European Contemporary Arts Practitioner

Possible Paintings: Change of Address.

The accompanying images suggest, as the post title implies, a “change of address” at the imagery represented in practice to depict the necessary subject matter.

A fondness for taking first-hand photographs at night around Stoke-on-Trent and its surrounding areas as far as London has increased a fascination with photography as part of the making process. The night has potential with its disadvantages for encapsulating whole environments and settings in darkness.

Perhaps this interest comes from the influence of famed Spanish painter Francisco Goya (1746-1828) and his black paintings; revealing the pessimism of his time; which are still as relevant today. Or maybe Rembrandt van Rijn (1606-1669) and his shadowed backgrounds against Romanticism settings.

The photographs, on which the proposed new work is based, seem to illuminate contemporary signs and symbols of modernism in the present day against a dystopian light. Or perhaps the illumination; however much a flicker; represents the possibility of utopia. An optimistic view that tries to break through the pessimistic site of brownfield areas that have been poorly used or abandoned.

‘Parking Space’ documents the reflecting negative use of once vacant space into a retail outlet selling outdoor equipment, creating an ironic suggestion that more time is needed to be spent outside of urban life.

‘The Great Leap Forward’ takes its name from the economic and social campaign of the Chinese Communist Party in the mid-twentieth century, using the image of silkworms from China to reflect what a sort of ‘natural modernism’ from ecological communities.

‘Cobridge Hall’ (in Burslem, Stoke-on-Trent, Staffordshire) illuminates an unused building near the border of towns Burslem-Hanley to highlight its isolation and possibly ghoul features.

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Mock Artist Talk +2

Q. The recent project ‘Survived Socialism’ in the Window at Airspace Gallery [15-21 October 2012] exhibited new sculptures which had a minimalist approach. Was that intentional or did it develop that way?

A. The works themselves had actually been in development since the beginning of the residency in August and kept developing right up to the date of the project. They were initially pictured as they are now, with minor changes to the piece ‘Survived Socialism #2’ [see image] being more solid and covered in panel. This changed because in order to help the audience see the pieces recycled steel-frame tables, the sculpture had to visually reveal those frames. Also, it was getting tiresome making sculptures in a rectangular shape having done so already, and the piece ended up not being completely covered by wooden panels.

If the finished pieces came out minimalist then it was not deliberate but involved a working process that continues to explore how to apply selected themes and [such as nationalism, European identity, nostalgia] into a three-dimensional format.

Q. It was mentioned in the press release that the use of the found exotic rugs allocated the sculptures space and time. How else were they important to the pieces?

A. The foreign rugs were meant to act as plinths to the pieces, because personally the standard white plinth was too familiar and possibly bourgeois. The rugs are homely, comfortable and whilst recognised by several viewers, they are just as unfamiliar to others and the work becomes about the memories of these objects.

By using something ‘against the grain’, the pieces stood out as visually unique. An inspiration for them probably came from American artist Kirsten Stoltmann (b. 1968) and her piece ‘Chrome Tumbleweed on Southwestern Rug’ (2007) [pictured] featured in the ‘Abstract America: New Painting and Sculpture’ exhibition at Saatchi Gallery in 2009-2010 which I invigilated during work placement. Whilst we are two different artists exploring different things, the piece became one of those wake-up calls that “you could do anything, use anything”: the same feeling that overcame me upon learning about American proto-Pop artist Robert Rauschenberg (b. 1925 d. 2008).

Q. Any plans for future sculptures since this project? Will the ‘Survived Socialism’ series continue and how can they develop?

A. The steel was actually harder to acquire and use than was previously thought so chances are it will not be used again. But a return to wooden frames as well as panes will likely be a way forward for the series. Also, the shapes the series pieces take will likely alter to look more architectural and modernist, and possibly develop to use more colour – still dark tones like black, grey, brown and such – but nevertheless this series will be continued. The time between intervals will be developed as the series progresses.

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Mock Artist Talk +1

Q. Why often work with gloss paint?

A. Gloss paint is a combination of the fluidity and structure of Oil paint, and dries faster than Oil (granted not as fast as Acrylic paint) but has still become a ‘familiar alternative’, like artist George Shaw [b. 1966] uses Humbrol enamel paints.

Both gloss and the humbrol enamels could be deemed ‘construction paint’ because they are used for DIY and modelmaking, granting them more power and authority over the commonly used and if it may be called bourgeois Oil paint’.

Q. There seems to be a pattern of working on the same size panel; 38 x 31 cm; why is that and could there be any consideration of working larger?

A. The size [38 x 31 cm] is comfortable and intimate compared to going to the National Gallery and seeing huge canvases depicting epic battles and romances. It can be compared to the size of head and thus grants the viewer to see more within their eye range including smaller detail, rather than having to stand 4 feet back and be isolated from the work. It has also been a beneficial size for working on with the depicted imagery and to paint this [imagery] on larger size is dependent on whether it is suitable or not. More importantly, it is about what the size of the panel allows. But yes, it is a goal to gradually work larger and exhibit in a space with the facilities so show such work.

Q. A trademark seems to be the Polish language painted into text on the panels and accompanied by abstract shapes, colours, grids and forms. Is that to bridge the gap between understanding the abstract imagery depicted?

A. It is exactly to continue the line of communication with abstract art as being either ‘lost’ or ‘found’, seeking an audience who would give up their time to question the English translation of the painted text. It also comes from the Suprematist movement’s use of a similar collage of text and image, asserting a Nationalist stance, coupled with influence from architecture and DIY, exploring themes of identity and nostalgia. Otherwise, the pieces occassionally have English language titles.

Q. What is it like to sometimes curate as well as show in exhibitions? Do similar themes translate across?

A. To curate an exhibition is not that different from making work as both involve meticulous planning and initiative. To translate practical themes in the work to a show feels essential as both allow the application of personal identity in an unfamiliar setting. If someone explores Modernism for example in practice, it makes little sense that they should not investigate similar ideas in an exhibition, whether it is their curation or otherwise.

Q. Drawing back to the paintings they seem to lack bright, affluent colours and instead use a lot of grey, black, magnolia, Russian blue etc. Is that a personal choice or was it appropriate to the work?

A. There were and still are those days where whilst contemplating and making, thoughts travel back to existential philosophers (notably Friedrich Nietszche) and ‘dark tone’ thinking but only because of a personal distaste for everything bright and childlike in visual art. It is always wonderful to see a bright image contrasted with a dark background and such, but the effect of seeing so much brightness could just as easily be achieved by using recreational amphetamines. Perhaps the dark tone in the work is also related to the atmosphere and a pessimistic view.

Q. What are the hopes for the debut solo exhibition in January 2013? Any titles, giveaways to the mood that should be generated?

A. The only determined absolute is that there will be a solo exhibition and that it will feature work, as promised. Titles are bouncing around… maybe something of a personal nature or better yet a topic that transcends the universal for the national like ‘Sto Lat’ meaning ‘100 years’ or similar to the ‘Survived Socialism’ exhibit recently. The mood itself will gurantee to be: something not seen before. There will be some ‘end of an era’ feel as the residency has been very educational to professional and personal development.

Admittedly, the 3 month hump of the 6 month residency has been explorative; thinking of new work to produce… which does not exist.

A notable weakness that has apparently carried from University is the shadow of ‘expectation’: working to meet the opinions of others, and often comparing one’s self to influences and peers. This is not acceptable, to all fellow graduates and students in Fine Art.

What University and any educational institution will tell you is to be creative but not necessarily be yourself. This is not acceptable.

They will have you conform. Studies [not to be quoted] will show that one part of the brain is individuality, whilst the other is group thinking. The institutions want you to listen to them as they believe their advice will always help you to succeed when it actually comes right down to the one taking their time to pay attention.

In the examples of drop-outs such as Mark Zuckerberg (Founder of Facebook) or Richard Branson (Virgin media) and any others, their lives need not be examples of the right thing to do. Because once again, this causes comparison, and trying to actually BE one of your influences is a marathon with no finish line. Why? Because you cannot be anyone but you.

Thinking too much has also proven a major distraction in the production of work which should flow tepidly from the hand that guides. To imagine work which has not even been produced yet, and then imagining it’s exhibition and public reaction is a weakness and unjustified reflex to considering: what can be represented?

It is in this context that regrets and possibly failures need be revealed in order to grow. When faced with a pen, write down thoughts and processes behind successes and let-downs in order to progress.

Leading up to the debut solo exhibition in January 2013, a sneek preview of previous work will grant some idea as to the new work being made in preparation for an individual introduction to the contemporary scene.

Airspace gallery In the Window Proposal

Background information

Raised in London, England; Holland, the Netherlands; Warsaw, Poland; Surrey, England

Current practice

Adam Kelly is enthused to explore the potential of self-identity, developing work across themes such as history and ideologies, and produced ranging across various mediums including sculpture and painting. His characteristically Eurocentric work reveals personal successes and failures to represent nostalgic memories that are both devastating and promising to different communities and individuals.

Within Adam’s practice, his compositions have an autonomous determination and often exorcising approach that links his oeuvre to modernism, re-appraising avant-garde techniques with found and discarded items, and constructs new situations to comment on farcical ideas such as diaspora and nationalism.

In the Window proposal

The Window space offers a unique opportunity not to parody the conceptions and notions behind a window display, but rather to re-invent those conventions for new ideas and purposes. The space is there to ‘sell’ (promote) the artist responsible for the work on exhibition. In this sense, the window is a ‘handshake’; an introduction; to the gallery space. And whilst the window is not a mirror, it will reflect.

In today’s contemporary art, artists have forgotten their roots, struggles and histories. They are right to look to the future, but through their eyes it is within such grasp that they would rather seize it than shake its hand.

As such, it is proposed that TWO abstract sculptures; titles and information under construction; made from recycled steel table frames, wood, paint and strip-light, be exhibited in BOTH WINDOW SPACES to remind civilians and viewers of futures past, and unconventionally ‘historic’ furniture pieces.

In the proposed new series of sculptures; Survived Socialism; steel-frame tables are utilised to new effect as ‘skeletons’ for sculptures that take shape into Modernist-inspired compositions.

Edward Jezycki (1919-2005), Polish maternal grandfather and a key inspiration to practice and life for a long time. As such, the work is dedicated to him and centred on an aura of nostalgia he bestowed, including an innovative use of discarded and unused items.

Statement text

SURVIVED SOCIALISM

15 to 21 October 2012

With Survived Socialism graduate artist-in-residence Adam Kelly presents a new series of sculptures which aim to explore the history of modernism, with influence from architecture seen in various towns and cities such as Stoke-on-Trent and Warsaw in Poland. The series’ title is derived from a memory that describes Kelly’s Polish maternal grandfather, Edward Jezycki. Inventive and resourceful with discarded and unused items, both share common passions for knowledge, museums and geography as demonstrated by this series of work crafted from second-hand steel frame tables (attained from around the city) as well as contemporary objects such as strip-lighting.

The pieces are covered with nostalgic brown panels, and emit a hopeful glare from the attached strip-lights, whilst they are bordered with foreign exotic rugs, allocating them space and time.

It is hoped that Survived Socialism gains a following from members of the public who remember their own national heritage and complies them to look toward the future, for “absence makes the heart grow fonder”.

The new works and the series are dedicated to Edward Jezycki (b. 1919 – d. 2005). Born and died in Warsaw, the city he loved.

Work intended for exhibition

Two sculptures; currently in development.

Special requirements

The taller window no. 2 has a width shorter than is necessary for the sculpture. It is suggested that objects of equal height to the window’s platform/’trench’, with long widths be placed under the sculpture to support it.

Websites, contacts

www.adam-kelly.com

With thanks and best wishes

Adam Kelly

+44 07814 779947