Catherine Higham 50ml EDT
Head – Fresh linen
Heart – Geranium, Indian geranium, Rose geranium, Rose
Body – Ylang ylang
Description – Referencing an essential oil discovery set, this fragrance acts as a test bed for floral fragrances, offset by a clean, neutral top note. Perfect for discovering preferences and nuances.
Higham’s painting Horizon is concerned with the materials and processes of landscape; both natural and fabricated.
Higham’s work and corresponding perfume portrait were exhibited at Centrespace Gallery, Bristol, in October 2019.
Myfanwy Williams 50ml EDT
Head – Cut grass, Cotton
Heart – Spike lavender, Sea salt
Body – Driftwood, Musk
Description – Embracing all manner of the outdoors as a vehicle for balance, harmony and therapy. This fragrance drives a sense of adventure.
Journey is one of a series of paintings which deal with Williams’s childhood journeying by sea, travelling from one land to another, and appreciating the different ways of life, from the spices of Zanzibar to the engineering feat of the Suez Canal.
Williams’s work and corresponding perfume portrait were exhibited at Centrespace Gallery, Bristol, in October 2019.
JanCarlo Caling 50ml EDT
Head – Petitgrain, Lemon
Heart – Cypress, Ginger
Body – Sandalwood
Description – A celebration of masculinity, this nominally woody fragrance is complimented by bursts of ginger and lemon; symbols of happiness.
Caling’s The End of a Journey is an acrylic painting on paper. The colours used also project joy, which is what Caling wants the viewers to feel when they are looking at my painting. The work also takes inspiration from the term “self love” and how loving yourself can sometimes be a really gruelling journey. The boat symbolises the rocky relationship the man had with his body and this is the part where he gets off the boat suggesting that they have finally learned to love themselves.
Caling’s work and corresponding perfume portrait were exhibited at Centrespace Gallery, Bristol, in October 2019.
Last Wednesday I held the first of three paint making workshops to be held at The Bessemer II Gallery in Sheffield.
As ever, the paint making workshop provided me with the opportunity to engage with local artists by sharing knowledge and highlighting the possibilities of paint, including how to create paint from everyday foods and the notion that paint is able to be considered the end result of a creative process.
I hope my workshops make people think a little differently about paint, enriching their approach to the medium and perhaps allowing them to explore ways of developing a relationship with paint in a way that will directly further and develop their practice. I also cannot dismiss the importance of the social aspect of the event, which can encourage collaboration, professional development and, dare I say it, friendship!
This particular workshop went very smoothly indeed. I believe that each participant benefited from the event, learning how to make paint from food but, importantly, exploring how to apply what they’ve learnt to their own practice.
The second paint making workshop will be at Bessemer II on 8th October, and the third on on 12th November. The workshop costs £20, which includes all materials and refreshments. If they sound interesting to you, there’s still places left; so book ’em while you can!
I am creating a piece of work that assesses the nature of painting, and speculates whether a painting needs to exist if we are able to design, brand and distribute the idea of a painting within the context of commercialism. Basically, the work has me collect thoughts – imagined by artists – towards a painting they could make that doesn’t exist.
It could be a painting that you have considered before but haven’t got round to, or it might be entirely imagined but still within the context of your practice. I will take the findings and create paints based on thoughts the artist has towards a piece of work. These paints will then be branded as artists’ ideas. I’m aiming to create a tension between the audience and the ethical considerations of owning artists thoughts.
If you have any thoughts towards a painting created by yourself that doesn’t exist, please let me know. I’d love to hear from you.Even if you’re not predominantly a painter, but that doesn’t really matter – you could still have an idea for a painting that fits in with your practice. I have already began to design paints around the thoughts of artists, the first one I have created derives from artist Richard Bradley’s Idea of creating a painting, which would have been a comment on cult television programme, The Hotel:
I am a little unclear in terms of how I will present my work as yet. Ideally, I would design a shop unit and allow an audience to literally complete a transaction that acts as a comment towards ethical and philosophical implications of ownership and creative control. The customer would go away being able to use the thought of an artist however they wish, and would be able to purchase an artist’s idea as easily and cheaply as purchasing paint. A problematic notion that raises questions of the relevance of painting in light of consumerism.
Every ‘Artists Thought’ work I do will be isolated in an individual blog post, which will act as an advertisement for the paint product.
If you’d like me to use an idea you have for a painting that doesn’t exist, please respond by emailing email@example.com. …Or leave a comment in the comments section. Many thanks.
Over the last month I have been feverishly painting as many pictures of fruit as I can; applying paint directly to loaves of bread; wrapping apples in modroc; painting works of still life; looking long and hard at pictures of burgers and applying thirty-two homemade egg tempera paints to a board.
So, why the hell am I doing all this? Well, because each of these endeavours form some part of my upcoming solo exhibition – named ‘Shelf Life’ – which will be held at Gage Gallery: A gallery space that forms part of Kelham Island Arts Co-Operative (or KIAC,) in Sheffield.
‘Shelf Life’ seeks to question the role of food in art. This includes questioning our perception of value, re-imagining the genre of still life, an enquiry into how emotion can be attached to disposable produce, and a documentation of the trials of trying to render the invisible sensations of taste and smell visible, with coherence.
Food is, of course, a massive topic, and will undoubtedly become a lifelong investigation. What I hope an audience can gain from this exhibition is an informed and clearer understanding of their own thoughts towards the nature and properties of food, and a place for which such thoughts to coalesce and crystallise. Further, I wish to question pre-conceptions towards the value of art, and attempt to ground it within the identifiable realities of purchasing consumable products. I believe that art should relate to the subject it is rendering as seamlessly as possible, and aligning the status of art to the status of food allows my work to become direct, accessible and relevant.
The exhibition runs from 28/02/14 until 14/03/14. There is also a private viewing of the show on 28/02/14 from 7pm. I hope you can make it.
In addition to my exhibition, and coinciding with it, comes my Paint Making Workshop, due to be held at KIAC’s Education Space on 1st March:
Participants of this workshop will be shown a working demonstration of the paint making process, before having a go at creating paints for themselves, and applying them to a surface. Participants will gain valuable experience in developing an affinity with their materials, which I believe is integral to producing coherent works of art.
The workshop takes place from 10am til 3pm on 1st March, and costs £20 (or £15 for students) and promises to be a fun and worthwhile day.
I hope that something within these events is intriguing and I hope for as many of you to attend as possible. You can find more information about these events on my Facebook events. Just click here. Or feel free to send me an email at firstname.lastname@example.org.
If you have been wondering where I have escaped to for the last month or so (and let’s face it, most of you have) I can joyously claim that I’ve actually been getting some bloody work done. The last few weeks have been a relentless pursuit of finished articles before the bite of winter renders the studio I work in uninhabitable. I find it a bit of a struggle to exact a balance between making stuff and networking. Often I fluctuate in preference between one and the other. Over the last few weeks though, a very tangible rhythm has emerged that has resulted in a relative abundance of finished works.
So where the bloody hell are these finished works, I hear you cry. Well, I’m not going to show you them all. Instead, I shall tantalise you simply by producing one piece of work at a time. So let’s start things off in style shall we? Ladies and gentlemen, I give to you, a spice rack. Yes, a spice rack:
This is not just any old spice rack though. Here, I wish to initiate a discourse between the nature of paint and painting. Applying meaning to paint by attaching experiential sentiment to the bottles the paint is contained within. The painting itself is passive, acting merely as a reference to the bottles. The painting is completed to allow an audience to further identify with the paints, but it is not a means to an end in it’s own right. It is within the bottles from which meaning is attached, and so the idea of commercialism and the prospect of purchasing memory and sentiment that is removed from personal experience is called into question.
I am toying with the idea of presenting it for the John Moores painting prize next year. I believe it challenges the idea of what can be considered a painting and as such, it certainly possesses a level of intrigue. What do you think? I’d love to hear your thoughts on this piece in order for me to attain a reasonable understanding of an audience’s response.
Over the last week or so I have been concerned with the identity of painting. Specifically, I have been thinking about how the practice of painting can be deemed irrelevant if the paint itself contains enough conceptual prowess. This post really acts as a steam of initial thoughts towards a more refined idea of how paint and painting can be perceived. Well, there goes…
Painting no longer has to exist on a surface. Indeed, when applied to a surface, paint becomes condemned – Fated to be judged with the attachment of subject matter and blinkered by the boundaries of a canvas. Allowing paint to exist untouched achieves a coherent sense of liberation and purity, which can be applied metaphorically to political and social instances or regarded as just that – pure, untouched and alive with potential. Painting, then, no longer has to exist with an identity, as the raw medium of paint is able to obtain identity without even being applied to a surface.
That is not to say painting is without relevance. Painting is a language able to describe the invisible and allow an audience to engage, to connect and to regard the physical world qualitatively. However, if painting is approached conceptually, than that concept doesn’t have to exist within painting. It can, however, exist within paint. These images detail a concept that exists within paint but not painting. That is, a deliberate lack of identity for the sake of raw possibility.
Moreover, the very practice of painting is now disposable – It is interchangeable with other cultural, social and political endeavours. It exists between meals; is halted when your favourite program is on TV; dismissed in favour or dicking about on the internet; or not even considered due to the sheer breath of cultural activities available.
I myself am interested in the consumable nature of the paints I make – and how they can exist isolated from contemporary art environments – in shops and supermarkets, ready to be purchased and consumed. Indeed, I have considered popping along to my local corner shop and simply leaving a jar of paint or two on a shelf – a piece of conceptual innovation in amongst the chopped tomatoes and pickled onions. A jar of paint as an object is small, fragile and inconspicuous, but that it represents is loaded with possibility and transcendence.
…There! All done! It’s good to actually begin to solidify these ideas just by writing them down. Some of this stuff I’ll probably deem untrue or irrelevant over the next few weeks/days/seconds. Still, that’s part of the fun of it all!