news about upcoming exhibitions, crowdfunder & projects-in-waiting

EXHIBITIONS:

Forest of Dean open studios event: farOpen Studios, my work will be in Newland group show. Launches Friday 6th October.

Old Passage Restaurant, Arlingham, Casa Interiors in Newnham on Severn and at Creates Gallery, Monmouth, all ongoing.

UPDATING

I know, I’ve been rather quiet on the Flow Projects side. Sorry.

As many people are aware, I’ve been taking a bit of a sabbatical from producing to restart my own practice. Inevitably, as always happens for me, my personal passions have seeped back into my practice as a producer and sparked off something unexpected. It’s all bubbling away in my planning folder, research and conversations have begun. Watch this space to find out when my own creative flow merges with my parallel world and converges to make a wave!

It’s all about the river, of course.

Meanwhile, my explorations of both sides of the Severn are culminating in the production of a book and  body of work that manifests itself as original charcoal/chalk panoramic drawings and giclee prints made of them. And it is getting exciting – a bit like waiting for the big bore to arrive on an equinox.

Two new things now rolling on the tides: one, a crowdfunder and two, selling prints via my Carolyn Black Art  website. I’ve polished up my digital skills, dredged them up from my background as a video artist and am presently collaging them together to do these things.

THE CROWDFUNDER

Launching in October, there will be a myriad of rewards, some of which will ONLY available via the crowdfunder. There will be an open edition of my most recent drawings – of the Old Severn bridge at both ends. The whole project explores both banks of the river opposite each other, and the bridge is both the entry and the exit of my narrative in the book. Like bookends. The words and images will be framed by them and the prints fro  the original drawings will be offered as rewards at a lower price than my usual wall prices. They will be offered as singles, but of course you may wish to buy a pair, to see both sides together and make you ponder about the things that evokes for you.

Next year is going to be a significant one for the Severn Bridges, as it will mark the end of the tolls and open things up in both directions – England to Wales, Wales to England. There are pro’s and cons, and hopefully my drawings will provoke some discussion about them. More flow, probably.

It won’t affect the Severn River though, that will continue to come and go as it pleases, as it always has done.

The other reward will be an opportunity to pre-order the book. Indeed, that’s what the crowdfunder is all about. I need to contract the designer,  City Edition Studio, for the publication and print production. The Studio have some great ideas on how we can make sure the book is right for the content, as panoramic images are not the easiest thing to accommodate. It will be pretty special I’m sure.

The project got off the ground thanks to seed funding from Arts Council England, now I need a bit more help to bring the publication to its conclusion. And supporters get a good deal on my prints – it’s a win-win situation.

The panoramic prints on offer will be included in that publication, alongside several others. The images frame the river, and vice-versa. They act as ‘banks’.

The prints will make fantastic Christmas presents and I promise to get them to you in time!

THE PROJECT

It will be a development from the drawings and set out to create a memorable event that crosses the river and indeed joins communities together too. With my producer hat on, expect it to be substantial, unusual and very site specific. It will be in an unusual place, indeed in several. There will be crossings and sounds and haunting performances.

If this intrigues you, get in touch. It could take a while to get going and I’m going to need a good few partners to make it happen.

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Blackrock 2016 US & THEM

US & THEM is one of the artworks by Patrick Goddard.

Residency artists:
Patrick Goddard
Sally O’Reilly
Alison Turnbull

In the newly converted gallery at Lydney Park Estate, Matt’s Gallery + BLACKROCK is also showing the work of Willie Doherty

Last year Blackrock launched at Lydney Park in the Forest of Dean, so this years second offer was something to look forward to. I wrote about it from a personal perspective last year. This year the project feels more consolidating, more like  Harvest Festival, whereby the artists have gathered their thinking from the land and its history and shared it with others on the Estate . More mapped. More grounded in place.

That’s not to say the artworks last year weren’t grounded in place – indeed they were, very much so. That’s the good thing about residencies, the artists have time…..something very important when expecting artists to work in somewhere so far from a city.

As Robin Klassnik, of Matt’s Gallery said “Blackrock is national and international”, and is emphatic that it shouldn’t “pander to the locals”. It doesn’t, but it does bring excellent art to the area to be enjoyed at a local level for those that are interested, as I am.

And this year I have time to assimilate, to think and reflect, to consider what these artworks are collectively sharing with the viewers. And what they say about both Blackrock and the wider world.

Thankfully, there is another weekend coming up when the artworks can be revisited to inform my thinking. That’s on 24th & 25th September. Look out for information online, Facebook , or visit their website.

The first weekend included a performance by, or written by, Sally O’Reilly, which will not be repeated the second weekend. It was absolutely brilliant and what she refers to in her introduction speaks of the core curatorial concepts that all the artists have investigated and, duly,  responded too. A harvest festival with rich pickings and excellent produce.

The Forest of Dean, the rural & the arts

I’m delighted to hear that Arts Council England and The Forestry Commission have signed an MOU to work together to support contemporary arts in woodland areas. Some of you may be aware I worked for the Forest of Dean Sculpture Trust for several years as their Project Director – I enjoyed every minute of it. At the time, whilst there were already many art projects hosted on Forestry Commission land, they weren’t particularly regarded as an important part of the FC offer. Don’t get me wrong, FC were incredibly supportive, but their visitor surveys didn’t even ask about whether or not people came to see the art at their sites. But that’s all changed now.

The appointment of Hayley Skipper up at Grizedale a few years ago marked a wind-change for FC and their relationship with art. Since then, Hayley has worked very effectively towards this moment, which is very exciting to see. Excellent leadership and patience has paid off. And Cathy Mager on a local level is doing some great work too.

This MOU is a turning point for arts in the Forest of Dean too. I’ve blogged before about how things are happening here – Blackrock last year; new works on the Sculpture Trail; a selected show for Forest of Dean and Valleys Open Studios group; and artists migrating to live here. New groups are forming too, Forest Arts Action Group, around the Postcard Exhibitions which fundraise for refugee projects.

One thing about the Forest is the reliance on word of mouth to spread the news. Facebook is increasingly used and is cheaper than setting up web pages, and easier to update and share. Checkout a few of these links and find out what is going on (or has recently):

Forest of Dean and Wye Valleys Open Studios

Cinderford Artspace

Forest of Dean Sculpture Trust

Taurus Crafts

Blackrock (last year) review

Difference Screen (last year, continuing)

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Forest & Valleys Open Studios – Commodity, a selected exhibition

ARE THE NATURAL RESOURCES OF THE AREA MERELY A COMMODITY?

PRIVATE VIEW & LAUNCH OF OPEN STUDIOS: 6-9PM ON FRIDAY 8TH JULY AT THE GARDEN CAFE, (Facebook), LOWER LYDBROOK, FOREST OF DEAN, GLOUCESTERSHIRE.

Keep up to speed on FandVos Facebook page

Congratulations to all the artists selected for this years special exhibition. Each artist will be awarded a sum of £100 to thank them for their participation.

This year is the first time FandVOS has hosted a special exhibition curated by a guest curatorial team, led by myself and supported by Keith Baugh, Adam Cairn and Carina Greenwood. Developing the Commodity exhibition with the artists has been an absolute pleasure. A great thing about forests and valley landscapes is they offer wonderful hidey-holes for creative people to live and work in. Artists and writers have celebrated this place for centuries through their creativity and have gained quite a reputation for doing so.

It is fitting to exhibit these ‘Commodity’ artworks in the Garden Café. What is now a tranquil homestead, tucked into a hill near the River Wye, was once a thriving industrial area. With wire factories across the road and a viaduct that actually ran over the house! If you want to know more chat to Paul Hayes, the owner of the Garden Café – he has many stories to tell and is a fantastic host.

The works have been selected to provide an entry point into an enquiry about the Forest and Wye Valleys specifically in terms of ‘Commodity’. They are not commissions – FandVos does not yet have the financial means to commission new work, but they hope in the future that will change. Some of the artists have, however, created new works for this show, motivated by the opportunity to stretch their practice, which is fantastic.

I mention the hidey-holes above, because as someone who moved to this area ten years ago, I am constantly amazed by the number of new artists I encounter who are working the area. And it’s great to see young artists moving here too, adding to the mix.

Living here is very special. Some local artists work in far-flung places, while others choose to work primarily in this area. It’s a privilege to see the range of work made here and exciting to install it in such a beautiful building and garden.

Thank you

Carolyn Black

Novvy Allan

Novvy is showing three prints, unframed, that respond to three natural materials found in the area – water, wood and wool. She is also showing some associated materials, including a piece of knitting made with wool dyed with local natural resources, which was used to create the Wool print. The print of the putchers is concerned with the traditional method of salmon fishing used in the River Severn but now in sad decline. The wood represents the wrangling and landownership battles that have gone on forever in the Forest of Dean, and continue to this day.

Lizzie Godden

Lizzie’s work is made with textiles dyed from local materials and stitched tenderly by hand. Each thread has its own colour nuances that when overlaid across the other pieces of fabric create a sense of rhythm through the work. Lizzie walks the forest and the riversides constantly, meditating on the land, praying for its safekeeping. Fracking threatens to fracture this landscape beyond redemption. This work is a meditation on that fear.

Tom Cousins

Tom is a political activist and a muralist and the work shown here is a very clever way of marketing both of those things. It raises our awareness, through wit and humour, about the concerns communities have about fracking. The twist is, of course, that Tom can earn his living from these political issues, at the same time as making sure that his own concerns by others, who amplify their worries by shouting them out loud on their house walls. He does this work exceedingly well and his film plays on the irony of that. Do take a leaflet if you want to be heard.

Rob Olins

Rob is a sculptor renowned for public art work, which he has been delivering widely for many years. The acoustic mirrors and their associated narratives have been a focus for him for some five years. Big, bold and colourful, they draw the viewer towards them so the more subtle nuances can be enjoyed. Only when close up can you hear the sounds emanating from them and listen to the soundscape. They create a place within a space, bright and calling with a reward at the end – like being drawn towards a rose and bending down to smell it.

Kathy Priddis

Kathy’s 3 Hunting Pots were especially inspired by ‘Commodity’ and represent different animals traditionally hunted in the Forest, always a source of food for foresters. Commoners’ rights for grazing were often high on the local agenda, and hunting with dogs represents both nature and the rural culture of Foresters’ resistance to the power of an overlord. The pots are richly glazed with local clay slips and iron ochres from Clearwell Caves; wax resist between the slip and the glaze reveals the original clay, which spontaneously interacts with the glaze to give both earthy and vivid colours. Her usual pots are more functional, made to be used.

Utilising Clearwell Caves ochres as pastels, Cinderford Stream uses a similar palette, harmonising with her pots, and revealing her love of complementary colours as found in Nature.

Claire Robinson

Claire is a landscape painter and has shown work in several exhibitions that explore themes of environment and conservation, exhibiting with organisations such as the World Wildlife Fund and Raleigh International, at venues as diverse as car show rooms, London Zoo, ecology centres and hospitals. For this show she has chosen to further explore her methods of making work that can be shown outside, in the place that inspires it. Using robust materials means that she has to make very clear marks, as opposed to the subtler ones she can achieve in watercolours. These works have a very physical existence and straddle the worlds of painting and sculpture.

Sally Stafford

Sally makes very beautiful paintings that often celebrate flowers and landscapes in a dreamlike way. At first sight, you may consider these works to be doing just that, but they were informed not so much by a celebration of place but as a sadness that an area of land near Cinderford, called the Northern Quarter is to be developed – putting all of the plants and wildlife at risk.

In the Northern Quarter of The Forest of Dean the land is to be scraped off and reused. This work is a fleeting record of a brief moment in its long history.  Made when it was a liminal place recovering from industrialisation; the haunt of dog walkers and anglers. A place in the process of rewilding. Once again the land is being pressed into service of man. This is my fragile record of an alternative.

Sally collected leaves, water and found iron from the site, eco printed the leaves onto paper and coated the results in beeswax.

Frances Warren

Frances comes from a history of working in the social housing sector and now creates art (which she finds hard to name as such) from found materials and upcycled waste. She paints, nails and ties these things together to create fascinating structures which welcome insects and other creatures to dwell in them. She paints them with colours which attract insects and the frames are not dissimilar to those Mondrian created in his later works. They provide miniature ecosystems that have been created from the rubbish that ruins our landscape we claim to love.

 

 

Call for host venues for The Story of Objects – the next phase – workshops

 

SOO yellow bar logo longJust a quick note to get you thinking over the weekend – I’m looking for hosts for the next phase of the Story of Objects – maybe it’s you?

The Story of Objects to date has very much been about ‘show and tell’ sessions, for research purposes.  The overarching vision – to create a social media network for things – is still underpinning all activity. However, the encounters have been rich and rewarding for many people.

One set of themes that came up again and again were inherited objects from family members that  relate to making or creating something. All sorts of tools and materials, artefacts and childhood memories.

I’ve been exploring how to work with the stories you’ve shared with me – there are the 30second shorts on Youtube; the Flash Fiction pieces on Medium and even a Story of Cake! The Facebook page shares news about the projects and also about other interesting object-stories from around the world – all food for thought.

The next phase will involve workshops – and I invite you to contact me if you’d like to discuss this for your organisation. I’m shaping the programme now and have some great ideas developing from the conversations so far. Each partner/collaborator is welcome to get in touch now to explore how the framework can work for you and your audiences. It is currently flexible and adaptable, which is another of features and benefits of the programme structure.

If appropriate, where a making activity is not right for the object theme, there will be an option to book a talk/presentation by a practitioner or specialist for the subject area.

I’d love to hear from arts organisations, museums, heritage organisations, material culture people, ethnographers, archaeologists and historians. Also, studios for woodworking, metal working, potteries, forges, printmaking studios, musical instrument workshops, anyone who makes – oo, and I may need a chef too!

Get in touch by email (carolyn@fkowprojects.org.uk), phone or message me via the Facebook page.

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Art in Gloucestershire – is it our turn? Drones in Cheltenham?

There was  a launch for ‘Surveillance’, a new work by Patrick Lowry, at the HardwIck Gallery in Cheltenham yesterday.  There was a great reading by Clare Thornton and talks by Chris Woods, author of Sudden Justice: America’s Secret Drone Wars and Theo Price of COBRA.

This is the second exhibition I’ve been to see in 2016 (I did sneak in Localism at MIMA on the cusp!). Both have been in Cheltenham  – the other was the Artist Rooms on Tour show of three works by Bill Viola at The Wilson, along with the Jerwood Drawing Show.

It’s tempting to present a critical review of these shows, they certainly merit one as they are excellent, but that’s not what motivates me to write today – I’m more interested in the rise of visual arts activity in my county. Gloucestershire has always been a poor neighbour to Bristol, Cardiff and Birmingham – stuck in the middle with poor rail networks and bridge crossing charges for the many that have to drive to get here.

So seeing Localism in Middlesbrough (5.5 hours on a train to get there!!!) prompted me to make more effort to see local work – whizzing off to Venice, London, Oxford, Bruton etc. is great, but it is even more special when things locally get exciting. And in the past year there’s definitely been a lift.

Is Gloucestershire finally getting a rich mix of input, layered on top of an already buzzing community of artists that often worked under the radar (probably because there were no places to see work so they show elsewhere- they have to)? Stroud has SVA, and Prema up in the Cotswolds is fab, but Gloucester, Forest of Dean and Cheltenham are poorly served in terms of venues.Last summer Blackrock rolled into town – a Matts Gallery show hosted in Lydney. Bruce Allen from Blakeney has been touring Difference Screen a fantastic mix of international films for 2 years, literally worldwide. There are many more individuals I could mention, this is the tip of the iceberg.

I live here, I want to see things happen within driving distance. Gloucester has always lacked visual arts presence, there are several  Open Studios happening around the county too – we need to join forces more, connect up, amplify big time.

So go and see what we have, celebrate it as I am doing , make living here just as exciting as the cities – rural is good too – I’d say better – we don’t need parking permits to visit and we get to breathe fresh air and peacefulness!

It is wonderful to see work that questions drone activity in war zones in the same city as GCHQ – why weren’t there more people there? This art is raising important conversations in a city that employs military specialists – how can we invite them to come?

Local MP’s, Councillors, human rights activists – PLEASE come and see this show.

And add Visual Arts South West (VASW) to your favourite websites, join their mailing list, find out what is happening here on your doorstep.

 

 

 

 

 

 

 

 

 

At 6pm performance artist Clare Thornton will be reading from drone operator transcripts.