review of Mycophilia by Louise Short at Ceredigion Museum in Aberystwyth

Please share this with others, it’s such a wonderful show.

Mycophilia is the first of two shows being presented in the Ceredigion Museum temporary gallery space by Short&Forward and runs from April 17 to May 31st 2014. Alice Forward’s exhibition Swarm Society will run from June 12th till 2nd August and her works resonate well with those of Louise. Both make work that explores our relationship with the natural world and expresses their passion for protecting and conserving it for future generations. They share a love of film, mushrooms, bees and life.

Louise Short’s exhibition, Mycophilia, exhibits exquisite casts of fungi and spore prints as filmic objects. In a temporary space next to the Ceredigion Museum in Aberystwyth, she has presented a constellation of 3D snapshots of moments in time and place, captured and recorded in plaster, bronze, paper, paint and spore-dust on paper. The title of the installation, Mycophilia, means the love of mushrooms, likewise filmophilia means a love of films. Spore-dust is an evocative phrase that whispers the story of their process in your ear. On entering the gallery to experience Mycophilia viewers are transported into another world. The prints on paper are trapped underneath glasses, lest they should escape like spiders or wasps, and the science-fiction presence of a constellation of plaster casts suspended in a deep blue universe spans the whole back wall. Ian Banks meets Richard Mabey meets Thoreaux. This installation is both 2D and 3D – filmic and sculptural. It hints at mass fields of growth and microscopic detail. Each trace of fungi reveals its own intricacy and uniqueness – together they are a cosmos.

A love of the process of film and a deep understanding of nature is present in all of Louise’s artworks, but not always in an obvious, cinematic way. Mothshadowmovie (1999, 2000) turned an everyday office overhead projector into a screening device in a woodland – attracting and amplifying the ghostly visits of fluttering moths and slimy snails. For Something Else, her one person show at Arnolfini, Bristol in 1997, Louise cast the tender insides of daffodil trumpets, fixing the voids in plaster. In 2001, in the basement of what is now the Exchange Gallery in Penzance, she filmed the walls of the redundant telephone exchange then re-projected the 8mm footage back onto their surface. The projectors shuddered and rattled, returning life to the abandoned architecture. Feeling Faint created a gentle echo on the walls, the images quivered softly like Narcissus’s reflection on water. In Louise’s work solid things are made ephemeral and transient moments solid. Casting is like a 3D camera, the imprint of the brief moment that the fungus manifests itself above ground as solid matter is caught and made tangible.

The spore-dust deposits fine footprints of the mushrooms reproductive potential, they multiply generously but few will survive the process. Their lives are brief, like stars they appear unexpectedly and disappear suddenly, as if by magic. They are indeed other-worldly without consumption – you don’t need to eat them to be enchanted and drawn in by their hallucinatory nature. In the scale of things humans are similarly short-lived. We make art, we write, we create, we procreate, and every moment is to be noted, considered and experienced in our short lifetime. This exhibition of fungi prompts us to be mindful of this and the artwork is the outcome of a very thoughtful and considered process of walking, meandering and being in the moment.

During Louise’s regular forays through the beautiful Welsh landscape, where she lives and works, she was able to immerse herself in her thoughts of the ephemeral, returning with a record of her journey, on that day, of that place. I must let my senses wander as my thought, my eyes see without looking…Be not preoccupied with looking. Go not to the object; let it come to you…What I need is not to look at all, but a true sauntering of the eye. (Thoreau Journal 4:351) Solitude, silence, no signage, wandering aimlessly, like the rhizome of mycelia that appear as fairy-circles below the surface of meadow grass, Louise reflected upon her roots and relationships, walking random routes through the landscape, meandering, thinking and casting her gaze as she foraged, capturing her fragile trophies to keep.

Fungi is corporeal in nature, soft like flesh, but cold to the touch. Love, tenderness, fragility, vulnerability, the human condition are all here in this exhibition.

 

20140427-195422.jpg 20140427-195403.jpg 20140427-195345.jpg 20140427-195332.jpg © Carolyn Black 2014

@technobiophilia – what is it? watch the video where Sue Thomas explains

There are many exciting things happening every day and we all have things that inspire us and make us wonder about the world. Some take delight in sport results, others nature, others art, others technology. Some of us find the blurirng of the edges of those things the most rich area to explore. I certainly do.

Those who have known me for some time will know that whilst I worked as an artist and now as a producer, the common thread throughout has been a slight penchant for technology. Both as a medium and an intellectual pursuit. No suprise then that I am excited by the upcoming publication of Technobiophilia by Sue Thomas. Nature and technology rubbing shoulders, creating new ways of understanding how we relate to the world.

Sue has posted a video of her explaining a bit about the concepts behind the book and what motivated her to reserch the idea. It’s a fascinating way of thinking and slightly at odds with those who enjoy the power of the binary opposires of science V nature, nature V cyberspace. Technology is here to stay, get used to it.

As Sue is also my sister – I am slightly biased. This is the first time we have worked together professionally (I did the black & white chapter headers, some shown in the video), so we’d love to hear what you think.

The Barbican, Welcome Trust, Helen Chadwick & sunshine

Some days you just have to go and see some art. When a friend asked me what would I recommend he saw when in London I decided to join him, and it was fab.

The main show at Barbican is Cage, Johns, Rauschenburg, Duchamp and Cunningham, which was enjoyable, though the atmosphere there is always a bit dark and dungeony. But that worked quite well with the theatrical sense of the show.

The highlight for me though was the Geoffrey Farmer in the Curve Gallery – what a wonderful piece of work. I first saw Farmer at Documenta last year, when he showed Leaves of Grass, and this one was equally as mesmerising. The Surgeon and the Photographer was poetic, picasso-esque, python-esque (as in Monty!), Dali-esque and the narrative like a strange detective-esque experience.

It was wonderful, and I found myself reading it like a book, considering how some of the puppets were on pedestals addressing groups of people, some engaged with nature, balancing butterflies on their fingers whilst cut-out birds flew overhead. Some carried weapons, so looked like military rows of soldiers, some seemed free of hierarchy or order. Multi-cultural, the film element morphed people heads from one into another, or showed sequences of stills of war, of clothing etc.

After that, a quick dash around Welcome Trust – outside art from Japan, well worth a visit, some real gems in there. Then a whizz to catch Helen Chadwick before it closed. Piss Flowers in the window alongside an evocative text were pleasing, but the majority of work didn’t excite me the way it used to. But it did make me think of Next Nature and how she juxtaposed flowers and flesh together and played around the edges of the erotic by alluding to genitals. She was a very special artist and the way she portrayed meat and flesh as equal is carried on by contemporary artists like Elpida Hadzi-Vasileva. Elpida is representing Macedonia at Venice this year, so check it out and see if you can see the relationship.

Sisters on Saturday: Symposium at SVA, Stroud. Sue Thomas; Semiconductor: Squidsoup; Simon Ryder The New Natural

new nature

This Saturday 25th May is going to be a very interesting day. As part of the SITE Festival, artist Simon Ryder is hosting a symposium to consider the future of nature – what do we mean by ‘new nature’? Is nature only what we already know of, and some feel, have damaged irrepairably, or might it be something unimagined and unforeseen?

My sister, Professor Sue Thomas, and I, find nothing unusual in such conversations. When I look back at some of the weird discussions and debates we’ve had over the table in the past, I have rarely stopped to wonder whether this is usual family fare. It’s our normal – which is what matters to us.

Intense dialogues about when we are online, do we ‘feel’ we ‘reside’ online? Is virtuality another geography? Where does fact and fiction begin and end? Does it end? We mostly agree. But what do you think?

I’m taking a back seat on Saturday while others enter similar discussions, chaired by Rob la Frenais, of The Arts Catalyst. It will be an intriguing conversation as it unravels the different ways we might consider New Nature.

The New Natural Symposium
Semiconductor, Prof. Sue Thomas and Squidsoup
Saturday 25th May 10.30am-5pm
SVA, 4 John St, Stroud GL5 2HA
Installation Friday 24th-Sunday 26th May

11am-4pm Goods Shed, Stroud GL5 3AP

Book now:

The New Natural is presented by Heart of Wonder in collaboration with SVA, and supported by Alias.

Tickets £12 including lunch and refreshments £20 for weekend inclusive of evening events. See SVA website for more details, or give them a call.

Booking is essential as places are limited 01453 751440 or email office@sva.org.uk