κ α ρ τ ο ύ λ λ ε σ σ σ σ σ .

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Quite bad quality of scans, it's the scanner's fault!

c u s p . e d i t i o n s . m y . a d d i t i o n .

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οτι ήταν κάποτε χαμένο πια δεν είναι,

όπου ήταν είναι, μα οτι είναι δεν είναι όπως ήταν πια.

 

c u s p . e d i t i o n s

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CUSP is pleased to announce a new project: CUSPeditions, featuring work by 20 artists in editions of 25 signed and numbered A3 prints. The prints will be exhibited for one night only, 22nd of June at Pedestrian Gallery, Leicester, after which they will be available to buy from cuspblog.blogspot.com.

Featured Artists:

Gino Attwood, Deborah Balinger, Jessica Dickens, Antonia Eleftheriou, Adam Gillam, Daniel Goodwin, Sam Hirst & Clark Mitton, Kerry Jackson, Sam Jones, Daniel Kelly, Anna Lucas, Stephen Lynch, Abigail Morris, Avnish Panesar, Eric Rosaman, Jamie Scott, Jack Squires, Emily Warren, Callum Whitley, Anoushka Wroblewski

Editions are priced at £10 each with all proceeds going towards the development of a new artist-led gallery and studios in Leicester.

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(Source: http://www.facebook.com/event.php?eid=180592835329196)

 

a r t i s t : / 1 - j a c k . v i c k r i d g e

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 Untitled 

28 x 15 x 11 cm

Cement, felt-tip pen, adhesive

 

Still Stills 2011 (with Steve Bishop)

(source : http://www.jackvickridge.com/ 
http://www.rca.ac.uk/Default.aspx?ContentID=500926&CategoryID=36646)

c o l l a g e - α ϊ . μ έ ι κ . ε ϊ . κ ό λ λ α ζ .

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Environment # 2, Collage (June, 2011)

Collage on paper

21 x 28 cm

The importance of line and its versatility is an important factor throughout my practise. Extending the dialogue between the basic art principles, the line often transforms from three dimensional nature to two dimensional and vice versa, expressing and blurring the boundaries between the animate and the inanimate.

e n v i r o n m e n t # 2

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Moving to a larger scale, the work took the form of an installation. Changing the process of collection of materials, more industrial and colourful objects were found in this piece. Some pieces were collected from building sites as a direct reference to the initial idea of the house, and using the everyday materials I could collect from the environment around me, another form habitat was presented. Using them in an unconventional way, the objects were stripped down of their original function, and by presenting them in such a way, it increased their sencirety and they could be read in a different manner when being part of that environment. Combining found materials with objects made, the control I induce in the process of creating was more balanced.

Environment # 2

Mixed Media, 2011

Dimensions vary

t h r e e . d i m e n s i o n a l . d r a w i n g . s e r i e s / # 1

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This work is building up around the core of found objects, portraying what could be characterised as intricate and entangled three dimensional drawing. Embedding those elements of 3-D nature, the work simultaneously explores the concepts of forced construction, deconstruction, identity, belonging, abstraction, shapes and lines by radically accumulating the space. Focusing on the affairs of items which have a history, that are claimed as useless and waste and the control I introduce in the process, the work is a celebration of their ‘natural’ flaws, and a witness of my journey working entirely intuitively. Having no specific methodology or ‘plan’ for what is going to be created, the objects are assembled and put together as pieces of a puzzle.

Exploring the ideas of accidental, control and restrains, the main source of the development of the work is photographic documentation of my house of 20 years being demolished and reconstructed. Not only that, but also my daily encounter with the world, and elements I find intriguing. Such elements tell more about a building, a city, than anyone would ever know. Each crack or small curving on a wall tells a story, one that fascinates and urges me to create scenarios in my mind. Similarly, the dilapidated conditions of the objects I collect are dynamic, with each act of disregard, the object shows its history and every single trace is something to be admired, and enhanced in the process of creating. The use of recycled objects refers up to an extend to Phyllida Barlow’s work. The level of their recognisability provides a hint to the viewer about what the work is about, but through altering its context, it creates a veil of mystery around them transforming them to something paradoxically unrecognisable. The viewers would translate the work influenced by their own experiences and identity, which is something that could be quite revealing.

Somewhere along the lines of creating the work, the reflections of my own identity and experiences, surround and embody the identity of the objects. It begins by being ‘fixed’ on working with the idea of my old house, and consequently I find myself calling back to that place, recalling memories. It is perhaps the feeling that I lost a significant part of me, my heritage that is urging me to seek the sense of belonging and aim to achieve catharsis through the work I produce.

The use of latex, strings, wool, hessian, wire, chord, mesh, and resin create an elaborate concoction, from which the core, the soul of the work is framed and formed with lines; soft wool lines, fine delicate thread, sharp mesh and hard plaster. They create a ‘messy’ environment with cluttered objects, for which the viewer is unsure of, reminiscent of the ones by Angela De La Cruz, Jessica Stockholder, and Heringa/Van Kalsbeek. Nonetheless, it is a ‘mess’ which resembles a spider’s web, a magnet, a strange kind of explosion, something that has been pulled out from the sea, an organic environment of some sub – species or remnants thrown by a tornado. The colours remain earthy, organic, and the only strong touches of colour are blue and orange. These are passed on heritage elements from my old house which I remember very vividly being dominant in that environment.

Having traces of Tatlin and Constructivism, but also the contemporary influences of architect Lebbeus Woods, Ian Dawson and Fabian Marcaccio, linear shapes or curved and effortless, jump from the sculptures. Having a physical interaction feels more as if I'm painting or drawing. Thus, by presenting them as paintings, the conservative norms of what the established principle of painting, sculpture and drawing actually is are broken, and subsequently address this issue to the perception of the viewer.

I invite the viewer to experience, investigate this somehow unusual body of work, which clearly demonstrates their spontaneous process of making. Feeling truly content and in a good place for creating future works, this body of art is of particular significance to me. There was no unsuccessful work, as from those I learned how to handle materials and ideas. This work speaks the most about me as an artist, and it is a tool that shows how strongly I relate with the objects I am working with to produce art that unabashedly expresses questions, suggests and redefines unexpectedly the identity of the objects, myself, and the viewers.

 

Untitled; Drawing #1

Dimensions vary

Plaster, Latex, Shellac, Metal, Resin, String 

 

Untitled; Drawing # 2

Dimensions vary

Plaster, Cling Film, String, Thread, Clay, Resin, Iron Powder

 

Untitled; Drawing # 3

Dimensions Vary

Foam, Resin,  Wire, Latex 

 

Untitled; Drawing # 4

Dimensions vary

Wood, Mesh, Resin, Cling Film, Metal Pipe, String 

 

Untitled; Drawing # 5

Dimensions Vary

Wood, Mesh, String, Metal Sheet 

l e d r a s # 1

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Ledras Street, Nicosia, Cyprus.

This area is a gem of the city's older part, situated in the middle of the Venetian Walls, close to the Turkish border. 

i n t r o d u c t i o n - κ τ ί ρ ι ο ν . υ π ό . κ α τ ε δ ά φ ι σ η ν .

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Questioning my self what is a habitat, my answer is quite vague. The body of work I produce, acts as an element of self exploration, confession, more like a visual journal to remind myself of things  forgotten, of things that are bound to stay alive.

The attachment of people with animate or inanimate objects / environments is even hard to express in words sometimes. So how does one express a bond with a habitat.

When does one realises a bond with his surroundings.


Nicosia, 2009 -
There is an empty deserted piece of land, where my home of twenty years was situated. Last time I remember I was there, in this construction, living, experiencing, being in the confines of that space.

All that is there is a huge pile of bricks, dust, metal rods, a huge piece of a dismantled wall which somehow seems solid. A ten meter long metal pile, which once was the fence of the house, all tangled up, defying its strength. The metal looks so effortlessly flexible, defying its strong nature. Nothing unual- a common sight of one visiting a demolition site.

Making my way through the site, I see a broken plastic which somewhat reminds me of the lamp I had in my room. The room I left 2 years ago when I moved away.

Those ruins were not a common sight for me. There were all that was left of my home, my habitat.

From that point a journey began. A journey of exploring all the visual, aesthetic, conceptual experiences I had when visiting the demolishion site. A journey of mainting the memories of a habitat, once it is gone.

Exploring these ideas physically, visually, my aim was to achieve catharsis through the work I produce, passing on my memories and inviting the viewers to identify their own experience through the work.

The expression of my experiences took a form of appropriating the memories through the medium of the material, investigating the materiality of objects and found materials.

The work took the form of examining the nature of objects, recycled from their deserted origins, with which to form a language appropriate to speak about recycled experiences. Stripping the objects' original function they became tools which gave them new identities and purpose of existance.

Through creating a body of work tangling between the main principles of art, I managed to create environments in different scales and compositions. A constant dialogue between painting, sculpture, installation and photography was enhancing the versitility of the work. This dialogue blurred the boundaries of these principles, re enstating this to the perception of the viewer.

As the work developed, its nature evolved, from vibrant entagled three dimentional drawing to minimal installation/sculpture. The selection of materials and the amount of control I induce in the process changed gradually; from working with an intuitive manner to carefully balancing control and chance in my current work.

The following images will demonstrate photographic documentation of my journey accompanied with writing which demonstrates the development of ideas and my practise.