FUSE #2

With support from Arts Council England, we were able to continue with our programme – travelling up to Sheffield and reaching out to a wider audience.

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The title ‘FUSE’ is taken from the work we exhibited in Athens.  All of the artists in the Platform exhibition have exhibited in FUSE Sheffield, but like most of SCI’s exhibitions, we have gathered artists on the way.

Images courtesy of Michael Borkowsky

Images from the exhibition :Relics

Using donated ceramics (many from Baltic Clay ) as a starting point, the artists involved in the exhibition set out to alter and adapt the pieces .

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A poetry event based on ‘Relics’ was also organised and well attended

Read an interview with the curator : http://www.artinliverpool.com/feature-relics-independent-exhibition-tate/    and a review   : http://www.artinliverpool.com/relics-the-independent-thread-coming-to-a-venue-near-you/

Relics

Still using the theme of ancient Greece,  our next exhibition takes place in Tate Liverpool’s Group Reception room.

The room is transformed into a museum and the objects displayed are the findings from a lost civilisation. Pots and pieces of ceramics have been unearthed from the dig, giving a glimpse of the past….or possibly the future? 

Relics

Many Thanks to Andrew from Baltic Clay for donated ceramics
Artwork shown in image by Tifany Kendall

Biennial Fringe

Over the next few weeks we will be running several exhibitions and events in response to our time in Athens. The first one, MOIRAI, opens in Liverpool coinciding with the start of the Biennial Fringe.

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http://www.artinliverpool.com/events/atrium-gallery-moirai-sci-artists-group-show/

Images from Athens

 

 

Images courtesy  of Maria Jj Juchnowska

 

SCI: Platforms Project @ Art-Athina 2016

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We are pleased to announce that we will be taking part in this years Platforms project at Art Athena in Athens, Greece 26 -29 May 2016.

Platforms Project @ Art-Athina 2016 will be featuring 51 major platforms and art-group  events from 17 countries, involving over 650 artists and making up a programme which will attempt to offer visitors an insight into artistic creation and the experience of collaboration in the artistic practice without focusing on sales.

Artists representing SCI are:

Wendy Williams
Catherine Harrison
Jacqueline F Kerr
Maria Juchnowska
Michael Borkowsky
Keiron Finnerty
Ruth Morrissey
Hilal Ozelci
Max Reeves
Elizabeth Wheeler
Maria Christoforatou

This has been made possible through support by Arts Council England

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Doesn’t look like a Book

Artists from across the UK and overseas have produced 25 ‘books’ after a call out from Wendy Williams (Alternator Studios, Wirral) to submit artworks that reference the ‘book’ without ‘necessarily resembling a book’. The works submitted were then subsequently ‘hidden’ for visitors to find in The Williamson Art Gallery and Museum. 

The artists involved in this exhibition, are a mix of those who responded to the open call, invited artists and several members of ‘Soup Collective’ and ‘SCI’.

The Williamson has a formidable permanent exhibition of paintings, an impressive collection of Della Robbia pottery and fine porcelain, marine vessels mixed with antique seafare, regional watercolours and fine prints.Armour PS

The maritime connection is impressive as is the ‘Parade Amour’ a 19c re-production of a much earlier coat of arms. How fitting that a further re-interpretation is placed cleverly on this breast plate – small sheets of print enclosed referring to another 20c knight Philip Marlowe, with extracts from The Big Sleep by Raymond Chandler enclosed, by Pamela Sullivan.

The walnut wood and exotic decorative images particularly on the huge fireplace in the far room offers a spectacle rich with the oriental. Look carefully and you can see a further book in the form of laboratory test tubes & rack by Emma Dolphin. To the side, an embroidered mobile by Swedish artist Anna Granberg – ‘A poem in silk, words and no words’.

The display of ships, house the largest amount of hidden books. Three are found quite openly in the large display cabinet at the back of the room (a space themed pop-up book by Keiron Finnetty, a wooden bobbin attached with flags made from a book on maritime shipping, by Sharon Hall Shipp and a cable lead into which two tiny books have been inserted into the transformer box and plug, by Wendy Williams)

Ship models are the perfect setting to include a sewing box that a Lilliput could own. German artist Monika Kiszegi has created a sewing box which contain three mini books -a button book, a pin book and a string book.

Sewing box

Moving around the room, between the ships, we find contact lens casings by Swedish artist Susanne Torsstenson,  a pack of playing cards, each card displaying a poem by Bosnian artist Enes Kurtović, A delicate, what appears to be at first a feather duster, by Alice Bradshaw ‘ Mass-produced, anonymous objects are often rendered dysfunctional caricatures of themselves’.

So, how can more miniatures be found amongst this rich historical collection?

The clue is in the way we are made to look for the hidden works – the connections between eye and the true historical object (the model ships) and in this case the miniature. They are not all easy to find, particularly ‘The Egg’ found on a walk in Northumberland by Sally Madge measuring 5cm x 3cm! The plaster cast was modelled leaving traces of sketches taken from her studio and placed on a decorative ceramic plate at its side a canvas house with brick letters deconstructing ‘The Three Little Pigs’ by Sara Wicks.

The Nest

Your eyes have to scan the cabinets so intense that the ‘curiosities in the cabinets’ are almost like a forensic task for the visitor.

Ceramics placed along ceramics are surprising hard to find. The series of nests by Caroline Scott Huby, or the Spinning top by American artist Grant Beniot blend in beautifully. Even its bold American flag didn’t seem at all out of place sitting snuggly among the museum collection.

Catherine Harrison’s ‘ Box of Nails’ is also difficult to spot, the trinket box was found in a charity shop corroded and rusted with the natural chemicals contained taking over the life of the box. The words inscribed on the nails contain symbols taken from Alchemy texts holding a further key to life matched perfectly by the marine artefact it accompanied. Works are stacked close, the ‘new’ reinvigorating the ‘old’.

The artefact galleries have a ‘Wonder Room’ aspect to it objects collected and displayed are mostly from a colonial past. 18c scientists would use the ‘natural world’ to display interesting or unusual items unearthed or found, today the Williamson has a strong local identity and connecting interests which favour’s rather than hinders its appeal such as in ‘The London Factory of Lime House’ room and its strong connection with Liverpool porcelain decorators.
The ‘Porcelain Room’, was Jacqueline Kerr’s resting place her submission placed delicately in the lid of a berry jar; a ‘Book of Clocks’ all perfectly re- printed formed her sensibility as being part of a wider project .

The exhibition runs through to the 1st November

Written by Deborah Laing, edited by Wendy Williams

Images by Catherine Harrison