More than extra-ordinary

This show is beautifully put together - Rosalind Davis and Jane Boyer have earned their gilded curator's caps. They have created an ancestral portrait gallery where the boundaries between three artists' work are temporarily suspended. The space seems homely and expansive. Everything breathes. Lean in for whispered conversations and you'll find your lips moving to the pulse of your own well-kept secrets. A fresh wind will sweep dark corners.
Or do you enter with breath held, anxious to find yourself growing beak and feathers or an extra limb? Maybe the content of head and heart will sprout from your scalp like Medusa's serpent hair? Try to turn your back and go: part of yourself will stay behind, in a tiny image where a furry, blurry fleece will spread across your face, and in time, your neck and chest and up from downdowndown. The eye will see - it never sleeps. Best to take time to dance with the three-legged girl (is that you, sweetheart?) or sail away a while in the black boat of father's shoes.

Excellent exibition, even if I say so myself. Exhausted. Exhilarated. In exile again. Or is it home?

Image borrowed from Chantelle Purcell's interview with the artists. Read it!

Go see:
Extra-Ordinary at Core Gallery
Alyson Helyer, Marion Michell and Tom Butler
Curated by Jane Boyer and Rosalind Davis

23rd April-7th May, Friday - Sunday 12-6 or by appointment_
South London Art Map late night opening, 29th April 6.30-8.30pm

Core Gallery, Cor Blimey Arts
C101 Faircharm Trading Estate
8-12 Creekside
Deptford
London SE8 3DX
0208 692 2783

Extra-Ordinary

Alyson Helyer, Marion Michell and Tom Butler
Curated by Jane Boyer and Rosalind Davis

Preview 22nd April 6.30pm-8.30pm
23rd April-7th May, Friday - Sunday 12-6 or by appointment_
South London Art Map late night opening, 29th April 6.30-8.30pm

From the press-release:
"Tom Butler, Alyson Helyer and Marion Michell create a disjointed world of macabre coexistence that holds humour, ambiguity, intensity and contradiction.
Originally selected from over 250 artists from the Core Gallery 2010 Open Submission competition by Matt Roberts, Kate Jones and Graham Crowley as part of the Deptford X festival.
Each artist explores identity and the psyche, the real and the unreal, showing us places, where, if we look, we may feel discomfort, anxiety and self-consciousness. The anguish of memory resurfaces as a physical representation via paint, crochet, paper sculptures, altered photographs and drawing.
The works inter-connect through the subversion of media, explorations of the potency of hair, domesticity, family and deformity creating a world of memento mori that contradictorily holds vitality; it is a vitality which draws strength and force from ‘the other’. But there is a symbolic death in these works; the death of mortification, the death of being other, the death of being bound, isolated and invisible, the death of assimilation (at any cost)."
Core Gallery, Cor Blimey Arts, C101 Faircharm Trading Estate, 8-12 Creekside, London SE8 3DX

We were wicked, we were wild

This is one of two works I showed at 48 Hours. It was an interesting little show, with photographers and painters and a video-artist. My pieces breathed from the walls amidst lots of rectangles. Originally I thought of 'them' more like Hänsel and Gretel-figures, lost, abandoned children, but when I was considering titles I decided to go for a different angle, steer away from anxiety and abjection towards something more open. 'We were wicked, we were wild' adds another dimension, I hope. Different, yes, vulnerable, yes, but maybe I'm tentatively feeling my way towards the freedom that lies in difference. There's strength in numbers too.
I also like them laid out, and am getting more interested in folding. Actually I'm crocheting a piece now just so I can fold it.



Materials: two viscose embroidery threads and one woollen one
Dimensions: 19 x 29.5 cm and 18.5 x 31 cm

Great news this morning: The Arthouse have had their Arts Council grant renewed! I can't think of an arts organisation that deserves it more. The Arthouse is singular in the comprehensive support and encouragement it offers to artists of all physical abilities. It is a great facilitator - no labels are applied to the artist - the first focus is always the art. The well-thought out package: tailor-made building (I've never been in a building before where access has been considered on such a level - brilliant!), flat, studios, exhibitions, courses, communication, networking, and utterly committed staff - is one of a kind. Congratulations, dear Arthouse - wished there were more of you everywhere!

48 hours

My Changelings rock!

I have had some great news this week. My Changelings will go to Kaunas, Lithuania, in September, as part of Kaunas Biennial
TEXTILE 11: REWIND-PLAY-FORWARD. The brief was to link one's work with a text, a narrative, to do with memory, where the personal, the social, the historical interweave. Under the title 'Pedestal for a legless girl' I wrote about my cousin Edith and how the childhood memory of her shoe with the high-raised sole slowly but inexorably led me towards the concept of the changeling and finally the crocheted work. Both text and work will be displayed in the exhibition. You can see how this pleases yours truly. I can't stop grinning.
The artists selected come from all over the world: China, Japan, South Korea, Taiwan, Russia, New Zealand, South Africa, South Korea, USA, Canada, Israel, Lithuania, Estonia, Netherlands, Germany, Spain, France, and the UK. Look at that gorgeous list of international artists's names:
Ainsley Hillard, Alice Kettle, Amélie Brisson-Darveau, Beili Liu, F4 Artist Collective [Susan Jowsey/Marcus Williams], Fiona Kirkwood, Gao Yuan, Katie Waugh, Katya Oicherman, Kristina Čyžiūtė, Kyung –ae Wang, Laisvydė Šalčiūtė, Lia Altman, Lina Jonikė, María León, Marion Coleman, Andrea Milde, Marion Michell, Michaela Melián, Monika Kreivė, Monika Žaltauskaitė-Grašienė, Nina Bondeson, Rasma Noreikytė, Rūta Naujalytė, Signe Kivi, Sonja Andrew, Tilleke Schwarz, Virginie Rochetti, Wang Haiyuan 王海元, Watanabe Misao, Tonje Høydahl Sørli

Oh, I'm giddy. More in good time. :)

Closed system no 1

February has been a difficult month physically but I think my energies are picking up. Good to report that I've finished a new work. This may well be the first in a new series. I combined three colours of lace-weight wool, much stronger colours than for my changelings, as you can see. I had a clear vision of the swoop of the closed neckline aligned with the rounded, open shape of the arms, but it took quite a few attempts to get it right.
You may remember, last year, during a group show at Core Gallery, three artists, namely Aly Helyer, Tom Butler and I, were chosen for an exhibition opening in April 2011. It will run under the very fitting title 'Extra-Ordinary', and on Tuesday, Rosalind Davis, who will curate the show with Jane Boyer, came to visit me at home to look at my work and make a selection for the show. She brought her laptop and used skype to link up with Jane in France. It was an interesting meeting and made me realise how much easier it is to write about my work than finding the right words in conversation, esp. when I'm a bit nervous. Making the art has been my focus these last few years and most of the time when I applied for exhibitions the work spoke for itself, supported by the accompanying texts I wrote. Now things are moving to a different level, which is good, but I felt after the meeting that I didn't represent my work, esp. my changelings, and maybe myself as an artist, very well - want to learn from that.

Materials: crocheted from a combination of merino lace-weight wools
Dimensions: 47 cm x 56 cm

My magnificent seven

Now that I have finished work on my changelings I'm thinking about how to present them. I'd like to see them laid out on a huge table or a low plinth, as opposed to hanging on a wall, and am trying to work out in my head what difference that might make. Would there be less distance between the viewer and the work? Might the emotional impact be stronger if one were to gaze down on them as if on real clothes in a shop? Alternatively, if I wanted to have them on the wall, I'd like each piece to have its own specially shaped coat-hanger (can't afford to have these made, alas).
I have been looking back over the work I've made these last few years, the shoes made from tissue paper, crocheted dresses, etc. and found that while my concerns are consistent my shapes have become free-er and maybe subtler too. They imagine bodies that buckle under the strain of difference, and draw their lifeblood from it, but disarm with their simple, diminutive and absurd shapes, with a combination of pathos, pain and humour.