Gallery Pics BLOOD'N'FEATHERS

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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.

 

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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.

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