Oxford Vessels

 

Some people are born with a story to tell and a sense of the gift they posses that will help them to share that story; whilst others’ stories and gifts are more deeply buried. Through a project resulting in an exhibition in the Gallery at Arts at the the Old Fire Station, artist Georgie Manly has helped to access hidden stories…

Vessels is the new exhibition in the Gallery at the brilliant Arts at the Old Fire Station (sanwiched between George Street, the bus station and Gloucester Green) in Oxford that was conceived by artist Georgie Manly, and has been created in collaboration with Crisis (the national charity for single homeless people) and the Pitt Rivers Museum.

The University of Oxford Pitt Rivers Museum houses archeological and anthropological objects – collection upon collection of quotidian objects spanning time and cultures with several similar types of objects running through many of those collections. Enter, the vessel! The essential object that transcends time, class and culture. Used for eating from, drinking from, cooking with, containing, and occasionally as an objet d’art in itself – a vessel’s uses are limitless; which is why, when one doesn’t have a lot, one ensures one has a decent vessel.

Crisis clients have completed a 12-week course working with artist Georgie Manly to create a series of vessels made from earthenware clay that will be displayed at the OFS alongside Georgie’s own ceramic sculptural pieces that have been  inspired by the Pitt Rivers’ collection of early 20th century African animal traps .

All just a little bit of history repeating… Georgie has been passing down the art of simple hand-building clay sculpting techniques (see the images below) and teaching how to mix glazes, the likes of which the group has been admiring and studying on the various preparatory visits they have made to Pitt Rivers. 

     

Developing their own ideas around the theme of ‘vessels’, exploring material, process and concept, the group of Crisis clients have produced their own collection of individual and meaningful works in clay that relate to their own culture, needs, and experiences resulting in a highly original and personal installation of works.

Having recently taken up pottery myself, I can vouch for the absorbing meditative, primeval feeling of clay handling. It’s a process that really roots the artist in his work and on the earth – yet it’s so primeval that the process doesn’t feel like art, it feels like nature. Simply doing what you were put on this earth to do, what you need to do to survive. Whilst that’s clearly not true in this day and age, clay handling, much like digging earth with a spade, generates a curiously satisfying grounding sensation. I imagine that participating in a project such as this, studying similar vessels in the Pitt Rivers would also underline man’s basic needs and evoke feelings that we are not far removed from our ancestors, or brothers and sisters around the globe.

Like all exhibitions at the OFS, Vessels is free to view and opens on Friday 1 May and continues Saturday 20 June 2015. 

 

Meet Georgie Manly… On May 2, there will be the opportunity for the public to create their own works in clay, in response to the exhibition, with Georgie at Gloucester Green Market, from 10am to 4pm. This special event is aptly named Clay for All, and this entire project really does underline that clay really is for all.

On the Surface

I currently have some work on show in The Jam Factory in Oxford as part of sn exhibition called Oxford’s Sea View exhibition organised by Oxfordshire Artweeks. The exhibition is designed to offer a “taster” of the variety of work visitors might encounter at the Oxfordshire Artweeks open studios festival (the biggest and longest running open studio event in the country taking place this year between 2 and 25 May), and continues until 29 April… The work I’ve put in this show is called On the Surface – I hope you think it’s worth a look.


On the Surface draws on my interest in the personalised nature of decision-making, of pathways in art and life, and the way that one’s environment can dictate direction. I’ve developed an interest in sea over the past few years – intrigued by the moon, magnetic forces, the seabed, and tides. The idea of greater forces being at work dictating behaviour on the ‘surface’, and a path on the surface that most are totally oblivious to both fascinates and frightens me. 


Frequently drawing upon Lacanian theory I’m interested in the layered nature of understanding, this is represented in my work in Oxford’s Sea View exhibition through isolating the surface, allowing viewers to consider what lies above and beneath the sea’s surface and how that surface is influenced by wind direction, daylight, and other weather conditions in turn dictating pathways on the surface. In short, the work is a visual allegory for the necessity of, and the difficulty in, gaining a 360 degree understanding to fully comprehend a situation, and make informed decisions as a consequence.


In this exhibition I’m placing emphasis on the mystery, depth, force and beauty of the sea’s surface, whilst also inviting the viewer to acknowledge the enormity and influencing factors of what lies beneath and above. The images were taken of various seas mainly around the UK, most of which I photograph from a kayak or boat. The driftwood was beachcombed on the northern coast of Scotland. I really like the idea of this once landlocked organic matter adapting to its environment – once a tree, then perhaps make into a fence-post, only to find itself being taken by the tides, bobbing on the surface of the sea, later to be washed ashore, gathered up and repurposed acknowledging its brave lifecycle.


All works in this exhibition are for sale through The Jam Factory – 01865 244 613 Here are a few rubbishy snap shots of the work taken on my mobile…

   

On the Surface (i)

  On the Surface (ii)

  On the Surface (iii)

  On the Surface (iv) 

  On the Surface (v) 

 On the Surface (vi)

PRICES:

On the Surface (i) – £270

On the Surface (ii) – £260

On the Surface (iii) – £260

On the Surface (iv) – £275

On the Surface (v) – £160

On the Surface (vi) – £150

Art Insights

Following the sisters are doin’ it for themselves theme of my last post about Independent Oxford, I’m adopting a more serious tone for this post, as it’s serious stuff that I too feel passionately about – access for all, on every level, to contemporary art, that is.

It’s always struck me as a real shame that as we get older so many of us we amass inhibitions that we allow to colour our experience of contemporary art. Though this is understandable, as we’ve been taught to label and compartmentalise our encounters in order to make sense of them. We grapple to make sense of that which doesn’t label itself by imprinting our own experiences and thoughts on it. It’s always such a pleasure observing children in front of contemporary art, not yet having developed inhibitions, with no desire to compartmentalise, and little life experience they simply open their senses to a new experience and allow contemporary art to speak to them. Importantly, this unshackled approach, more often than not, enables a greater level of enjoyment and understanding of contemporary art.

So, as adults, how do we shake off these traits that we’ve subconsciously acquired, open our senses up and enjoy contemporary art to the same extent that children do? Well, the Oxfordshire based artist, critic and curator Clare Carswell has set up Art Insights to help people deepen their understanding of and approach to contemporary art, thus enabling this. Clare commented;

“I hope that the Art Insights talks will interest dedicated followers of modern art and also encourage some to look at art that they may find challenging, to step outside their art viewing ‘comfort zone’ and to consider why contemporary artists make what they do and why galleries and museums validate it by exhibiting it. The talks will explore some of the ideas preoccupying contemporary artists and help to make the experience of the art of today more accessible and enjoyable for the viewer.”

Clare produced a series of talks exploring the work of contemporary Chinese artist Ai Weiwei in response to his recent exhibition at Blenheim Palace.

The talks proved to be tremendously successful and very well received, as was the exhibition, the first major contemporary art exhibition of many that Blenheim have decided to mount, and just as the memory of the crabs live on so does the desire to better understand what was seen in the stately home. As such, Clare will be giving that talk once again at The Oxfordshire Museum  this Saturday 28 March.

Clare explains the impetus behind Art Insights;
“I started Art Insights because I realized that there was a keen audience in the region for talks on earlier periods of art such as Impressionism or the Renaissance, but that no-one was talking on contemporary art, tackling head on why it often seems harder to look at, or to enjoy, than art of the past. I am hoping to reach people who may feel baffled or irritated by contemporary art but who may feel inclined to look at it more seriously if given insights into the thinking and intention of contemporary artists and where their ideas come from.”

Clare endeavours to create a relaxed, comfortable style for her illustrated talks, which are often hosted by people in their homes providing the opportunity to discuss contemporary art in a small group over homely refreshments.

Passionate about sharing her passion and keen to reach as large an audience as possible in the country, whether the venue be in an art venue or in someone’s home, she remarked,
“It would be super to build a network of hosts in villages and towns who hold the events in their homes and so get the whole county talking about contemporary art!”

The illustrated talks are intended to enhance the viewing and enjoyment of contemporary art of all forms including conceptual, performance, video and installation art. The talks offer the insights of an experienced artist into the work of contemporary artists, the concepts that preoccupy them and the decisions that they make when producing their art. Clare examines the work of living artists and their voices at the same time contextualising their oeuvre by making reference to the art and ideas of earlier periods that underpin contemporary art making.

Art Insights talks relate to current and/or forthcoming exhibitions in galleries and museums in the region. Clare arranges trips to visit the exhibitions for further discussions. Her sessions last two hours and include a break for refreshments. Future talks are planned on Marlene Dumas and Sir Terry Frost. Contact Clare for more details or to host an event – booking@artinsights.org – www.artinsights.org 

 

For more information about Clare and her own practice visit www.clarecarswell.com – she’s very talented and very nice!

Independent Oxford

It’s been a while since anything got my toes tingling in Oxford town, though Anna and Rosie have swept in with a flourish of creative energy and set up a website that brings together and shouts about all of the beautiful independent businesses in this glorious city of dreaming spires – nice one, Ladies! 

The website in question is… www.independentoxford.com

  

And to launch it they’re having a bit of a shebang in the most excellent Annie Sloan “home to the best paint in the world” shop on the Cowley Road (The Plain end) this Thursday, and everyone’s invited!

 

The super cool thing about Thursday night is that it’s offering up a bit of a taster of its cyber-self. By that I mean that Anna and Rosie have picked a beautiful little bunch of independents and invited them to bring along five items from their shops that they feel best represent their shops. These items will be available to buy and will be brought to you by: Kinship of Oxford, Love Your Plane, Shop at the Old Fire Station, Amy Surman Bead Shop, Darn it and Stitch… And of course the mother of indie Oxford – the chalk-tastic Ms Annie Sloan.

What else of Thursday night… There’ll be fizzy booze for your throat and tum, and live music for your ears and toes – winner! Oh, and Anna and Rosie will be a-minglin’ with winning smiles and brimming with enthusiasm on the subject of their exciting new venture  that will be Oxford’s one-stop online guide to all things independent from bakeries to bike shops, galleries to gerkhin-picklers (maybe). Of the launch of Independent Oxford, Rosie and Anna commented (in unison), 

“Oxford has so much to offer in terms of independent businesses and we think that’s part of what makes Oxford the city it is. You can’t beat walking into an independent shop and the owner remembering you from last time or knowing that by shopping there you’re supporting the local economy. There are interesting stories behind each of the indies and so much love and passion behind why and how they do it; that is what we want to share.

What we’re launching on Thursday is just the start; we see this as the beginning of an exciting and boundless quest that has so much potential to not only promote but to create a network for indies to work together.”


If the new Westgate Centre is going to offer Oxford the mass-produced, large-scale, homogenised shopping that the city (apparently) needs, then http://www.independentoxford.com is going to be doing its bit to make sure that Oxford stays unique – making Anna and Rosie the Musketeers of independent shopping in Oxford, I guess! I hope they’ll be wearing capes and feathers in their hats on Thursday – that’d be fun!

Almost forgot… They’re also on Facebook and tweeting away on Twitter @IndieOxford #independentoxford. Getting colourful on Instagram and Pinning on Pinterest


Cross-sections of the North Sea

Growing up in North East England I frequently dipped my toes in the cold, rough North Sea as a child. Gazed out to see spotting huge ships on the horizon, panicked as long strands of seaweed wrapped around my legs, as my feet sank deeper into the soil, as the shelf fell away beneath me swept by the strong tide. The water was invariably icy, and I didn’t see it as welcoming. Sometimes we’d drive along coastal paths and the car would sway as harsh coastal winds and sea fret beat against the side of it. For me, the sea wasn’t something to mess about with, it wasn’t a source of pleasure, it was something to be wary of, to treat with utmost respect, to never underestimate.

The sea was also a source of income to many people that I grew up around. Mainly through associated petroleum industries. I’ve always been in awe of the sea. This deep, dark uninviting chasm, in constant flux, that we know so little about. Magnificent, and terrifying.

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