Please vote for me to become the official blogger / artist for an expedition to the North Pole!Image: Greenland iceberg, © Margaret Sharrow 2008
All images this site copyright Margaret Sharrow, 2008-2010, unless otherwise noted
Showing posts with label video. Show all posts
Showing posts with label video. Show all posts
Sunday, 2 January 2011
Saturday, 29 May 2010
Margaret Sharrow
Image: Guggenheim intervention (exterior), © Margaret Sharrow 2010
All images this site copyright Margaret Sharrow, 2008-2010, unless otherwise noted
'Soul group' screening at FACT in Liverpool: thanks to all who helped me put my foot in the door of the Biennial
FACT Liverpool, image copyright Margaret Sharrow 2010
If you missed it, don't worry, I'll be having lots of other screenings of 'Soul group' and other work - as soon as I have firm dates and locations, I'll post them here, and on Facebook and Twitter.
Just a reminder that if you are in West Wales, 'Soul group' is currently screening at St Dogmaels Gallery near Cardigan, as part of the Winter Show.
Please vote for me to become the official blogger / artist for an expedition to the North Pole!
Vote for Margaret Sharrow to create ULTIMATE STILLNESS at the North Pole!
Photo: Greenland glacier, copyright Margaret Sharrow 2008
Vote for me to win a competition to make my proposed work ULTIMATE STILLNESS at the North Pole! Photos, blogs, books and opportunities for global participation will follow... I need as many votes as possible to be chosen as a finalist, so I'm counting on the generosity of the hundreds of people who read my pages every month!
Read the full proposal and vote at http://www.blogyourwaytothenorthpole.com/entries/166
Thanks!
Margaret Sharrow screens 'Soul group' at FACT Liverpool 26 October 2010
Image: still from 'Soul group', copyright Margaret Sharrow 2010.
Margaret Sharrow will be screening her video 'Soul group' on Friday 26 November at FACT Liverpool as part of the Liverpool Biennial.
The screening will take place in the FACT cafe, from 5-9 pm. The video, which lasts just under ten minutes, will be played continuously on a small screen at one of the tables.
The artist will be present to answer questions about the work.
For more information, contact the artist on this website.
Margaret Sharrow at St Dogmaels Gallery Winter Show
Image: Still from the video 'Soul group' by Margaret Sharrow at St Dogmaels Gallery, image copyright Margaret Sharrow, 2010
Margaret Sharrow is showing a selection of photographic and video work as part of the 'Winter Show' at St Dogmaels Gallery in Pembrokeshire.
It is the premiere of her video 'Soul group', installed in the new video viewing room.
There is also a chance to view some of Sharrow's cyanotypes of Greenland, and current work from her series of digital prints and collages 'Walking London / Walking Wales'.
St Dogmaels Gallery is on the High Street of St Dogmaels, a few miles from Cardigan on the road to Poppit Sands. Opening hours are Wednesday through Saturday, 12 to 6pm.
The 'Winter Show' continues until February 2011.
Wednesday, 17 December 2008
Why it's not safe to let me into the Tate
1. I go bananas for Bacon.
2. The restaurant at Tate Britain is excellent. (The devilled kidneys on sourbread are out of this world, and the wine list could be a novella.)
3. I might actually read the comments on the Turner Prize exhibition. Who knows, I might even report some of them here.
4. I never, ever pay for the coat check.
5. The Tate membership will let me into exhibitions an unlimited amount of times. I have already made it pay for itself.
6. I may be found peering at the memorabilia of curation: is that wall photo printed out in 60cm strips? What kind of mirror plates are they using? Are photo corner tabs fashionable underneath, or above, matte mountings?
7. Who knows what they might think of me if I went to St. Ives?
8. In the shop I might be reading rather a lot of that book about marketing for artists.
9. I could be guilty of buying a pencil sharpener, finding that it was too small for the pencil, returning it, and persuading the person at the counter to sharpen the pencil for me with a Stanley knife. (Now why didn't I think to bring one to the gallery?)
10. Which leads to the scenario of me making unfeasible sketches of the George Dyer triptychs.
11. I always seem to be the last to leave at the end of the day. People have to walk around ringing bells and locking doors behind me to get me to go.
12. There is a pair of machines in Tate Modern, by the coat check that I do not pay for, that allows me to have fun making absurd not-quite-art videos. You have been warned.
2. The restaurant at Tate Britain is excellent. (The devilled kidneys on sourbread are out of this world, and the wine list could be a novella.)
3. I might actually read the comments on the Turner Prize exhibition. Who knows, I might even report some of them here.
4. I never, ever pay for the coat check.
5. The Tate membership will let me into exhibitions an unlimited amount of times. I have already made it pay for itself.
6. I may be found peering at the memorabilia of curation: is that wall photo printed out in 60cm strips? What kind of mirror plates are they using? Are photo corner tabs fashionable underneath, or above, matte mountings?
7. Who knows what they might think of me if I went to St. Ives?
8. In the shop I might be reading rather a lot of that book about marketing for artists.
9. I could be guilty of buying a pencil sharpener, finding that it was too small for the pencil, returning it, and persuading the person at the counter to sharpen the pencil for me with a Stanley knife. (Now why didn't I think to bring one to the gallery?)
10. Which leads to the scenario of me making unfeasible sketches of the George Dyer triptychs.
11. I always seem to be the last to leave at the end of the day. People have to walk around ringing bells and locking doors behind me to get me to go.
12. There is a pair of machines in Tate Modern, by the coat check that I do not pay for, that allows me to have fun making absurd not-quite-art videos. You have been warned.
welcome page ----- Margaret's webpage ----- Facebook ----- Flickr ----- Saatchi Online
Thursday, 4 December 2008
Zac Dutton - Untitled Installation, and more on Jenny Francis
Something I forgot to mention about Jenny Francis' installation was the sound. Two small speakers played a quiet clinking soundtrack, punctuated by burbling. Was this the sound of the artist's stomach, digesting? No, she said it was a microphone placed at her throat while she ate. Indeed, there was occasionally a familiar voice that went, 'Hrr-hmm!' However, I could be mistaken for thinking that I was hearing stomach burbles, as the Jenny Francis soundtrack was merging with the one from the next room, much louder, more repetitive, but punctuated with diving burbles which could be mistaken for stomach noises, except for their 4/4 regularity.
This was the 'Untitled Installation' of Zac Dutton, which occupied the Project Room from 2-4 December. It consisted of the audio, and a video projection beamed onto four large panels which merged into a single painting, going round the corner of the room and onto the floor.
First, the painting. I thought the energy and colours of it were fantastic. The style he has been working in this term, exploiting the properties of high-gloss emulsion, is like Jackson Pollack in a viscous slow motion, allowing the colours to marble and mix. The larger he goes, the better the pieces seem to get (which may be bad news for the rest of us, as soon he will be taking up almost as much studio space as me!). This triptych goes round the corner, with the fourth panel joining them together on the floor. I didn't quite have the nerve to take my shoes off and walk on the piece, but that was what it seemed to invite. On the other hand, it is so glossy that it looks wet all the time, even after days drying.
This glossiness led to a slight problem with the video projection: there was a distracting glare spot where the projector reflected its own light. And the video animation of Zac's painting methods, which had looked so interesting when I watched its progress in the Mac lab, were heavily pixilated when projected on the wall, in a way that clashed with the fluid forms of the painting. The value of the colours, in terms of brightness and contrast, were also completely different between the actual paint in the darkened room, and its brightly lit projected representation. Perhaps this was meant to be a comment on digital representation, but I think not. I realise it is probably outside of the timescope (and budget) for a term project, but a projection of an 8mm or 16mm cinefilm transfer of the video would have preserved those luscious ovals instead of chopping them into little squares.
The audio track really grew on me - it's amazing how much he had developed from what we learned in the audio workshop. I was wondering, as his poster suggested that the piece was a response to the act of painting, whether these were digitally altered sounds of the slop of paint, etc. It was very hard to tell. It was quite musical... and in places, yes, it did sound like stomach noises. But musical ones.
welcome page ----- Margaret's webpage ----- Facebook ----- Flickr ----- Saatchi Online
This was the 'Untitled Installation' of Zac Dutton, which occupied the Project Room from 2-4 December. It consisted of the audio, and a video projection beamed onto four large panels which merged into a single painting, going round the corner of the room and onto the floor.
First, the painting. I thought the energy and colours of it were fantastic. The style he has been working in this term, exploiting the properties of high-gloss emulsion, is like Jackson Pollack in a viscous slow motion, allowing the colours to marble and mix. The larger he goes, the better the pieces seem to get (which may be bad news for the rest of us, as soon he will be taking up almost as much studio space as me!). This triptych goes round the corner, with the fourth panel joining them together on the floor. I didn't quite have the nerve to take my shoes off and walk on the piece, but that was what it seemed to invite. On the other hand, it is so glossy that it looks wet all the time, even after days drying.
This glossiness led to a slight problem with the video projection: there was a distracting glare spot where the projector reflected its own light. And the video animation of Zac's painting methods, which had looked so interesting when I watched its progress in the Mac lab, were heavily pixilated when projected on the wall, in a way that clashed with the fluid forms of the painting. The value of the colours, in terms of brightness and contrast, were also completely different between the actual paint in the darkened room, and its brightly lit projected representation. Perhaps this was meant to be a comment on digital representation, but I think not. I realise it is probably outside of the timescope (and budget) for a term project, but a projection of an 8mm or 16mm cinefilm transfer of the video would have preserved those luscious ovals instead of chopping them into little squares.
The audio track really grew on me - it's amazing how much he had developed from what we learned in the audio workshop. I was wondering, as his poster suggested that the piece was a response to the act of painting, whether these were digitally altered sounds of the slop of paint, etc. It was very hard to tell. It was quite musical... and in places, yes, it did sound like stomach noises. But musical ones.
welcome page ----- Margaret's webpage ----- Facebook ----- Flickr ----- Saatchi Online
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