Eastern Orbit
Scream
Showing posts with label Scream. Show all posts
Showing posts with label Scream. Show all posts
Friday, 16 May 2014
Jacky Tsai: Eastern Orbit
Jacky Tsai
Eastern Orbit
Scream
Now, once more, I recall why some particular works by particular people are so easy and colourful straight forward. Jacky Tsai's Eastern Orbit and specially ordered Arraiolos' tapestry are so similar. Their so easy to dissect that I don't need more than four Gin tonics to decide when to leave, and go on to play beer-pong with the gorgeous Emily. The raising star of British cinema (at a cinema theatre near you)!
Eastern Orbit
Scream
Thursday, 3 April 2014
Thursday, 20 February 2014
David Buckingham: Under the Influence
David Buckingham
Under the Influence
Scream
Under the Influence
Scream
 |
| Exhibition view: Colour Study #94 (The Train Song) (hand-welded found metal, 127x96.5x7.6cm), and Colour Study #95 (Theoretical Chaos) (hand-cut and welded stainless steel and found metal, 106.6x106.6x7.6cm), 2014 |
Was it good? Sort of! To easy… just another writer under the influence of wanted-to-be-a-visual-arts-practitioner…
PRESS RELEASE:
Scream is proud to present LA-based artist David Buckingham’s inaugural solo exhibition in the UK. David Buckingham uses found metal as his artistic medium. The making of his sculptures and wall reliefs are a profound journey of discovery and adventure. Sheet metal is scavenged from abandoned cars and trucks and other machinery that Buckingham finds in the Californian desert. This method of appropriation and regeneration is reminiscent of the work of Robert Rauschenberg (1925-2008), one of the forerunners of the Pop art movement, where found objects and unusual mediums were incorporated into works with innovation and skill. In the same vein Buckingham hand-welds all the sourced metal and with a deft eye combines the colourful shards of metal into graphic signs and symbols that challenge, amuse and provoke the viewer.
Buckingham’s previous career as a professional writer infiltrates his work with the use of text and language as a powerful mode of communication. Buckingham wants the viewer to react and interact with his work. Imbued with irony, humour and provocation the works in this exhibition offer a dialogue and insight into the artist’s influences and inspirations. The artist comments, “I love language in all its forms: chance remarks I heard decades ago reverberate in my head like I heard them yesterday. Classic American TV shows, slang, snippets of film dialogue. A refrain from an obscure song. A smart-ass comment. Any of that can make its way out of my head and into my work.” Excerpts from movies, song lyrics such as Lou Reed’s ‘Walk on the Wild Side’, and comic book sound effects burst from the gallery walls and act as sound bites from contemporary and pop culture. Looking closer at these film and song quotes such as ‘Me So Horny Me Love You Long Time’ [Full Metal Jacket] and ‘Hey, Where The White Women At?’ [Blazing Saddles] the artist has deliberately appropriated quotes and lyrics that have an implied prejudice or discrimination that is initally disguised from the viewer as the humorous recognition of the movie line or song lyric prevails. But the actual statements that stand rusted and imposing from the walls reveal Buckingham’s empathy with the “outsiders” or the persecuted minorities of society and hold a mirror up to these universal assumptions and preconceptions that we can all be guilty of. The global reach of these ideas that infiltrate us all through the media, film, music and advertising is powerfully conveyed. Buckingham also explores the potency of colour seen in his ‘Colour Study’ series and plays with the language of signs and symbols that has a global reach. The artist is also interested in the role of the gun in American culture and produces large-scale wall reliefs of guns using the manipulated metal. The guns are based on actual weapons used by notorious criminals and assassins such as ‘Phil Spector’, or guns used in film and television such as ‘Butch Cassidy’ or he references political and divisive figures. Buckingham raises a challenging debate on the use and ownership of arms and presents the gun as a seductive yet menacing symbol.
The title of the exhibition refers to the artist’s previous substance abuse but also alludes to his new addiction, or ‘magnificent obsession’ as he describes it – making artworks. The artist comments, “My work, in general, is about boundaries: finding where the line is, and then gently crossing it. Most of my work is very personal”. Buckingham’s approach is uncompromising and can collectively be interpreted as a stream of consciousness. His work “absorbs, muses upon, mirrors, and upends the public language of his country, chewing on the word-image of Pop art and the imaged words of the Internet and spitting them out as profane illuminations, banners of defiance and provocation, calls to arms and calls to a peaceable future.” (Peter Frank). Buckingham’s practice acts as a monument to the language, refrains and symbols of our time, worn and weathered with the physical signs of wear and tear. The transformation of the discarded junk into hand-crafted sculptures and works of art is perhaps symbolic of the artist’s ascent from addict to artist. But these works also become relics of contemporary culture and linguistics that ensure our epoch will endure and remain.
Scream is proud to present LA-based artist David Buckingham’s inaugural solo exhibition in the UK. David Buckingham uses found metal as his artistic medium. The making of his sculptures and wall reliefs are a profound journey of discovery and adventure. Sheet metal is scavenged from abandoned cars and trucks and other machinery that Buckingham finds in the Californian desert. This method of appropriation and regeneration is reminiscent of the work of Robert Rauschenberg (1925-2008), one of the forerunners of the Pop art movement, where found objects and unusual mediums were incorporated into works with innovation and skill. In the same vein Buckingham hand-welds all the sourced metal and with a deft eye combines the colourful shards of metal into graphic signs and symbols that challenge, amuse and provoke the viewer.
Buckingham’s previous career as a professional writer infiltrates his work with the use of text and language as a powerful mode of communication. Buckingham wants the viewer to react and interact with his work. Imbued with irony, humour and provocation the works in this exhibition offer a dialogue and insight into the artist’s influences and inspirations. The artist comments, “I love language in all its forms: chance remarks I heard decades ago reverberate in my head like I heard them yesterday. Classic American TV shows, slang, snippets of film dialogue. A refrain from an obscure song. A smart-ass comment. Any of that can make its way out of my head and into my work.” Excerpts from movies, song lyrics such as Lou Reed’s ‘Walk on the Wild Side’, and comic book sound effects burst from the gallery walls and act as sound bites from contemporary and pop culture. Looking closer at these film and song quotes such as ‘Me So Horny Me Love You Long Time’ [Full Metal Jacket] and ‘Hey, Where The White Women At?’ [Blazing Saddles] the artist has deliberately appropriated quotes and lyrics that have an implied prejudice or discrimination that is initally disguised from the viewer as the humorous recognition of the movie line or song lyric prevails. But the actual statements that stand rusted and imposing from the walls reveal Buckingham’s empathy with the “outsiders” or the persecuted minorities of society and hold a mirror up to these universal assumptions and preconceptions that we can all be guilty of. The global reach of these ideas that infiltrate us all through the media, film, music and advertising is powerfully conveyed. Buckingham also explores the potency of colour seen in his ‘Colour Study’ series and plays with the language of signs and symbols that has a global reach. The artist is also interested in the role of the gun in American culture and produces large-scale wall reliefs of guns using the manipulated metal. The guns are based on actual weapons used by notorious criminals and assassins such as ‘Phil Spector’, or guns used in film and television such as ‘Butch Cassidy’ or he references political and divisive figures. Buckingham raises a challenging debate on the use and ownership of arms and presents the gun as a seductive yet menacing symbol.
The title of the exhibition refers to the artist’s previous substance abuse but also alludes to his new addiction, or ‘magnificent obsession’ as he describes it – making artworks. The artist comments, “My work, in general, is about boundaries: finding where the line is, and then gently crossing it. Most of my work is very personal”. Buckingham’s approach is uncompromising and can collectively be interpreted as a stream of consciousness. His work “absorbs, muses upon, mirrors, and upends the public language of his country, chewing on the word-image of Pop art and the imaged words of the Internet and spitting them out as profane illuminations, banners of defiance and provocation, calls to arms and calls to a peaceable future.” (Peter Frank). Buckingham’s practice acts as a monument to the language, refrains and symbols of our time, worn and weathered with the physical signs of wear and tear. The transformation of the discarded junk into hand-crafted sculptures and works of art is perhaps symbolic of the artist’s ascent from addict to artist. But these works also become relics of contemporary culture and linguistics that ensure our epoch will endure and remain.
Thursday, 12 December 2013
Review: Telling Tales
Telling Tales
Scream
I will tell you a tale about a girl which is all over the place. But, what does happen when you are all over the place, is that, at the end, you manage to be in no place at all. I don't want to say with this that you can't be all over the place. What I'm expressing here is more related with the way one is all over the place. What you do make present must of the time; what you do disseminate throughout your agency state.
She's an hilarious, hot hearted (Morag Myerscough, hand-painted wood and sandbags, 2013) girl, lost in the meandrous of life. She crossed oceans, down-hill mountains, created symphonies and devoured cities in a frenzy and schizophrenic mode. What is it that drives this girl in life? It is an embracing need to find love and laughter (Chris Bracey, painted aluminium, neon and light bulbs, 2012), friendship and belonging. She looks in to religion, in to music, into pop culture, an organized chaos (Greg Lamarche, hand-cut paper collage, 2013) by means of collages or assemblages (Meg Hitchcock, several works on paper, 2013). Through her, light breaks where no sun shines (Chris Bracey, neon, aluminium and light bulbs, 2013). Like in a marketing bowl the process is a constant seductive illusion position. It is a pretence.
What she wants, she will not get satisfactory until she give up and let lose. Move away from it all. Focus and build on her omniscience. But she stays in a kind of flirtation between the object and the desired object. It is quite a cool situation - like seeing a plastic bag floating around in American Beauty -, but she stills need the distance provided by the camera that captures the quintessential moment. Her participation is due to that distance. Unfortunately, it makes her irrelevant.
You can "see" (read) more about the act of storytelling, both in oral and pictorial form, and artists practice that incorporates words and language, at the exhibition Telling Tales, at Scream.
And that is the tale about a girl living in London, with whom, once upon a time (Chris Bracey, acrylic paint, reclaimed wood, light bulbs and neon, 2013) as a schoolboy, I had a crush (Greg Lamarche, hand-cut paper collage, 2013).
Scream
I will tell you a tale about a girl which is all over the place. But, what does happen when you are all over the place, is that, at the end, you manage to be in no place at all. I don't want to say with this that you can't be all over the place. What I'm expressing here is more related with the way one is all over the place. What you do make present must of the time; what you do disseminate throughout your agency state.
She's an hilarious, hot hearted (Morag Myerscough, hand-painted wood and sandbags, 2013) girl, lost in the meandrous of life. She crossed oceans, down-hill mountains, created symphonies and devoured cities in a frenzy and schizophrenic mode. What is it that drives this girl in life? It is an embracing need to find love and laughter (Chris Bracey, painted aluminium, neon and light bulbs, 2012), friendship and belonging. She looks in to religion, in to music, into pop culture, an organized chaos (Greg Lamarche, hand-cut paper collage, 2013) by means of collages or assemblages (Meg Hitchcock, several works on paper, 2013). Through her, light breaks where no sun shines (Chris Bracey, neon, aluminium and light bulbs, 2013). Like in a marketing bowl the process is a constant seductive illusion position. It is a pretence.
What she wants, she will not get satisfactory until she give up and let lose. Move away from it all. Focus and build on her omniscience. But she stays in a kind of flirtation between the object and the desired object. It is quite a cool situation - like seeing a plastic bag floating around in American Beauty -, but she stills need the distance provided by the camera that captures the quintessential moment. Her participation is due to that distance. Unfortunately, it makes her irrelevant.
You can "see" (read) more about the act of storytelling, both in oral and pictorial form, and artists practice that incorporates words and language, at the exhibition Telling Tales, at Scream.
And that is the tale about a girl living in London, with whom, once upon a time (Chris Bracey, acrylic paint, reclaimed wood, light bulbs and neon, 2013) as a schoolboy, I had a crush (Greg Lamarche, hand-cut paper collage, 2013).
Friday, 6 September 2013
Caroline Jane Harris and Shane McAdams: Hand to Earth
Caroline Jane Harris and Shane McAdams
Hand to Earth
Scream London
Hand to Earth
Scream London
«Caroline Jane Harris (London, 1987) explores the complexities of nature through a labour-intensive paper-cutting technique. She responds to visual phenomena in nature; the endless geometric patterns found in all levels of existence.» [PR]
Thursday, 11 April 2013
Chris Bracey: I've Looked up to Heaven and Been Down to Hell
«Many of [Chris Bracey] works are self-produced neons, referencing popular culture and iconic imagery, from the streets of Soho, tattoo culture, evocative statements ... and a lexicon of retro texts and references.»
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