Fronteer – an arts initiative by myself and Sharon Mossbeck – presents Botanicals, a group exhibition featuring art work relating to a botanical theme.
The theme can be interpreted however you wish, and does not need to be overtly botanical. Work can be in any medium, either 2D or sculptural. The exhibition will not include any video or audio works.
We are looking for high quality work to form a stylised exhibition with an exhibition catalogue to accompany it. The exhibition will take place in the newly refurbished North Gallery at Exchange Place Studios, Sheffield for three weeks in July 2019.
Artists from all backgrounds are invited to submit one piece of work (or a set of pieces which amount to one work, e.g. a triptych). It is free to submit, with only those artists who are successful paying a £30 entry fee, and this includes a copy of the exhibition catalogue.
Work must be complete at the time of submission. Work can be offered for sale during the exhibition, and we will charge 10% commission.
The deadline for submissions is 10pm on Sunday 14th April and successful artists will be notified by email by Sunday 28th April.
If successful, you will be invited to send or deliver your work to Exchange Place Studios, Sheffield, UK, where Fronteer is based. Your work must reach us by no later than Friday 14th June. If you wish to bring your work in person you can do so on 2nd or 3rd July, 11am-4pm.
The £30 entry fee for successful artists can be paid via Paypal or bank transfer by Friday 14th June (midnight). You can also pay in cash in person on 2nd or 3rd July 11am-4pm.
The exhibition will run from Monday 8th – Sat 27th July, 11-4 daily (except Sundays), with a related programme of events taking place throughout.
How to Submit
Artists are invited to submit ONE piece of work.
Work can be 2D or 3D, though 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.
If successful your work will be featured in an exhibition catalogue. As such, we are require the photographs which accompany your submission to sent as jpegs at 300 dpi, and images should be between 1mb and 3mb.
Please submit by email to firstname.lastname@example.org along with the following:
- Your name
- Title of the piece
- Dimensions of the piece
- Up to 3 300dpi images of your piece
- If your work will be offered for sale, and if so, what price.
- Up to 50 words about the work, written in the third person (this text will be included in the catalogue if you are successful)
- Up to 50 words about yourself, written in the third person (this text will be included in the catalogue if you are successful)
All work must be complete at the time of submission. Any work which varies from the original piece submitted will be rejected. It is important that images submitted should fit the specifications outlined. If you enter more than one submission, all of your entries will be rejected. 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!
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This week I have bid a fond farewell to Desire & Alchemy – my joint exhibition with Emilia Telese at Basement Arts Project.
I had grown somewhat attached to Desire & Alchemy during its 3 month run, more so than any other exhibition I have staged. I think this is because a tangible collaboration existed not only between myself and Emilia, but also with BasementArtsProject’s owner Bruce Davies: All three of us engaged the audience with the underlying concept, and through written text, conversation, exhibiting and hosting, we have each contributed meaningfully to the overall discourse surrounding scent within contemporary art.
Looking back on my creative output over the last year, I’d have to conclude that I have had a relatively successful 2018 – I have delivered on my promise of staging two Perfume as Practice shows a year, immersed myself in the possibilities of candle making in contemporary art, and have reached new audiences both nationally and internationally. So I guess I can’t complain!
This year, I endeavoured to stage both Perfume as Practice shows outside Sheffield. This was an effort to extend my audience reach and introduce new sets of people to the artistic possibilities of perfumery. To that end, I have been successful, as my shows were staged at BasementArtsProject, Leeds, and Bureau Centre for the Arts, Blackburn. (In fact, you can still see my work at BasementArtsProject until the end of January!)
Perfume as Practice SS18
I wanted to see a tangible development in Perfume as Practice – both in terms of the quality of the perfumes made and audience expectation. This was achieved by placing Perfume as Practice in contexts and spaces previously untapped: My exhibition in Blackburn placed perfumery within the context of religion while my exhibition in Leeds was a joint show, placing Perfume as Practice alongside the work of artist Emilia Telese.
One of the failures of my 2017 was that I involved myself in too many group exhibitions, thus compromising the quality of my output. This has been rectified this year as I have carefully selected opportunities relevant to the development of my practice.
I also embarked on a new project; Scents of Our Time. This took the guise of a residency at Access Space and a solo show at Mugen Tea House. In hindsight, the process of using candle making to describe news stories is very immersive, and probably works best as a residency. I think the jury is still out on how an audience responds to it, but there is certainly a lot of potential in the idea and I will seek new opportunities to develop the idea in the new year.
I’d like to say a big thank you to everyone involved in making my 2018 such a success and, actually, a very enjoyable year. I think I feel completely at ease with Perfume as Practice as an idea, and now just seek to hone it, push it in new directions and reach new audiences.
2019 promises to be rather exciting – it will see me stage my first solo show in London, embark on new Perfume as Practice shows in Wolverhampton and Bristol, and continue to stage events and workshops that provide an insight into my unique approach to perfume making and ways of utilising scent in art. Looking forward to it!
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.