Liriya's exhibition

Liriya is offering everyone the chance to exhibit their work for a small fee at "The Liverpool Acadamy of Art" (32 Seel Street)

The Theme can be Relationships.

I was thinking about what I could put in it...

• There's the installation of my Vendor Machine... yet to be named






• The "Dear John" video piece of last module



• The blue/purple landscape of last week





• The Yellow landscape I did over the summer for my dear mum to hang in the back room





• The self portrait of last module..obviously now framed without masking tape
  

• There's also the Sugar project I did in my first year...I'd have to re-create the sculpture but that should be easy enough
  
  
  

  I'm also considering time. Do I have the time to do these thing with the stress of the mural and my little puppet video?

The Week of the 24th of January.

Thursday was Miguel's tutorial where clarified what I had been dong for the modules and generally discussed what I can learn from the Garston Project, how I can direct the imaginations of the children into creating something which I can then use and manipulate, how I can use specific materials to get them thinking. Also f there is to be an exhibition at the end of it, can I produce a film? I really liked how my film in the last project was received, so I would like to use some illustration and models this time...Maybe I could make the children's drawings come to life...I'll have to get drawing to make a mock up and become familiar to the programme first.

Also later around 3.30pm I met the group involved in the whole of the Four Corners project.

We hit a boulder.

CRB check no must be done because the school are having Ofsted in at some point during the project so now parental permission and teacher supervision don't cut it anymore. This will take between 2 and 4 weeks, I'll finish the form up for Monday and give to Louise who will rush down to the school for the papers to be looked over...I hope we get the id documents back because all I can give them is my National Insurance Card, Birth certificate and a bank statement, but it says; "Wherever possible, where you hold a document containing a photograph...this should be provided" I take that I don't have to provide a photo as I am not providing a document with a photo, besides I only have a provisional licence to give, there is no way I'm giving my passport with the Berlin trip coming.

Other information from the meeting:

• The Mural must be done by 23rd March


• Possible exhibition to be held around the 5th April at LJMU


• Parents will be reminded of the photography as they had previously received a letter, this will also cover us for portfolio work, blog posts are questionable and will have to be looked into.


• Joyce asked about a Facebook page for the entire project to add a new diameter to the project, this was received well now she and one of the Four Corner's project leaders will set it up in the near future...probably to be more discussed in the next meeting.

About the Mural:

• Ages 7-12, 49 pupils in total


• Maybe 3 or 4 of these pupils from each class work on the actual Mural, altering the pupils every session.


• Total of 6 sessions, 2 sessions 1 hour long for prep, 3 to 4 session longer(10th, 17th and 24th March 1.30pm-3.15pm)


• Materials, mentioned the contact with Penny Bearman and the materials she uses for murals, 3 buckets outdoor paint in main colours, the detail in acrylic.


• Next Meeting 10th Feb, 3pm at Holy Trinity School.

Peter Appleton Group Tutorial, Friday:

• We need the initial contact! As Louise already has a CRB, she can go in to the kids before the rest of us to get them going, we need to right a script for her to help us get everything she may need.


• Make sure the wood the mural is going on is suitable for outside, preferable exterior ply wood.


• Can a group be brought to the Uni? Ambassadors? We can book a room, show them a film (Over the Hedge). Get them excited so they can pass it on to their classmates.

THEME: VISION OF THE FUTURE (whats on the other side of the fence?)

This is the painting I started last Friday afternoon, I made a few finishing touches adding detail to the background to create more of a horizon. I was thinking about how to create a vision of the future, a mystery. I was going to do a cityscape but found this oblivion far more interesting. It's a sort of reflection of my thinking on the Garston project and how I can gain interest in something not fully in motion but getting there.

Pics I was ment to add Monday plus a Sackboy

I really need to do something to the right eye of the portrait... Guess what I'm doing Friday!

Blue landscape, not finished, also to be improved Friday after some crits. The purpose of this exercise is to free up and adapt painting quickly whilst creating an impact, all towards the Garston project, the portrait above is far too oppressive for children to have at school, they need something they can relate to, identify their own participation. I'm going to try a bit more George Lund style...

Sackboy.

AKA Maxwell

Born 24th January @ 10pm

Just to experiment with materials and figures to see if the process is simple enough for children. Maxwell took just over three hours. Though i love him, he's far too complex for children ages 8-11, also again the problem of weather proofing, he's just not going to be waterproof without being separately boxed up or dipped in resin.

Wednesday 19th and Friday 21st

Wednesday 19th January

We met the head teacher and Judy Thompson (a teacher's aid with a long title meaning basically she helps those with learning disabilities).

The meeting was to basically introduce ourselves and clarify the project. It will involve three schools as well as involve older members of the community (teenagers) however the artists (meaning the LJMU students) will begin the long project to improve the cinder path by improving the outlook of the path from behind the school.
This means a mural to transform what the children see, a suggestion put forward was 'Vision of the Future'. Things I also need to look into are; Garston Gas Works (History of the area), cultural relevance, Health and Safety, and current topics of the classroom.

Lesson plans will also be sorted on Thursday, so far 1 is for idea hoarding and 3-5 for having the kids make things. Already we know these workshops will be on either Tuesday,Wednesday or Thursdays, the age group is from ages 8-11.

Also a point of interest, Faith Bebbington will be making a willow sculpture with school children for the Cinder Path later in the summer, also there is opportunity for the exhibition at the end of the project (March to beginning of April) to house some of our own work.

http://www.faithbebbington.co.uk/index.html


Friday 21st January

Painting day. Damn forgot to take photos, I post them Monday if I remember. Anyway the two I have done so far are nothing to do with this module. Firstly I completed a portrait of my Uncle, the response I got was pleasing as it was neither positive nor negative. I was asked about why I chose a blue suit cue response "He was wearing one", then the color and shape of his face, not I hate using black as it's such a dull colour to use in a vivid painting, I wanted emotion to leak from and don't think black has and emotion as it's so dull and absorbent. The shape I couldn't help, it started accurate but i was never pleased with it and so enlarged certain features (nose and forehead) and removed others (lipo on the jaw), I am most pleased with the eyes as I feel they convey the sadness I was after also I changed his eye colour to blue to reflect the shirt. I tried fixing the shadow under the eyes but it was unsuccessful because I used a different type of paint...never again! The background has no specific relevance other than to remove the pure white from the canvas as white is EVIL and doesn't help me think of the composition.

Second painting I painted a background of blues, pinks and purples. Unintentionally I created a landscape, and so I used a pallet knife to add figures going into the distance, it remains unfinished but I like how it is developing.


2pm
Another meeting, this time as a group with Peter Appleton assuring that the Garston project does meet the criteria (whoop!). He thinks it's great and has plenty of learning opportunities for us. We are now in the process of materials and research; what have other community murals used? What materials are out of the equation already? At what height does any 3-dimensional pieces need to be?
I had an idea sort of like the game Little Big Planet, using fabric and cardboard to create a scenery but then weather proof it with resin, though this raises the issue of weight, fumes and such, time would also be an issue...and cost as the project is community funded...I may have struck that idea off already... Either way we would like to meet the classes soon! We need their input to begin! Hopefully the lesson plan will be sorted on Thursday because we don't know how to begin one and keep the kids interested in what we're saying.

Also Monday I will have to catch Elaine about a Health and Safety form, I did not manage to go to the meeting on Wednesday on Health and Safety as I had to be in Garston, apparently though it was wasted time as it was the obvious hazard signs...basically read the instructions on paints and such, when using a ladder have someone at the bottom of it, all common sense to me, useful would have been how to write and assessment.

BERLIN! That hostel needs to be booked too...we've agreed to each find our top two and compare on Monday then book it. Flights already sorted £60 return, pocket sized language book would be great too...

Useful Mural website...aka Lucy's mum.
http://www.pennybearman.co.uk/murals.html

Wednesday 13th January

Met George Lund in the pink building (Liverpool Centre For Art Development) not far from Uni whilst looking for locations for this new module. He works with various materials especially (it seems) with fluorescent paint. The method is detailed yet free in expression and almost childish. I'm not sure of the portrait Mona Liver, but it very playful and iconic to both Liverpool and the art community.

The space itself is free to let for an exhibition for mostly 2D work though with the availability to let out small offices for installations, however I would like to work more with the community like I did last year at Metal @ Edge Hill.

So far I have my eye on a project going on in Garston to improve a path behind a school called 'The Cinder Path'. It's going to consist of workshops with the children to cover a fence, I would have to look how it would meet the criteria for the module. I need my own work/influence to be incorporated, otherwise there is a girls school to work with or there is work work work! All of which developing from my last project.

Also Friday is established painting day again where I hope to improve my skills and produce ideas to incorporate for the project.

To start I will explore the concept Space on a 2D surface as a continuation from last module.

Research for Globalisation in Art.

In my opinion Globalisation is everything. Beginning with adventures to "savage" lands and colonisation of these "uncivilized" countries. The basis of modern art tracing back to tourism and the printed tissue souvenirs were wrapped in. However I think to establish an understanding of Globalisation in Contemporary Art, I need to understand the individual words as well as the combination. And so this leads me to the following quotes which I am open minded to and agree with.

The following are quotes taken from various websites/people;

Fabianglobalforum

"Globalisation is the process by which interaction between humans, and the effects of that interaction, occurs across global distances with increasing regularity, intensity and speed. This adds a new dimension to, or even replaces entirely, interaction which previously across continental, national or local distances."
www.editiondesign.com/fgf/knowledge/article007.html


Humanities Conference 2005
Contemporary Art and Globalisation: Biennials and the Emergence of the De-Centred Artist
By:
Mr. John Byrne
The impact of Globalisation on contemporary art practice has been both obvious and disconcerting, apparent and subtle. Most recently, the world wide growth in 'Biennials' has provided the most obvious evidence of the radical changes which have been taking place in the global economies of contemporary art practice since the collapse of the Eastern Block. Globalisation has, as in many other areas of social relations and endeavour, both homogenised and fragmented engagements with and responses to the 'art world'. This has led to a kind of new, postmodern 'International Style' of works which, despite their differing quality, simply appear to be the same in any kind of location. In response to the blandness of such 'airport art', many Biennials have recently sought to encourage a direct 'engagement' with the 'cultural specifics' of their location. The result of this has been, perhaps predictably, a kind of 'parachute documentary art' produced by artist willing to make lightening fast responses to the possibility of a financially rewarding brief. However, in spite of this polarisation of the contemporary art world, into the glibly general and the impossibly specific, many artists have begun to produce works which are intentionally 'de-centred' - dispersed over time, space and location – simultaneously denying the possibility of their works post-biennial absorption into a globalised economy of commodified art objects and further de-stabilising the traditional relationship between artist and artwork. Drawing on the experience of researching Channel 5's programme on the Liverpool Biennial of Contemporary Art 04, this paper will attempt to evaluate some of the significant shifts that are taking place in, and as a result of, the growth in the contemporary globaised art economy.
http://h05.cgpublisher.com/proposals/631/index_html


POSTMODERNISM IS DEAD

A new modernity is emerging, reconfigured to an age of globalisation – understood in its economic, political and cultural aspects: an altermodern culture

Communication, travel and migration are affecting the way we live Our daily lives consist of journeys in a chaotic and teeming universe

Multiculturalism and identity is being overtaken by creolisation: Artists are now starting from a globalised state of culture

This new universalism is based on translations, subtitling and generalised dubbing

Today's art explores the bonds that text and image, time and space, weave between themselves

Artists are responding to a new globalised perception. They traverse a cultural landscape saturated with signs and create new pathways between multiple formats of expression and communication.
http://www.tate.org.uk/britain/exhibitions/altermodern/manifesto.shtm