Neil Brownsword

Neil Brownsword is a Professor in Ceramics at Bucks New University and Visiting Professor in Clay and Ceramics at Bergen Academy of Art and Design, Norway. For over a decade Neil Brownsword’s artistic practice has remained a potent form of recording historic change in North Staffordshire. His exploration of post-industrial landscape as a raw material has renegotiated the region’s associated socio-economic histories and production infrastructure through a variety of perspectives and practices. Brownsword unearths/ salvages by-products from the histories ceramic production and regenerates these vestiges of labour into abstract assemblages and installations. Brownsword’s work is held in numerous public and private collections, including the Victoria & Albert Museum, London, the Yingee Ceramic Museum, Taiwan and the Korean Ceramic Foundation. In 2009 he was awarded the ‘One Off Award’ at the inaugural British Ceramic Biennial, and in 2015 the Grand Prize at the Gyeonggi Ceramic Biennale 2015, South Korea.

• Staffordshire centre of production in the UK.
• Ancestors in pottery industry.
• 16 - apprentice.
• 18th - 19th century pottery: interested in.
• Made fragments: subversion of modern day?
• The once common place objects.
• Waste products from industry.
• 80 hours of raw footage, 2003: labour and skills.
• Salvaged residual clay of products.
• High craft and demolition
• Last 3 weeks of potter who trained him (2003).
• Reversed Chinese copy on itself: Recreations.

David Toop

• Immersion in relation to sound.
• Making the intangible tangible.
• Cassettes: Borrowed sounds from 10' discs, from BBC etc.
• Ocean of sound 1985: No splitting of genres.
• Where art happens includes how art happens - Don't talk much about how art happens.
• Didn't see the point of releasing an album in the 21st century.
• Drawing became important again, marks made, loves drawing materials.
• Drawing: urge to throw away - mark is permanent sound is fleeting (if you don't like it, it is already gone).
• Created "action drawings", more interesting to him.
• Representation of listening in still media.
• Talked about: Gabon -Voice of Ya Mwei 1968: masked voice, is his brew used to make guttural noises a musical instrument?
• Most of his work is self created sounds and editing them digitally.
• Used vibration noises on carbon paper to make drawings.
• Moved on to tissue paper.
• Many private concerts: Tissue paper, marks as a language.

Edwina Ashton

• Drawn to unfinished things
• Films of the objects in environments that give no context
• Wanted to make objects like drawings

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I found her created creatures a bit disturbing but I could see why she created them in this way to look very illustrative. I'm not sure what I took from her lecture.

Lara Eggleton

• Primarily art writer now
• Move towards user generated art, anti-autonomous 'The office of useful art manifesto'
• Reflection of the aesthetically beautiful object
• Josie Flynn
• Nicola Pemberton: fantastic failure (wind machine drawing, 2007).
• Ai Weiwei
• Brian Junged
• The object needs to be attached to a concept to be considered in clinical terms
• www.follymatters.wordpress.com

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Lara had some very interesting things to say about both her own work but mostly about other artists work as mentioned above. I found it hard to take much about her own practice in as she talked mostly about others as that is essentially what she does on a regular basis now.

Jesse Darling

Jesse Darling is an artist and writer who's work explores issues of the self in the internet age, queer visibility, neo-liberalism and postcolonial constructions.

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Jesse Darling came to speak to us at Transmission and I found her work really interesting and her ideas about social media very informing and illuminating. Jesse addresses various issues in her work including sex, labour, work, trauma, alienation, love, death, physical fragility and mental instability.

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 What I like most about her work in a physical sense is how she constructs human form in a de-constructed way, her sculptures have a human quality to them even if they do not appear physically human.

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Dimitri Launder

• Wanted to combine the space of the studio and gallery.
• 'Artist Gardeners': Private client gardens, income but loves it. Design based projects inspired by fine art installations. Crossover between sculpture and gardening.
• 'Area 10': Timber shed abandoned by family business, made work in a 3 month cycle. Reused the art pieces. 8 years total. Process led and artist run. His work became more compromised by the fact that he was running the space.
• 'Noosphere': Moving installations, the conversation that took part inside the object was the product of the work.
• 'Pinholeye': Made pinhole cameras, put them in a vending machine, public took them and took a photograph then sent them back. The letters were almost the photographs as they described the moments perfectly.
• 'Arbonaughts': 'The desire machine', live installation. Practice evolved to be about site. About making a work that hooks an audience in. The kind of work that draws funding. Built up relationships with corporate companies that have property portfolios with spaces being empty for large periods of time.
• Art happens for him in the funding proposals, it's where all the ideas come together. Why do you want to make the work?

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Rory Pilgrim

"Rory Pilgrim’s work explores questions of time and connections between activism, spirituality, music and performance. He was born in 1988 in Bristol and graduated from Chelsea College of Art in 2008."

http://www.sitegallery.org/archives/7998

http://www.sitegallery.org/archives/7998

Rory Pilgrim is the latest artist on the Site Gallery's platform residency program his current work is titled 'Words Are Not Signs, They Are Years'. Below is the synopsis of his residency:

"As our relationships with language, technology and each other develop, what potential do words now have? Artist and activist Rory Pilgrim considers the radical potential of language and intergenerational dialogue by bringing together a council of local elders for his Platform residency to discuss progress from a generational perspective and the wisdom of age as a radical proposition. Steadily optimistic, Rory’s work has tackled subjects such as social pacifism, revolution, youth powerlessness and homophobic violence.

Over the course of four weeks, the galleries will become a place where people come to speak about social, spiritual and revolutionary change, as well as an open studio where new artwork is produced. In an age increasingly dominated by virtual experience, Rory is fascinated by the importance of physically coming together.

The elders’ conversations will be captured in the form of musical performances, poetry, song and posters that gradually fill the main gallery space.  Pilgrim will collaborate with David Andrews, a poster maker from Sheffield who he has worked closely with since a chance encounter brought them together five years ago. Meticulously painted by hand, Andrew’s posters have been seen throughout the city since the 1970s."
http://www.sitegallery.org/archives/7998