Sevenoaks Visual Arts Forum (SVAF) have submitted a successful bid to run the Sevenoaks Kaleidoscope Gallery as an artist-led space. This blog will chart the progress of its first year.
Sevenoaks Visual Arts Forum (SVAF) have submitted a successful bid to run the Sevenoaks Kaleidoscope Gallery as an artist-led space. This blog will chart the progress of its first year.
‘The FOOTFALL PROJECT ‘
‘The remit for SVAF running the Sevenoaks Kaleidoscope Gallery as an artist led space has a focus on increasing numbers of the public and arts community visiting the Gallery space. Increasing its profile and visibility.
We aim to do this with a project about shoes and feet throughout the Kaleidoscope building, Gallery and the surrounding streets of Sevenoaks.’
‘We would like to invite residents; schools, organisations, businesses and members of the community to be part of FOOTFALL by making a fabulous creative shoe or footprint.’
And so the Footfall project is coming to a conclusion having achieved its objectives and no doubt having established a broad spectrum of people who will continue to visit and engage with the gallery.
It is rare to see so much work in one place created with so much endeavour and engagement. It is pleasure to sit with these things and to enjoy simply being there. But what to say?
I have struggled with this. The concept ,execution of the work, the engagement of the artists, the fun and joy of it all rightly demands nothing less than unequivocal praise. And behind it all a tremendous amount of hard work in the design and execution of the project itself.
Polite finely-crafted pieces contrast with edgy, hacked out cuttings of and into the slippers; what lucky adult keeps its child in reserve, intact?
‘Who am I? asks one – ‘MUM, Wife,Nurse…” If the slipper fits…..but do I sense a boot in reserve? And there are shoes, knitted shoes, baby shoes, sheep – shoes, paper shoes. A pushchair shoe (?) – made from leaves. Loaves of bread shoes….a ‘horse’-shoe Feet are drawn around , coloured in ,written on, soles rubbed on, smiling faces drawn, names, spiders, cats and other animals, a mermaid, aliens….. labours of love.
Whilst I was in the gallery thinking and photographing, I spoke to two visitors. A man entered, stood, smiled, shared a few words about the pleasure of seeing so much imagination demonstrated in one place; the initial response to the show is a shock of delight. SVAF member Suzanne Beard called in to drop off a slipper, and enthused about her engagement with workshops related to the project. She remarked about the way in which people gradually opened up, warmed to the possibilities of their work, – it was she said one of the most rewarding, the best projects she has ever done. The show itself points to it. (And such a range of work and artists belies the usual business of comparisons and hierarchies of value.)
The works here of the child, the sophisticate, the cultured, the innocent, the enthusiast, the amateur, the professional, bear comparison but not judgement. The power of a show like this is in its mass, of the capacity of its ’critical mass’, the combined power of all its happily formed parts, a social thing, to make an overwhelming statement about the necessity of making and the creative process, and of their importance in the educated person. There is an argument to be had about the nature of creativity and the place of the arts as fundamentally educative, an argument implicit in the work; the matter of judgement and how we talk about art is pertinent particularly in this context of increasing ‘footfall’.
And Enjoy!
Finishes 5th Jan
A Happy New Year to All!!
Selection and Curation by Rebecca Fairman at Arthouse1
Work.
By 30 artists.
Below,
A meaning of terms,
For each artist,
From each artist,
A serendipity of words?
No brief, no statement, no sentence
Meaning can slip and shift.
The beholder
Should not feel comfortable.
Systematic, unpredictable and intuitive
Ideas of breath and connection,
Atmosphere of dreamed spaces,
Forlorn and abandoned.
Lives that once were whole,
Transmuted through burning
The element of masquerade
At the moment of his death.
The fragility of desires,
Presence and loss,
Dead ones,
Erosion decay and transformation.
Find beauty.
In many towns
The surrender of being lost,
Life changing circumstances,
Capture the intangible
Connections, yet there is disconnect.
Hubris,
Our self obsessed culture,
Intolerance of mistakes/imperfections in life ,
A personal space, one that others might enter.
Trying to capture
Visual movement,
The play of line against colour
Is quite magical.
Pauline Alexander, Judith Balchin, Alison Berry, Jo Brown, Niki Campbell, Andrea Coltman, Christina Corner, Louisa Crispin, Angela Dewar, Margaret Devitt,Christina France, Sonia Griffin, Katie Hayward, Bill Hall, Melissa Hill, Elisa Hudson, Amanda Houchen, Marion Jones, Maria John, Sarah Jones, Marilyn Kyle, David Minton, Venetia Nevill, Diana Poliak, Deborah Ravetz, Julian Rowe, Jane Sandae, Sabrina Shah, Juliet Simpson, Rachel Wickremer.
David Minton
FLEECE and FABRIC A Textile Experience with Judy Balchin,Judy Balchin Angela Carole StockerAngela stocker and Sue Evans
This show represents a coming together of several strands in the work of the artists. It is appropriately puzzling in its varied preoccupations to do with meaning, process, craft(ing) content, form, performance, status. Its objects constitute a show essentially to do with a crucial, formative time in the unfolding ideas of the artists, the works exploratory conversations with themselves and replete with the uncertainties and difficulties that such conversations have.
Judy Balchin has had a varied and successful career, or set of careers based in graphic design, writing, teaching, working for the BBC. This exhibition represents a new direction for her work, in a search for something else, something to do with that sense of purpose, exploration of self, engagement with open-ended ideas and insecurities that is part and parcel of the business of making ‘art’.
It raises up an exploration of distinctions to be made and questions to be posed concerning the concept(s) of art.
There resides in ‘Delightful Dolores’ an underlying pathos of prettiness which sits at the fulcrum of Judy’s art. Dolores is painfully, precariously balanced on an edge ground sharp by the meetings of ‘craft’ and ‘art’. It opens up questions regarding the portrayal of women.
At a basic level, the term ‘craft’ refers to processes and not to things, whilst ‘art’ refers to things and not to processes. But the term ’craft’ as a finger pointing at certain kinds of thing is also a political use of the term, designed in pursuit of a kind of order of merit in support of a fine art hegemony.
See more at SVAFSVAF
This show is now finished and was part of the Sevenoaks Visual Art Forum programme at the Kaleidoscope gallery.Gallery
Deborah Humm’s ‘You Look Great Today’ is a heartfelt piece speaking of mental anguish, depression. Layers of poetry printed on sheets of transparent acetate degenerate into a cacophony of words to be deciphered by the viewer. Nearby, Angela Stocker’s ‘Forgotten Corners’ sits a little forlorn on the floor in the corner, and draws our attention to places that are ‘…overlooked, underused….’, a metaphor for those spaces in our minds where we lean mental bits and pieces, offcuts of ideas and stuff that later remind the passing eye of what might have been and might still be.
Sevenoaks Kaleidoscope until 11th November
Open Mon-Wed 9-6, Thur 9-8 Fri 9-6 Sat 9-5
Kaleidoscope Gallery Buckhurst Lane Sevenoaks TN13 1LQ
Nucleus Art Gallery Chatham 17- 28 November
Mon-Fri 9-5 Sat 10-5 Sun11-4
Nucleus Arts Centre
272 High Street
Chatham’
Kent ME4 4BP
‘During October 2017 artist Nicole Mollett will be in residence in the Kaleidoscope Gallery, using the space as her studio during the week. Situated above a library, the gallery is well suited for the artist who regularly uses books and encyclopaedias as a starting point for her ideas. Nicole will explore the idea of drawing as a language, using visual images to tell stories and make connections.’
Nicole’s posting on a-n of details of the residency (https://www.a-n.co.uk/events/drawing-is-a-language.)
provides a comprehensive overview of her work and interests to date The residency has on the other hand offered an opportunity to, as she puts it, ‘.. get away from my own stereotypes… by locking myself in a white cube and seeing what happens…’
There is a political underpinning to Nicole’s socially engaged, deceptively playful and considered work. Her piece, ‘The A to Z of partnership .’ from her collaboration with writer Sarah Butler on ‘Creative People and
Places’
Alternately, is this the IDEA of drawing as a language or the idea of DRAWING as a language? The shift of emphasis from IDEA to DRAWING is a shift from exploring the possibility of drawing as a language to an exploration of drawing as language in action. How might either be explored? Is ’Drawing is a language’ simply a figure of speech that gets us out of a categorical hole? Is ‘Drawing is a language’ a category mistake? If it is, in which category is Drawing to be found? Is a taxonomy of drawing languages possible? The business of ‘reading’ a drawing involves approaching it through a verbal enquiry, describing and ‘interpreting’, whatever strikes the eye? Is this a separation from the experience of the work in itself or a means of accessing it? It operates between the known and the emerging, the suspected, facilitates the emergence of particular meanings, firms up meaning, connotes our experience?
But in the end, if it looks like a Duck, quacks like a Duck, then surely it is….. but what if it isn’t…….?’ How can we be sure of its Duckness? Well it’s common sense isn’t it? If it looks like a Duck, quacks like a Duck………, maybe it’s a Stereotypical Duck, or a Metaphor Duck.
In her talk to SVAF Nicole expressed her intention in this residency to ‘….get away fro my own stereotypes… by locking myself in a White Cube and seeing what happens…’ Is the notion that ‘Drawing is a language’ itself a stereotype? What might an artist’s stereotype look like? How do stereotypical behaviours and stereotypical ideas come together in work; the stereotype is a self-replicating organism, with, at its heart, the mutated DNA of a grain of truth.
This piece below to do with male vulnerability reflects the current tide of thinking about gender issues. Dualistic definitions of gender are beginning to dissolve into each other. A realisation is forming that male/female, mind/body distinctions can no longer be sustained in their traditional (and conservative) forms.