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

Source

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

Source

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.

Source

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?

Source

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

Sam Curtis

"Sam Curtis is a London-based artist, curator, and fishmonger. His projects and works evolve from the lived experience of social and economic dilemmas. His practice investigates how we situate ourselves within life’s systems and structures. Recent work has revolved around the questions: What does creative work look like? And how do we maintain and negotiate our place in wider systems of control while cultivating creativity and retaining a sense of autonomy? 

Sam Curtis runs the Centre for Innovative and Radical Fishmongery. He is a founder and member of Seymour Art Collective, a group of artists who are or have been homeless. He is a curator at the Bethlem Gallery, situated in the Bethlem Royal Hospital, London."

Quoted from the Transmission program 2015

http://www.scurtis.co.uk/fswork2.html

Sam Curtis' work is very different to a lot of the artists previously seen at Transmission as his work manifests itself in a very different way. He explores how we situate ourselves within societies systems and structures and what does creative work look like?

Curtis works mostly 'undercover' in professions that typically don't tend to lend themselves towards artistic tendencies. He mostly works as a fishmonger and one video work he made titled 'Harrods Fish Counter' 2008 was particularly interesting.

http://www.scurtis.co.uk/fswpresentation.html

"My terms set out for the residency were that it was to be carried out in complete stealth mode, always undercover. This was to enable me access to the store, it’s staff and it’s customers in ways that would not be granted if it had been an official residency. Not that Harrods are likely to start a residency programme for contemporary artists.

I received a monthly wage for my work done like everybody else there – yet, at the same time, I was also able to spend time developing my practice and honing my skills.

STEALTH MODE: It can be a strain to work hard for a long period of time undercover. As an artist I was always there with the art frame in my head ready to apply to situations, yet I had no one to share it with. I'm not sure if this was really a problem but perhaps the fact that I am here now talking about this undercover residency suggests that I did want to share it."

http://www.scurtis.co.uk/fswpresentation.html

http://www.scurtis.co.uk/fswpresentation.html

His work at Harrods really interested me as most of his work their was centred around the people he worked with and who he interacted with in the non-artistic situation. He got to interact with so many different people on a daily basis and got to also develop his practice as an artist at the same time, I can't think of anything better!