In the scene pictured, here, the ”Feeders” take parcels from the metal or cardboard containers (pictured on both side of the print) onto the belt at a constant pace, starting the operations.
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Many of our discussions in previous weeks have been about the intervening 10 years as much as they have involved what this project will entail. Our discussions have also revolved around situationist ideas and strategies, phenomenological understandings of environment and our engagement with people as artists and individuals.
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this was the first time I conceptually considered presence and absence of the figure and the space around the figure, and this has kept with me ever since.
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there is something really fascinating about revisiting, reworking and stripping back. Sanding down the floor of the studio, peeling back layers of varnish and paint that had become caked on the floor was both an incredibly satisfying feeling - like cleaning a dirty kitchen and then seeing it sparkle
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. . . the fact that there is much art out there that most of us will never be able to experience firsthand does not mean that there is no point in trying to experience or understand it.
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There is something rather disheartening about opening up my computer each day to a raft of reminders and notifications telling me that I should be installing, opening, taking down yet another exhibition that has not happened.
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Was the sky ever so blue over my Ruhr Valley? Sun. It is warm. But there is no clatter of dishes from the balconies, no humming of people's voices in the cafés. The roaring of the airplane engines is also missing. The honking and screeching, the pattering and stomping, the too loud music of the neighbour, the annoying sound of the leaf blower.
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This series of drawings were made during coronavirus lockdown and are based on Henry Moore’s Three Standing Figures, which are based in my immediate locality and stand overlooking the quietness of the lake in Battersea Park.
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Alabaster for my brother’s 60th, made during the 2020 Covid-19 lockdown.
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As we move further into 2020 it is time for an update on what is happening here at BasementArtsProject with regards to our programme.
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As part of the Lockdown Journal I decided that at some point I would try and post something about work that I have produced myself; hence the Twin Peaks quote on the last BasementArtsProject journal page ‘Next time you see me it won’t be me!’. This time it is not BasementArtsProject it is me as Bruce Davies.
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As we all move indoors for a few weeks of enforced isolation it is important to make sure we do not lose our connection with those things that make us happy, give us hope and allow us to share something of what it is that makes us human; our enduring spirit of creativity.
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Sometimes, without the need of confection for a plot, themes can emerge through the process of discussion and planning. I like to think that this is arts natural state, the continual process of discovery, research, reaction, change and consolidation, an alternative to the staid and retrogressive times in which we are currently living.
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‘On The Corner’ is a project that is truly intergenerational and is aimed at promoting ideas of art as an important and integral part of the fabric of our society. We ignore art at our peril.
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Throughout my second year, I’d been undertaking a series of works that related to home and my family, and for part of the module I was required to research an art space that related to my work, and visualise my pieces within in it.
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Since we began this venture nearly a decade ago, we have been diligently chipping away underground, creating a place that serves both artists and community alike. Over time the project has become the foundation for a broad set of ideas that address many issues in art whilst speaking directly to the concerns of the local community.
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