The State of Print is an Artist Led Nation and it has been a pleasure to be offered citizenship.
SOP is a touring exhibition that questions the nature of states, borders, and reproduction. Each time the state relocates to a new exhibition space it collects ten artists who print ten boxes which are absorbed into the collection. All works respond to the manifesto laid out by the state.
STATE OF PRINT (SOP) MANIFESTO
All Manifestos are Useless
All States are Fake
All Images are Made
All Worlds are Invented
See Real Artists at Work in the Art Zoo! Art Zoo breaks down the barriers between artists and audiences.
Art Zoo is part performance, part installation, and part living sculpture. It is an absurdist event that will give visitors to the Harris a glimpse into the exciting and vibrant world of the artist and see how they work.
Art Zoo took place at the Harris Museum and Art Gallery on the 26th May 2018 and was a great success. Tours of the Harris were lead by the fantastic Stephanie Cottle as the Art Zoo, Zoo Keeper. Some of the specimens that she introduced the visitors to are featured below.
One of the perks of my position as Printmaking Technician at the University of Central Lancashire is that I get to be involved with so many interesting and unique projects. Ceramic Frankenstein, delivered by Erik Kok and Rudi Bastiaans from The AKI Academy of Art and Design was certainly out of the ordinary.
‘Ceramic Frankenstein is a student project that combines diverse techniques in several workshops. We visit one of our partner universities, in this case, the University of Central Lancashire. We form groups of students from different departments: Printmaking, Ceramics, and Photography etc. The workshop lasts for a week, which ends with a small presentation on a location that complements the artwork’ – Erik Kok
A reoccurring theme in my practice is phenomenology – finding ways in which to articulate conscious experience.
This can seem to be an absurd and somewhat futile task, to create (often) two-dimensional works that capture or express a three-dimensional reality that exists in flux. For this reason, I avoid trying to creating a ‘fixed’ or static image that represents a place. The works are a gateway to a conversation about the place rather than an illustration of place.
My aim is therefore to create work that interacts with the environment in which it is presented. If the lighting changes, then so should the work, because after all, that is what ‘place’ is, as Maurice Merleau-Ponty says in the Phenomenology of Perception.
‘If I walk along a shore towards a ship which has run aground, and the funnel or masts merge into the forest bordering on the sand dune, there will be a moment when these details suddenly become part of the ship, and indissolubly fused with it. As I approached, I did not perceive resemblances or proximities which ﬁnally came together to form a continuous picture of the upper part of the ship. I merely felt that the look of the object was on the point of altering, that something was imminent in this tension, as a storm is imminent in storm clouds.’