

|
 |
GALLERIES I AND II
LUCY STEIN & JO ROBERTSON
18 MARCH – 15 APRIL 2006
Collaborators Lucy Stein and Jo Robertson are keen to spread their
Blood ‘n’ Feathers philosophy further in Scotland where
the idea was initially conceived and nurtured. For the Collective
this has manifested itself as a music performance on the opening
night and a new series of complementary paintings and collages.
The philosophy is based on enthusiasm and a mutual, unbridled love
of painting, drawing and music but also explores the boundaries
between such excitement and anxiety, passion and hysteria, agony
and ecstasy. Lucy and Jo walk a tightrope between spoilt brat joie
de vivre and Nietzschian nihilism and try to negotiate this in
a critically aware and reflexive manner.
Their paintings try to convey an understanding of the world through
a combined interest in anxiety driven existentialism as realised
in painting by the grave and worthy expressionist style most particular
to Germany, and the language of pop that equally informs their
lives. Rock music obviously combines these strands in similarly ‘authentic’ manner
and Jo regularly plays in a band, though their heroine Courtney
Love throws this out of kilter with her peculiar brand of contradictory
megalomaniac poppiness. But it’s Love’s anarchic humour
and absurdity that attracts them coupled with Patti Smith’s
notion of "babelogue", as they have their tongues firmly
lodged in their cheeks most of the time.
In this gap of wilful misunderstanding and subverted doctrine lies
the key to the oceanic feeling, which is what Lucy and Jo aspire
to. Taking ‘heroic’ painting from the boys is a valid
approach to art making and contemporary feminism.
|

|
|
PROJECT ROOM
VAL NORRIS For the Collective’s Project Room Val Norris
presents a new installation featuring drawings, sculptural arrangements
and a comic. All of these works are created from inexpensive,
everyday and found media such as crayons, glitter, branches and artificial
flowers. Val uses these readily available lo-fi materials spontaneously
and transforms them into ephemeral, kitsch, decorative works.
Val’s practice evolves from an ongoing process of collecting
and stockpiling images, text, objects and personal notations. These
act as a catalyst for the work, and references gathered from diverse
sources of everyday life such as Ikebana, the work of florist Constance
Spry, comics and manga, pop culture, music, television, 1970’s
crafts, woodland animals, literature, films and charity shop finds.
Methods of chance, subversion and contrast are employed to spark
off associations and personal, underlying narratives; similar to
Andre Breton’s concept of ‘objective chance’ in
which he describes the found object as being ‘charged with
all the associative and interpretative qualities which had [before]
remained inactive’. This process creates a propagation of ideas
and works that form a cumulative, layered meaning and reading. |