can be no larger than 75cm across any one side. Unfortunately, we cannot accept video or audio works.
If successful, your work will be subject to a £15 charge, which will apply only if your work is selected. Work must already be complete at the time of submission.
Work can be offered for sale at the exhibition if you wish, and no commission will be charged for sales. Fronteer will put buyers in touch with artists to make arrangements for payment, although work must remain in the exhibition for its duration.
The deadline for submissions is 10pm on Friday 12th October and successful artists will be notified by email on Friday 19th October.
If successful, you will be invited to send or deliver your work to Exchange Place Studios, Sheffield, UK, where Fronteer is based. The £15 can be paid via Paypal or bank transfer by 16th November, or in cash if you are delivering work by hand.
If successful, your work must reach us by no later than Friday 16th November. The exhibition will be held at 35 Chapel Walk, Sheffield between 19th November and 3rd December. There will be an open evening, which will incorporate prize giving, on Friday 30th November.
After the exhibition, artists will be responsible for the return of their work. Artists can collect their own work from Chapel Walk on 3rd December, or from Exchange Place Studios on either 7th or 8th December. You can also arrange for your work to returned by post at your own cost. Please allow up to 2 months (3rd February 2019) following the exhibition for the return of work.
We do not have the facilities to store work, and any work which has not been collected, or had arrangements made for return postage after 2 months (3rdFebruary) will be disposed of.
£400 worth of prizes will be given away to artists during the exhibition, and will be broken down as follows:
- £100 for Best Amateur
- £100 for Best Student
- £100 for Best Professional
- £100 People’s Choice Award
This means there is a maximum prize amount of £200 available if an artist wins both their category, and the People’s Choice Award. Prizes for Best Amateur, Best Student and Best Professional works will be decided by a judging panel consisting of Fronteer founders Michael Borkowsky and Sharon Mossbeck, along with a representative from Chapel Walk. The People’s Choice Award will be voted for by the audience over the course of the exhibition, up until the open evening.
How to Submit
Artists are invited to submit ONE piece of work.
Work can be 2D or sculptural. Unfortunately, we cannot accept video or audio works. Works which require hanging must be ready to hang with mirror plates or picture wire already attached.
To submit, please email no more than 3 images of your work to email@example.com along with the following:
- Your name
- Your category (Professional, Amateur or Student)
- Title of the piece
- Dimensions of the piece (remember; the piece can be no bigger than 75cm across any one side, inclusive of frames and mounts.)
- If your work will be offered for sale, and if so, what price.
- Up to 100 words about your work (this text will not be exhibited as part of the exhibition)
All work must be complete at the time of submission. Any work which varies from the original piece submitted will be rejected. Work should fit the specifications outlined. If you wish to submit a print, it will be your responsibility to print it off before posting it to us.
Thank you and good luck!
For the first 3 weeks of July I undertook a residency at Access Space, Sheffield entitled ‘Scents of Our Time’ which saw me utilise candle making to respond to the news events of the day.
The residency seeks to gauge whether an audience can engage with the concept of utilising candle making as a means of social and political commentary; subverting preconceptions of what candle making can be and placing it on a contemporary art platform.
I didn’t really know what to expect, both in terms of my approach to responding to the news through scent design or with regard to audience engagement, but I did feel rather buoyed by the opportunity, as it was the first public outing of Scents of Our Time.
Weeks 1 and 2 focused primarily on the production of candles as well as the production of visual material:
Designed in a manner that apes news graphics, this painting continues a precedent set with my Perfume as Practice body of work. Namely, under current projects the paintings that I complete act simply as visual description of proceedings.
I found that the candle making process – slow, considered and cathartic – provides an alternative method of digesting the news, which often arrives rapidly and successively, affording no time to meaningful contemplation. This is something I will take into my third week.
The 3rd and final week saw a shift of focus from working to exhibiting, as candle production was reduced in favour of curation ready for a closing event. The resultant exhibition saw the presentation of 18 candles, each a separate response to the news, along with visual embellishments and, in an attempt at transparency in my processes, information regarding how each candle was made.
The aim of Scents of Our Time at Access Space was to reveal the capacity candle making has for social comment, agency and creative action while providing transparency into the creative process, allowing for insight and knowledge exchange. I believe that these aims were mostly achieved, but in unexpected ways.
For one, I didn’t account for the visual intricacies of each candle to be contemplated by an audience. Perfume as Practice – my other project that utilises scent – tends to rely on supporting visual material to create a cohesive set of work as otherwise it’s proven hard for an audience to engage with it beyond face value. Scents of Our Time didn’t actually need any other supporting material as each candle contained enough visual information to be regarded within context: If I am, for example, responding to the (relative) triumph of the England National Football Team, a candle adorned with grass-green and white wax already provides an audience with a visual representation. This use of colour is absent from perfume as Practice and as such, perhaps I had gotten overly used to designing extra visual ques even when I don’t need them.
Unfortunately, a combination of The World Cup and the hot weather (both of which were responded to in my candles) meant audience attendance was down on what might have been expected. However, what audience there was appeared fully engaged with the project, citing it’s innovation and subversive approach to candle making. This is a fantastic starting point and I think the project lends itself to being a residency, as it forces me to respond with urgency and energy to the news of the day. And it will be fun seeing where this leads.
I’ve been an artist in residence at Access Space for two weeks now, responding to news topics of the day through the unusual art form of candle making. Find out more about my thoughts and processes this coming Wednesday at Access Space from 5.30pm! full details here:
I hope you can join me!
Last weekend I was part of a group exhibition at the Old Holy Trinity Church, Wentworth called ‘Measure’ – which looks at the human soul. My own offering was a scented narrative that suggests you can weigh your soul against the virtues of your job.
This is the second outing of this particular body of work, with the first being at Sheffield Cathedral last year. I found that the informal yet contemplative space of Old Trinity Church lent itself more to audience engagement. this was evidenced by how many people took the time to look and contemplate what was in front of them. As such, conversations emerged about life, purpose, vocation, perceptions of self, perceptions of each other and indeed mortality.
It wasn’t all about Life’s Big Questions though, as the design and implementation of my work also revealed to an audience the capacity perfumery has for narrative. In this instance, the perfume I have created forms part of an installation that incorporates painting, 3D work and text. This allows my audience to directly comprehend perfumery against other more established art forms. It certainly holds it’s own and enhances the overall experience.
My next stop is Leeds for Horsforth Walk of Art, where I’ll be trialling a new idea based on perfume and emojis. Looking forward to it!
Earlier this month I exhibited at Platforms Project, Athens as part of a group exhibition that looked at the contemplation of our solar system. I, alongside artists Sharon Mossbeck and Alison Whitmore, took 3 planets and interpreted them through our own modes of enquiry with reference to Ancient Greece.
Sharon’s work comprised painting and cross-stitch, Alison’s comprised sculptural and works and I presented 3 perfumes, each representing the Greek gods of Zeus, Kronos and Ouranos.
Platforms Project – which is an art fair – was well attended. It reached 16,000 people and our exhibition was well received. I even managed to sell a thing or two, which is great. There are, however, a few caveats with regard to my own work that should be addressed if I am to learn anything and develop from the experience. You see, after much consideration of how to translate three Greek Gods into a scented experience, I decided ultimately to play it straight – simply designing 3 perfumes that acted as portraits of each God. I assumed that this would result in a clear connection between object and concept and would transcend language barriers.
Ironically, by playing it so straight I exposed just how obtuse the notion of a perfume portrait actually is. While the audience did seem to rather like the scents and visual embellishment on display at a base level, the link between the perfumes and the Greek Gods wasn’t as clear as I thought it would be. It required further explanation, which wasn’t always easy to do due to a combination of a complex concept and the language barrier. (although this is partly my fault – I really ought to learn Greek if I’m going there every year.)
Interestingly, a volunteer who also helped out with Platforms Project last year said that she remembered the scented experience I designed last year and that, while she liked what I did this year, she loved what I did last year, which was essentially a narrative based on the notion of The Grand Tour, which incorporated scent:
So perhaps scented sculptural work designed to tell a story, rather than a straight perfume portrait, would actually be more successful in engaging a wider audience? Or maybe the Greek Gods and the complexities of their narratives would benefit from a different approach to a straight perfume portrait? Perhaps a more careful consideration of why I’m choosing specific scented designs is required, based on the concepts I’m trying to reveal.
Either way, it was once again a pleasure to exhibit at Platforms Project and naturally it was another great chance to visit a beautiful city. But maybe next time I’ll leave the perfume at home.
Head – Elemi, Lime, Cotton
Heart – Black Pepper, Ginger
Body – Patchouli, Cumin Seed
Full of unwavering energy; the initial blast of lime, compounded dry the earthy readiness of patchouli and the potency of cumin seed describes the electric effects of thunder and lightning. This is offset by the woody accord of Elemi, referencing Zeus’ hidden childhood suspended from a tree. Black Pepper and Ginger forms a heart shared with Kronos and Ouranos; referencing family connections. Cotton, alludes to Zeus’s overseeing of the sky.
This fragrance is on display during Platforms Project 2018 at Athens School of Fine Arts.
Head – Dill Seed, Lemongrass, Basil
Heart – Black Pepper, Ginger
Body – Patchouli, Myrrh
Description – Titan of the harvest; Dill seed, lemongrass and patchouli describe a plentiful abundance of produce. Basil references the confidence needed to instigate the battle with Ouranos. 5 drops of myrrh reference the 5 children he ate, while it’s heavy, lingering quality also alludes to the personification of time. Black Pepper and Ginger forms a heart shared with Ouranos; referencing family connections.
This fragrance is on display during Platforms Project 2018 at Athens School of Fine Arts.
Next week I travel to Athens to participate in Platforms Project – an independent art fair in the heart of the city. It’s the 3rd time I will have entered work into the art fair, and the 2nd time I’ve directly been involved in the curation and installation of my work.
This year my participation in Platforms Project will once again take the guise of a group exhibition. The exhibition, entitled ‘Wonderer’ seeks to reacquaint an audience with Ancient Greek appropriations of the planets.
The exhibition comprises 3 artists – myself, Sharon Mossbeck and Alison Whitmore – and we have taken 3 planets each to interpret, explore and interpret from an Ancient Greek context. My chosen planets are Uranus, Saturn and Jupiter. Or, as the Ancient Greeks would have it; Ouranous, Kronos and Zeus – three Greek Gods with a family lineage.
So how does a fine art perfumer go about creating something from these three Gods? Well, by taking advantage of the family lineage and utilising the capacity fragrance has for narrative, metaphor and I have encapsulated the planets of Ouranous, Kronos and Zeus in three separate fragrances.
Each fragrance contains potent spices and woody notes; alluding to their godly, confident qualities and direct family history. Yet they also contain delicate floral notes, zesty fruits and earthy spices in an attempt to describe each God’s individual narrative.
Each perfume is a portrait of the respective God and is as rich and complex as you might expect from portraiture. Hopefully my audience at Platforms Project will agree that my unique approach to perfumery reveals a meaningful and untapped art form.