I have been invited to present a talk at Milton Keynes Gallery July 11th at 7.00 entitledPaula Rego as Printmakingto coincide with the exhibition Paula Rego: Obedience and Defiance. I have also written the essay for the exhibition catalogue for her forthcoming exhibition of prints at the Casa das Historias Paula Rego, Portugal and will be giving a lecture at the museum on a date to be confirmed .
I am honoured to have been invited to present a lecture at Indiana University, USA as part of their endowed McKinney lecture Series. The lecture, (30thAugust) will be entitled Picturing the Invisible: Projects, Prints and working with Collections and will focus on my broad studio practice and recent practice-based research projects involving museums and collections. As part of the visit I will work in their print studios to produce a new edition work.
Three of my prints have been selected for the Haugesund International Festival of Relief Printing, Haugesund Billedgalleri, Norway from May 10th– August 4th
My sculpturePlane over mountain and lake will be included in the exhibition
The Size of ThoughtsWhite Conduit Projects, 1 White Conduit St, Islington N1 9EL. 15 May – 1 June 2019. Private View 15thMay 5.30-9.00.
My solo exhibition, Picturing the Invisible : The house from belowwill be at the Sir John Soane’s Museum 17thJuly-19thSept. This exhibition of new work includes a two-monitor video First Orders; scenes from the kitchen(made with the assistance of the filmmaker Kristina Pulejkova), a series of new small sculptures, an installation of ceramic plates and new relief prints. The exhibition will be accompanied by a fully illustrated catalogue available from the museum.
I am delighted that one of my recent laser cut woodcuts has been acquired by the department of Drawings & Prints at MoMANew York.
My etching What Remains- Possessionsis included in the touring exhibition of prints from the Arts Council Collection entitled The Printed Lineand have worked on a short film to accompany the exhibition.
I am delighted to announce the launch of our AHRC Funded Network website Picturing the Invisible https://www.arts.ac.uk/research/groups-networks-and-collaborations/picturing-the-invisible
Through a series of events and exchanges, the network asks How can we articulate the invisible, that which is not known, or that which is not provable? A research network and collaboration between University of the Arts London (UAL) and University College London (UCL) is funded by the Arts and Humanities Research Council (AHRC).
The Network,which I am leading with Professor Ruth Morgan, UCL held its first workshop at the Sir John Soane’s Museum last month. This was a wonderful opportunity to exchange ideas and look towards future collaborations and our conference at Chelsea College of Arts in November (details to be announced). We have launched the project website and welcome contributions.
I am pleased that my paper A Visual Response to the Siege of Sarajevo has been published in the Journal of Visual Art Practice. To read the paper please use the following link.
A Visual Response to the Siege of Sarajevo
My paper, A Visual Response to the Siege of Sarajevo has been accepted for publication in the Journal of Visual Art Practice where it should appear later this month.
This paper considers art works made by the author over a gap of twenty years in response to the siege of Sarajevo (1992-1996). The first works were inspired by the then BBC War Correspondent, Martin Bell in his radio broadcast of 1996 in which he reflected on the tragedy of the Bosnian War. The second group of works were made as part of the AHRC funded project Art & Reconciliation and were the result of visiting Sarajevo for the first time in 2018. For this the author drew upon his experience of using collections and archives as source material, here drawing from the collection of the Museum of History in Sarajevo where the final exhibition was staged. The author reflects on the role of the artist in tackling issues of conflict when not an eyewitness and draws parallels with examples such as MichaelTippet’s oratorio A Child of our Time and Bob Dylan’s The lonesome death of Hattie Carroll. The paper also considers how knitting can be used to construct a form of alternative memorial how his own personal experiences and memories can form the foundations for new work.i
In the current issue of Art in Print (Jan-Feb 2019) i have a review of the Krakow Triennial which was staged in the summer of 2018. in addition I have a review in Print Quarterly of KP Brehmer’s monograph, Real Capital-Production produced in relation to the exhibition of his work at Raven Row Gallery and i review the works on paper of the sculptor Tony Cragg.
The Printed Line
6 April 2019 – 15 November 2020
This exhibition will consider how artists have used a variety of printmaking techniques to exploit the potential of the printed line, from the thick velvety line of drypoint and the heavy cross-hatching of etching to delicate wood engraving and boldly coloured screenprints and lithographs. Spanning the 20th century and up to the present day, the exhibition will include Walter Sickert‘s masterly cross-hatched etching The Old Middlesex (c.1910), Ben Nicholson‘s rich drypointHalse Town 1949 (1949), Eduardo Chillida‘s bold etchings and David Hockney‘s pared down linear etchings in Illustrations for Fourteen Poems from C. P. Cavafy (1966-67). The use of colour will be explored in screenprints by Bridget Riley and Kenneth Martin, as well as Simon Patterson‘s witty lithograph reworking the lines of the London tube map. The exhibition includes one of my recent photo-etchings and i provide the commentary for a film which accompanies the touring show.
UPCOMING TOUR DATES & VENUES
6 April – 2 June 2019, Torre Abbey Museum, Torquay
6 July – 8 September, Dick Institute, Kilmarnock
21 September – 10 November, Rugby Art Gallery
16 Nov 2019 – 5 Jan 2020, Aberystwyth Arts Centre
11 January – 1 March, Burton Art Gallery, Bideford
7 March – 26 April, The Beaney, Canterbury
25 July – 5 September, Kirkby Gallery, Knowsley
19 September – 15 November, City Museum & Art Gallery, Worcester
Reconciliations: The Evidence of the Visible
Reconciliations: The Evidence of the Visible is one of an ongoing series of exhibitions of art work produced in response to a call to artists to investigate the concept and practice of reconciliation, specifically, in this case, in relation to the Siege of Sarajevo and the Srebrenica massacre of July 1995. This exhibition explores how visual evidence of past crimes can play a role in post conflict remembrance, reconciliation and rebuilding. A fundamental question for art is how it should relate to and engage with the broader social, political and economic climate of the times, and how far the artist should concern themselves with the world they inhabit. These questions are particularly troubling in those parts of the world that have endured the scars of war, where artists and arts organisations have to deal with the complex and problematic issue of whether the past should be remembered and commemorated, or whether such attention is actually counterproductive in imagining how in the future further conflicts might be prevented. curated by Dr Paul Lowe
4-15 March. Parc Space LCC-UAL
Paul Coldwell, A Life Measured: Seven sweaters for Nermin Divović
Ziyah Gafić: Quest for Identity
Milena Michalski: In/Visible War Crimes
Vladimir Miladinović: Memoria Bosniaca
Armin Smailović: Testimony Portraits