Are you a potential Craftivist?

On Wednesday, I joined a group of volunteers to assist at a “ Patches of Hope” stitching event run by the Craftivist Collective.

I have been aware of the work of the collective for about 18 months, and have been impressed by their philosophy of "gentle protest”. I’ve been a regular attender of demonstrations during my life, but am increasingly worried about the lack of impact even the largest of public demonstrations is having on government policy.

This event was a prelude to a Tate Late on 24 Feb ( free, but registration needed, I think ), and is based on the Crystal Quilt by Suzanne Lacey, an installation addressing several topics but one of which was  how women, particularly older women, are perceived in society. ( Photos from @Craftivists and Aron Klein)

The intent was that each attendee chose a word that they wanted to see more of in the world, and while stitching, thought about what actions they would take in their own life to enable more of that word to come to the fore. In addition, each table had a facilitator who eased people in to discussion about why their chosen word was important to them, and encouraged cross-table debate about the word. The little bottles of Prosecco helped conversation flow, but were not as helpful to the flow of the stitching.

This was a lovely event, and an opportunity for cross-generational conversations about the state of the world and what we can each do in our own communities, however small or large they may be, to increase hope. Unfortunately, I can’t make it to the Tate Late, but the Craftivists will be there, as will be many of the attendees from Wednesday, all wearing their patches. As one of my words was “Share”, a much mis-used term in these days of social media, if you do go , and want to wear a patch, please contact me and I’ll send you one of mine!

 

 

 

College collage

A superb day today, using the papers generated here to make a collage of the lotus seed pod.

First arranging the papers in order of tonal value

then tearing,  cutting and temporary gluing - great fun.

Still needs some work, but I am really pleased with this - and not a pencil in sight!

After the class, two exhibitions.  First of all the October Gallery to see the welded steel sculptures of Sokari Douglas Camp.  Epic in scale and in the themes explored.  Then to Tate Modern to see the work of Mona Hatoum.  Some really interesting work - why do I find any work using human hair so disturbing? Good to see the sketchbooks on display as well.  I loved he black marbles and the ever-changing circle of sand.  Really worth a visit.

Exhibitionist

I have a week’s leave to “ use or loose” so am combining a list of household management tasks with attendance at several exhibitions this week.  So far:

Chris Beetles Gallery, The Illustrators 2015, on until 9th January

What a treat to see so many original illustrations one place, all framed beautifully and consistently so that the eye was not distracted from the image.  There is a superb online catalogue that contains all 354 images, here, and if I had infinite funds, I would have bought Aubrey Beardsley and Quentin Blake - especially “On the Roof” featuring Mrs Armitage.

 White Cube Gallery, Mason’s Yard, “Losing the compass”, on until 9th January

Lots of textiles, but I really wasn’t sure about this one.  Some if it seemed more like “losing the plot” rather than ‘losing the compass”.  Acrylic paint on the top surface of a piece of carpet, then stuck in a frame, not for me.  Some interesting historical quilts, but displayed in a rather odd way, lying on top each other on the floor and hung from hooks on the wall such that the whole design couldn’t be seen.  I did like the embroidered maps and slogans by Alighiero e Boetti

Sims Reed Gallery, Bury Street, until 20 January.  Lovely drawings and painting by David Hockney and beautifully drawn pumpkins by Yayoi Kusama.

Joy of joys, using my Tate membership  - thank you mother in law, to see Alexander Calder  - Performing Sculpture. ( on until April 2016) I could have sat there all day, watching the shadows, and the gentle movements.  Despite the signs asking for no blowing on the sculptures, some people could not resist.  The 3D wire sculptures of heads and acrobats were a real revelation, and made me understand some of the comments from my drawing teacher about using the  weight of line to show ‘disappearing and appearing space’.

Then, thanks to a tip off from a friend who works in the art word, a visit to Omer Trioche Contemporary Art, where a small show of Calder tapestries and gouaches finishes this weekend.  It is a bit intimidating visiting these little galleries, as you have to ring the bell and request entrance but nothing ventured as they say.   Photography was allowed here.  

Vibrant reds and yellows lit up the gloomy day.  These are not tapestries in the conventional sense of weaving, but are rather braids of fibres placed on edge and then attached to a backing.  The scale is not apparent here, but this star was about a metre across the widest part.

The braided cords can be clearly seen here.

On my travels, interesting architectural details that caught my eye

Current turbine hall installation “Empty Lot” 

Cheesegrater, Walkie-Talkie, Gherkin, and Monument, just appearing in gold, now completely dwarfed by these monsters of commerce.

Worshipful companies’ signs, which due to the wonders of the internet, I can now research.  Glaziers here, Scientific Instrument Makers here and Launderers here.

British Museum of Food was new to me

and in the basement, Alcoholic Architecture, only open in the evening.

Shard partially concealed by a tree

Workers on the Millennium Bridge - love those sinuous lines - of the bridge that is, not of the workers

The old and the new - almshouses disappearing underneath recently-built towers

 

Colour and shine in a shaft of light coming through the gloom

Bollards, and what looks like a giant, upturned, steel mug supporting this building

London getting ready for Christmas, from a balcony at Tate Modern.

Home for dinner, and hopefully tomorrow, if my brain and feet hold out a trip to Goldsmith’s to see the work of Christine Risley, a contemporary and colleague of Constance Howard.

 

 

 

 

 

Click… in two senses of the word

An art day today.  First a visit to the Jerwood Space to see the work of  two new artists, in Jerwood Encounters.  Interesting pieces of work, but I'm not sure that they really said much to my psyche.  Then to Tate Modern for a quick art-based shop, and a great photo of the now filled-in crack, by Doris Salcedo.  I can't believe that it is 8 years ago that my lads had such a great time interacting with this piece.

Next to Bankside Gallery to drool over the prints on display, particularly those of Norman Ackroyd, Meg Dutton, John Duffin, John Bryce and Jeremy Blighton.  Close by, the sun had come out, I think that is the window cleaners at the top right.

After all that stimulation, we then studied tonal drawing at Mary Ward, and I really think something finally clicked about assessing tone, resulting in this, of which I am very proud.  Pencil on a graphite powder ground, about A2 size.

Still has many wonky bits ( and I doubt whether that table would stand up on is own) but real progress.  Thank you Sophie.

Phrenolobsession

It's becoming an obesssion! This one is a partner for the first large one, so faces the other way. Sewn on the train up ( and down) to London to visit Tate Modern to see the current installation by Miroslaw Balka.

Definitely thought provoking, particularly for someone who is claustrophobic.

Inspirational, it truly is

At Tate Modern last week with my elder son. The installation in the turbine hall, by Miroslaw Balka is still provoking thoughts and was an interesting experience to go through with a fearless teenager.


Inspiring art work as ever, and in the shop this wonderful book which made it home with me. Absolutely luscious stitching, sumptuous photography and thousands of ideas stimulated with each section.