a dreamy, foggy place

“The way I remember growing up in Venezuela, for instance, it has nothing to do with the reality that is the country right now. I think I’m from a place, but that place doesn’t exist anymore. When you have to integrate into a new place, you are forced to mix so much information that it becomes unclear who you are. You create a new scenario for yourself. I like to think that it’s some sort of utopia, and to see how I can transmit this sort of dreamy, foggy place.”

Sol Calero in a Tate artist interview describing some of the motivation behind her work (source). I’ve felt something similar at times, though certainly not as intense. It’s a “glass half full” description of the feeling, and her work shares that vibe.

Her commission El Autobús 2019 is at the Tate Liverpool until 10 November 2019.

Side note: I think she’s got an old school Indexhibit site. <3

On Kitty Anderson’s talk about Carol Bove’s work, and on visiting the Barnes Foundation

I recently attended the talk Supporting Structures: The use of plinths and platforms in Carol Bove’s work at the Henry Moore Institute. Kitty Anderson’s talk coincided with the Carol Bove / Carlo Scarpa exhibition in the Institute’s main gallery spaces.

Installation view of the Carol Bove / Carlo Scarpa exhibition at the Henry Moore Institute

Installation view of the Carol Bove / Carlo Scarpa exhibition at the Henry Moore Institute, Gallery 1. Photo via blog Books & Boots (image source)

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Topographies

Topographies (perspex and cut paper)

Topographies is a series of cut-paper compositions. Each layer is sandwiched between 540 × 540mm sheets of 10mm perspex. The photo above is from the 2011 postgraduate degree show at Byam Shaw School of Art (Central Saint Martins, London).

I love them, but they are very heavy and unwieldy. There are a few remaining, email me at contact@piperhaywood if interested.

Claude Parent at the Tate Liverpool

Panoramic photo of Claud Parent's architectural intervention in the Tate Liverpool

Another favourite part of the 2014 Liverpool Biennial, Claude Parent’s La colline de l’art in the Wolfson Gallery on the ground floor at the Tate Liverpool.

Particularly enjoyed the way the light was diffused and altered for works with very reflective surfaces or cases.

I really enjoyed Liechtenstein’s Moonscape, a screenprint on iridescent blue plastic. It seemed smaller and more experimental than his more famous pieces, and more reserved. You walk up a long ramp in Parent’s space to reach the piece and end up viewing it on a raised platform, a dead-end and the highest point in the gallery. That’s where I took the iffy panorama above. The photo doesn’t do it justice, but hopefully it gives an impression of the extent of Parent’s architectural intervention within the space.

2014 Bloomberg New Contemporaries

Photo of piece titled Pillars II by Katie Hayward

Katie Hayward
Pillars II, 2014
Plastic and industrial fans
Dimensions variable

Took the train to Liverpool recently for the Adrian Henry: Total Artist book launch (published by Occasional Papers, buy it here), and tried to cram in the entire Liverpool Biennial in that one day.

The piece above is part of the 2014 Bloomberg New Contemporaries exhibition in the World Museum and was probably one of my favourite works in the show. Details below the photo (taken on my phone, doesn’t do her piece justice). I don’t think the artist has a personal website just yet, but there’s a bit of information about her here and here.

There was a separate, very loud installation in this part of the exhibition that, IMO, was unfortunately presented. I don’t mind loud sound installations, but the positioning didn’t seem carefully considered in this instance. Sound travels far and fast in those cuboid, hard-surfaced rooms.

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Self portrait recording

A self portrait recording from spring 2011. I wrote a set of rules and then plotted events and traits along a timeline of sorts. The timeline was used as sheet music. Not 100% happy with it, there are many issues that aren’t resolved (including the ending).

At any rate, I’d like to revisit the concept. The more long-term idea was to work with other people’s lives and help them record their own self portraits, but the whole effort sort of paused after working on this first one.