David Shrigley: Brain Activity - The funny side of art

There is something very exciting about David Shrigley's surrealist work, currently showing at The Hayward Gallery. Often compared to the Surrealist Greats such as Magritte and Dali, David Shrigley seems to me more of a surrealist Banksy; using shocking, hilarious and at times, ingeniously straighforward methods to evoke a response to current moral issues. And like Banksy, Shrigley's got his calling card down to a T. The slightly childlike scrawl that comes with most of his works will be familiar to anyone that has been into a gallery gift shop in the last ten years; his novelty books usually residing beside The Bunny Suicides by the cash desk. His drawing technique is also unlike any other, kind of like someone has taken an innocent child's drawing and given it a menacing edge. 

Walking around the gallery, you notice how normal, every day objects take on a completely different meaning when coupled with other objects or put in unnerving positions and new perspectives. The words and captions Shrigley uses are key to the exhibition's success. Even the title of the pieces (which lets face it, are so often ignored or are completely irrelevant) play a part in the joke. Take for example 'What decay looks like'. What at first appears to be a tooth checking itself out in a comical over sized mirror, is also at the same time, a play on words and leads the viewer to question the judgements they make at first glance. 

A lot of the work, Shrigley has created to suggest only the object in question knows what the true meaning is. 'I'm dead' which forms part of the 'death room' features a jack russell  holding up a placard as if in protest to something we are unaware of, which simply says 'I'm dead'. The steward at the gallery remarked on how interesting he found it watching people's reactions to this piece in particular and when you see it, you can understand why. The dog is very much dead, although uncannily life-like through taxidermy. What's particularly terrifying is the look in it's cute little eyes- like it really actually knows something we don't. What are we to make of this other than laugh? The dog doesn't seem to mind whether it's dead or alive, so perhaps we shouldn't either. This moral conundrum is a common topic of Shrigley's work and when you take into account his explanation; 'It's a matter of making fun of the things you could get depressed about' it becomes clear that this something is death itself. The theme of death continues with the shopping list inscribed on a tombstone. Who's shopping list is it? Did they ever get their shopping done? In a way, the shopping list distracts the viewer away from the very obvious symbol of death, the tombstone itself. It is these sorts of questions that the viewer ponders throughout the exhibition.

And what about the humour? well there's certainly plenty of it in Brain Activity. And i'm not talking about uncontrollable laughter- some pieces tickled me more than others. Particularly 'Balloon' probably my favourite of Shrigley's photographs just because I think it must have the ability to lift anyone out of a bad mood. (it's currently my desktop background- it hasn't failed yet) The works aren't pretentious, the few animations are ingenious and the sculptures? dark without being bad taste. 


For me, art has to evoke some sort of emotion in the viewer. It seems fitting that in todays miserable climate, humour should if anything, be the pre-requisite.


Brain Activity is showing at the Hayward Gallery until Sunday 13 May 2012. I urge you to go!

Attention Brighton! A5 Open Art Exhibition open until April and worth a visit

The inaugural Brighton A5 Open Art Exhibition (until 6 April 2012), went off to a flying start at the private view  on Sunday 27 November when one lucky first prize winner and four runners up were announced. The exhibition which takes place at the Outside In Community Gallery in Brighton, is now open for visitors to come and see the winning works as well as the other 180 entries from the competition, which was organised by Pallant House Gallery and Outside In earlier this year.


The prize of their own solo exhibition at the Outside In Gallery went to Ian Pyper, for his original, eye-catching work entitled ‘Hairy Monoped (Sciapod)’.  Speaking of his work Ian said ‘I was inspired to draw the image as I'd drawn identical versions of this as a child at every opportunity I could. I have no idea where the image came from, but it somehow came to represent me and my 'identity'. I scribbled it on books and pieces of paper for quite some time afterwards.’ Ian has recently started to draw on found paperback book pages, the ideal size for the A5 competition requirement! When asked about this unconventional mode of working, he said ‘book pages lack the intimidating 'blank white surface' that ordinary drawing paper does.’

Ian Pyper 'Hairy Monped (Sciapod)'

The four lucky runners up were awarded a community pass which includes free entry to Pallant House Gallery for a year and a year’s subscription to the gallery magazine. Judges were impressed by Paul Bellingham’s moving portraits ‘Head Study’ and ‘Face Study’ and by Michelle Brown’s colourful and playful drawings of animals entitled ‘Like’ and ‘Understood’.  Runner up was also awarded to Shirley Hart for her work ‘Vicar’ and Millie Popovic for her landscape painting ‘Viewpoint’.

Michelle Brown 'Like'

Michelle Brown 'Understood'

Every artist who entered the competition is a winner, with all work featuring in the exhibition. The interesting entry requirement of A5 sized work meant that a larger amount of work could go on display, which is an important factor for the Outside In Community Gallery which aims to bring work from the local community together, providing a link to the local area in which it is based. The A5 requirement particularly suited Ian Pyper who said; ‘I very rarely work on drawings much larger than A5 and in many ways it's the particular 'psychological format' for creating my art.’

Ian is already looking forward to his solo exhibition. He said ‘I've never had a big solo exhibition before, so this will be a very exciting and new experience.’ In the meantime, visitors can come and see Ian’s work as well as the huge variety of other works by exciting local artists until 6 April 2012. 

*Entry to the Outside In Community Gallery is free to the public. The gallery is open Tuesdays and Fridays, 1.30 until 3.30, with viewings also by appointment. To arrange a visit please call Outside In on 07735 68531 or Wellington House Day Centre on 01273 296240      

Outside In Award Winner showcases skills in solo exhibition (30 August- 2 October)

Pallant House Gallery is delighted to announce a new studio exhibition showcasing the colourful and imaginative work of David Jones, Outside In 2009 award winner and contributor to the Community Programme at Pallant House Gallery. 


‘Xtensions Part 1’ is a special solo exhibition awarded to David Jones, one of six award winners of Outside In 2009, an Open Art Competition and the main vehicle for the project, set up to bring work by marginalised and outsider artists to a wider public.  As well as his own exhibition, David was also given an artist residency at Pallant House Gallery where he could come and work on pieces for the exhibition.

Speaking of David’s artistic journey, Marc Steene, Head of Learning and Community at Pallant House Gallery said ‘During the time since the 2009 exhibition, David has been coming to the Gallery regularly to paint and has become a popular and energetic member of the Gallery's growing community.’ As a result of David’s hard work, the exhibition will showcase an array of accomplished pieces including surrealist works such as ‘Love Leaks Out’ and the Japanese inspired ‘Madame Butterfly’, and as Marc comments ‘the exhibition is

full of personal reference and often draws from and refers to other artists’ work; his is a unique voice from an individual with an interesting and important story to tell.'

Although David has always been interested in art, it was only when he was in prison for a year, following years of drug addiction that he picked up art again through the prison art group. Unable to sleep at night, he spent hours drawing and painting which he says was a ‘therapeutic tool’ for him. After leaving prison, David then went on to sell The Big Issue, which he has now been selling for ten years and got involved in Creative Futures, a Brighton-based project that develops and promotes marginalised artists. It was Creative Futures who entered David’s deeply moving work entitled ‘In Awe’ into the Outside In exhibition, and visitors can see a similar piece inspired by this award winning painting in the forthcoming exhibition.

When asked how he felt about having his own exhibition at Pallant House Gallery, David said ‘It feels amazing. I’m absolutely thrilled but also a little scared!’ and said ‘when I tell people I’m involved with Pallant House Gallery you can tell they’re envious. A combination of the space, the staff and the vibrations of the gallery, provides a really positive environment for marginalised artists to work in’ David wants to continue to stay in touch with Outside In which he says has given him the confidence to be more ambitious in his goals. He is now working towards his BTEC diploma in Fine Art, and hopes to continue to grow as a professional artist.

Visitors won’t want to miss this intriguing, colourful  and personal collection of art and with all works for sale, visitors can take home their own ‘xtension’ of David’s exhibition.

Xtensions Part 1 is free to the public and runs from 30 August – 2 October 2011

Outside In 2012 is now open for submissions. For more information visit www.outsidein.org.uk

*Please note the studio at Pallant House Gallery is sometimes closed for workshops. Visitors are advised to phone in advance to guarantee entry.

For more information about Pallant House Gallery, visiting, and admission prices visit www.pallant.org.uk

Knitted mohair knit cardigan, £50 Topshop; Blue floral pring pleated skirt, £58 Romwe; ASOS Aztec Pattern Coat £100; Blue loafers, £30 River Island, Kimchi and Blue handbag, £48 Urban Outfitters; Polkadot shorts, £34 Topshop
 

Ten Days in Venice at Pallant House Gallery- 2 August– 28 August 2011

Pallant House Gallery is delighted to announce a new solo exhibition of works by Stephen White, runner up of Outside In 2007 and member of the Outside In Advisory Group. This exciting studio exhibition will showcase 20 paintings inspired by the architecture of the beautiful city of Venice.


Stephen White was given the unique opportunity to exhibit at Pallant House Gallery as a recognition of his hard work and contribution to the Community Programme. His artistic journey began when Stephen joined The Hans Feibusch Club at Pallant House Gallery, which was set up to offer free art workshops for people who require additional support to access art. Although Stephen had always ‘dabbled in painting’, working with others and learning more about art in the context of the Gallery, gave him the confidence to develop his skills as an artist. Stephen went on to win runner up for Outside In in 2007 for his colourful painting ‘Let the Blue Birds Fly Free’. The biennial Open Art Competition is the main vehicle for Outside In, set up to bring work by marginalised and outsider artists to a wider public.

Stephen believes that it was by taking part in workshops at the Gallery which reintroduced art and creativity into his life, that he found an outlet for his mental health issues. He has also developed new skills taught through ‘Step Up’, part of the Community Programme at Pallant House Gallery which provides professional training for marginalised artists. Through this he learned how to run classes, and got involved in researching the collections at Pallant House Gallery in relation to the lives, stories, impact and work of outsider and marginalised artists.


The subject of outsider art and marginalisation is of particularly interest to Stephen, who is currently studying BA Fine Art at Northbrook College. His dissertation, entitled ‘Is Outsider Art a style?’ addresses the important issue of ‘marginalisation’ and ‘outsider art’, which he says are ‘very broad terms’. Speaking on whether he sees himself as an outsider artist, he said ’We live in post-modernist times, therefore I can be whoever I want to be!’


Stephen has also been able to put into practice his experience, contributing ideas for Outside as an Advisory Member. Speaking of his solo exhibition, Stephen said; ‘It’s brilliant. Art is my life and to be able to share this with others is a rare opportunity which I am very grateful for’. Visitors will see my impression of Venice, my response when I was there and the feelings it provoked’. With inspiration taken from artists such as Willem de Kooning and Frank Auerbach, but with an original and vibrant quality, Ten Days in Venice is sure to charm and delight and with all works for sale, visitors can take home their own glimpse of this fascinating city.


Ten Days in Venice is free to the public and runs from 2 August-28 August 2011


Outside In 2012 will be launched on July 21st 2011 with submissions opening on 22 July. For more information visit www.outsidein.org.uk

Review: The Good Cook

To quote Grace Dent writing in The Guardian Guide a few weekends back, "Every TV chef needs a quirky gimmick, and Simon's is that he is 'good at cooking'." She is referring, of course, to the latest addition to the increasingly tedious line up of Friday night TV, the BBC's The Good Cook, featuring delicious recipes by Simon Hopkinson, former chef and renowned food writer and critic. Grace Dent's angle of her review is that nowadays, TV chefs all have a gimmick, and that Simon's new show is without. Whether it be Jamie Oliver and his 'alwight/luvly jubly/jack the lad get-up, or Nigella Lawson and her come to bed gaze as she licks cream off a perfectly manicured finger, cooking, it seems, is never simply cooking and Grace goes to great lengths to spell that out. 


With this in mind, I decided to spend a lazy Sunday afternoon catching up on the first few episodes of The Good Cook. I sat down, ready to watch a normal, regular man cooking. In reality however, what ensued was the same pattern that every food programme follows. Granted Simon didn't swear every time the producer in his ear told him to. And yes I'll agree that there was no mention of a celebrity father or sexual undertones to everything he did. Yes The Good Cook is without gimmicks. That is, if Simon really does play old fashioned vinyls every time he cooks, and if he is actually part chef/part Neo from the Matrix. Afterall, there's not many chef's i've seen that can suddenly switch to slow motion when they stir their sauce or pour in their olive oil.  Oh and of course, there's the little deli and Butchers where everyone knows your name and will greet you with open arms whenever you arrive; 'Good morning Simon! What'll it be today!?'

This show is without gimmicks, if Simon really is a stereotypical British music snob but I fear that actually, he's pretty normal and Grace Dent really wanted to write a funny review at the expense of all the other celebrity chefs. I almost hate myself for being sucked in by yet another witty Guardian review without thinking for a second that the writer might be wrong! 


Until a cookery show comes along featuring just a chef who cooks, I think I'll stick to good old Saturday Kitchen for my cookery kicks.


To see what the hell i'm jabbering on about have a look for yourself. 

The beauty of a car crash- 'deep' and 'meaningful' is back

I paid a visit to the Saatchi Gallery at the weekend. I had wanted to go ever since I saw the fascinating write-ups for Dirk Skrber's Car Crash installation. The artist's comments on the piece explained perfectly why he was displaying the aftermath of the collision of two cars; "If you pass an accident and see a car like this, it's occupied by tragic thoughts for the people that would be involved, and you might see blood. This work gives you an opportunity to see the things like in a dream. It's clean and polished and abstract." 


The thing with car accidents, is that we as humans feel a moral obligation to not look as we drive past a collision on the motorway for example. But secretly, I think there's definitely, on my part anyway, a niggling urge to stare and have a good old look at something is so often the subject of horror. The point of impact is over so suddenly, that we never really have the chance to examine and ponder such an unimaginable event. Skrber has taken this moment and captured it, putting it in a space for the public to look at without any sense of guilt for as long as they so wish- all in the name of art. 


The cars are real, bought by the artist with the intention of crashing them in a vehicle-testing facility in Ohio

I always enjoy walking around the Saatchi Gallery, more so than any other space, as I like the thoughts that conceptual art, particularly Saatchi's choices provoke. Whether or not something can be classed as art can be mulled over as you read the accompanying explanations behind the pieces. Because the cars are bent and twisted around a pole, the angles and position gives one the sense that the cars have been transported from the point of impact to the gallery, as the write up explains 'It is as if they have been caught, mid-flight, through an invisible centripetal speedway, and are being held in a state of unreal suspension and impersonal destruction, as if in an anxious automotive purgatory.' The cars have been paused and displayed and therefore have no past or future, giving the work a metaphysical quality.


More highlights of the exhibition

The Healers (2008) by David Altmejd 

The above was fascinating to look at, if not a little terrifying. David Altmejd makes large scale sculptures of anthropomorphic figures cast in a state of metamorphosis. The healers shows a kind of orgy where the players appear sexually charged in a state of physical agony. 

Beethoven's Trumpet (2007) John Baldessari

The Shooting lesson (2007) by Folkert de Jong

Finally, no trip to the Saatchi Gallery would be complete without a visit to the lower ground floor where the the work of Richard Wilson still lives, as the only permanent piece in the gallery. This contemporary masterpiece, viewed from a platform is a site of epic illusion. When looking into the vast space, you would be forgiven for thinking you were looking into a deep box like space. However, 20:50 is a room entirely flooded with recycled engine oil. The oil is so think and black that it mirrors everything in the space, creating the illusion that the room is much deeper than in reality. 

20:50 (1987) by Richard Wilson