Relational Dreams

Thedisjunctionofaestheticformsandtheiropposites RelationalDreams

Overleaf

Detailof’Superspreader’ A/PGicleeprint (Archivalinksoncartridgepaper) 95x144cm

AMELIALANCASTER

‘Oneofaseriesofworkfocusingonthe staycationsinCornwallduringthe pandemic.MusicfestivalspostGCSE’sare arightofpassageformanystudents.The crampedmusictentswithoutmuch ventilationcreatedfertilegroundsfor coronavirusinfection.Failuresinproperly checkinglateralflowtestscombinedwith peopleprovidingfalsenegatives contributedto5000excesscasesof coronavirusinCornwallduringAugust 2021.Boardmastersbecameknownasa superspreadingeventand111NHSservices SouthWestwereoverrunand exasperatedthatthefestivalhadbeen allowedtogoaheadjustdaysbeforethe firstvaccineswereofferedto16yearolds. Thestrainbecameknownlocallyasthe ‘festivalvariant’.’

Thedisjunctionofaestheticformsandtheiropposites RelationalDreams

HarrietHoult

NatalieCronin

KateLowe

AmeliaLancaster

JulieDerbyshire

TinaCrawford

LisaPfeiffer

ClarePalmer

LawrenceArtitzone

JonRees

DarshanaVora

AlexaHarris

Sittinguneasily,themeaningofthis randomlygeneratedtitle1 seemsto emergeandslipmuchlikethe propositionofdream-logic,where everythingishyper-sensualand fantastic.

Theworksintheexhibitioncarry introspective,lucid,thought processes;whereformisevocative, objectsareperformativeandthe familiarisnotwhatitseems.

AmeliaLancaster's photographicwork 'Superspreader',madeattheheightofthe Covid19pandemic,isaseeminglyjoyous imageofamusicfestival-concealingthe dangerousovertonesoftheinfectionsleading fromit.Her‘Windows'seriessimilarly documentswithcare,theabandonedhomes ofSouthKilburnEstate,readyfordemolition.

JonRees's 'LockdownDiaries'areanother reminderofhowwindowsbecameametaphor forsafetyaswellaslonging.Thisdichotomy ofrestlessnessandreposeisechoedin Kate Lowe's ‘Restless’seriesofpaintingsduring Covidlockdownandbearthequietand colourfulbeautyofcarefulobservation.

Loss,memoryandpassagearegivenatangible realityin AlexaHarris' installation ´Doesthat meanyou’renotcomingfordinner?’ asodes toherlatefather'smemory.Usinghis personalartefactsandfamilyfootagetocreate atimecapsulemarkinghismemory;andofher displayingherpaintingstocomplementhis in´50:50,bestofboth’, extendfamilialcare.

TinaCrawford createsintenselypersonal memoriamstoserveastestimonytoeventsin herlife.Unafraidtonamethephysicaland emotionaltraumashehasexperienced throughametamorphosisofmaterialobjects, 'Deadtome'and'YouthoughtIhaditallsewn up'usetheactualmaterialstheyreferenceand areunabashedlyboldandaccurate representationsofherfortitude.

Introspectionandcatharsisco-existin Clare Palmer's sculpture.Givingexpressiontothe contradictionsbetweenorderandcontrol, innerandouterrealities,shespeaksthrough thelanguageofsmoothandjaggedforms.

Practicesofcareandfragility,aneedto simultaneouslycradleandstudythenatural worldarevisiblein NatalieCronin's delicate bonechinasculptures.Asimilarcuriosityto exploretemporalitybelieconstructed photographyin JulieDerbyshire's series ‘(Dis)equilibrium’inwhichsmallscale sculpturescapturestatesofmomentary suspense.

Whatseemslikeaframeddrawingofa children'sstorybookcharacter, LisaPfeiffer's extremelydetailedandstylisedpaintings questioneveryaspectofherfigure'sfeatures. Throughameticuloususeofcollageand paintingshedistortspatternanddetails, creatinganuneasytensionakintoaparent's dilemmaincareandcautionfortheirchildren.

'Wind1'by DarshanaVora isaconceptual, digitallyproducedscorethatsoundslikea musicalcompositionforachurchorganat first,thenstuttersoffinfitsoferratic harmonies.Composedofextractedsound cadencesfromnarratedpassagesdescribing notionsofHeaveninworldreligionsthe musicisaccidental,whilstsubliminally influencingthevisitorandtheirreligiousbias.

LawrenceArtitzone usesdrawingtoexplore totemicobjects,manifestingtheminceramic later,asiftobreathelifeintoimagesfromhis dreams.‘PossessionsofaDream’isa collectionofworkswhichtriestocapturethe emotionandtensionofhisprocess.

Themovementandstillnessofalivingforce areaddressedseparatelyin DarshanaVora's scrolldrawingsand HarrietHolt's still, vibratingpaintings.WhilstDarshanareferences writingsofZenMasterDogen inherseriesof works'Thegreenmountainsareforever walking'wheresheinvitestheviewerto engagewiththeactofseeingandrecognition throughhermark-makingabstractscroll drawings,HarrietHoult’stexturalabstract paintingspackedtightlyinrectangularform vibratewithnotionsofthebodyandhorizon, breathingeversoslightly.Imploringustogo beyondintellectandintovisceralsensory experience,theyaremeditationsonlife.

Tiedtogetherwithanexhibition title,theworksempowereachother withtheiroverlappinglayers, ripplingintoeachother'szonesof referenceandmaking'Relational Dreams'moresensiblethistime around.

DarshanaVora

April2022

TheBhavanUK

Footnote:

1.RebeccaUchill’sRandomExhibitionTitleGenerator https://www.mit.edu/~ruchill/lazycurator.html

WindowI,II(GloucesterHouse)I(2018)

Editionof3+2AP

GicléePrint(ArchivalInk)onHahnemühleGermanEtching Paper,Editionof3+1APVaringsizes

145cmx100cm(imagesize135cmx90cm)

AMELIALANCASTER

‘Myworkexaminestheinterface betweenarchitectureandits inhabitants,withparticularreference totheregenerationoftheSouth KilburnEstate.

Inexploringthestripped-outblocks throughouttheproject,Ihavetriedto capturethelostcommunitybylooking forfragmentsofpastlives.Inthese emptyinteriorsIfocusedondetails thathintedattheformergloryofthe rooms,imaginingthemoncefullof life.

Thepicturesdepictthestillnessfeltin thesedesertedspacesand emphasizesthedepartureoflife

InWindowII,thewallpaperhintsat theroom’sformerglory.Despitethe condensation,mottleddamp,flies,and mousedroppingsinWindowI,the sunlightthroughthenetcurtains infusesawarmingbeauty.

Afeelingofspiritualdepartureis projectedastracesoflivesoncelived areabouttobedemolishedforever.’

JONREES

‘Imadethisseriesduringthefirstlockdownin 2020.Iusedmyonepermittedexercisea day,tovisitfriends,familyandneighbours andphotographthemthroughtheirwindows. Thisprocessbecameincrediblyimportantfor mymentalhealth.

Thepandemicwaslikeadreaminwhichwe playedourselves,inthesamelivesbutthey wereutterlyun-recognisable.Theeveryday ritualsoflife;work,education,leisurewereall changedovernight.Peoplerecoiledifyou wentnearthem.Wewerequeueingforbread andfightingovertoiletrolls.Thisdisjunction betweenthenewrequirementsoflife; isolationanddisconnectionwithournatural, humanneedforconnectioniswhatIwas tryingtoportraythroughtheseportraits.’

LockdownPortraits

Photographs,varioussizes

REM

Oilonpaper,2020

Exposed

Oilonpaper,2020

Liewithme

Oilonpaper,2020

‘Thisbodyofworkexploresthe complexrelationshipwehavewith sleep.Theoilpaintingsaresemi abstract;theylingeronpatternsand shapeswithinthesacredspaceofthe bed.Restlessnessandit’sopposite stateofreposearebothfoundin theseworksonpaper.’

ALEXAHARRIS

‘AftermyDaddiedIuncoveredhis paintingtables,artstoolpaintingshoes andanoldpipe.Hehadn’tsmokedfor25 yearsbutthepipegloriouslystillsmellsof histobacco.Takingmestraightbacktomy childhood.TheInstallationreflectthe humanform.WithnotetoMagritte’s,‘Ceci n'estpasunepipe’

Thepipebeingthecomponenttothe head.Thetable:thedeceased.Andfinally thepaintstainedshoesplacedattheend. It’sallwhereheoncewas.Thepieceof fourseparatepartsabouttheopposites andrelationshipbothphysicallyand spiritually.Dadisdead.Doesthatmean you’renotcomingtodinner?’

‘DaddiedandIcarriedonwhereheleftoff. Helovedafieldofhaybales.These abstractedrepresentationsarebasedonthe lasttwowheatfieldpaintingsheproudly showedmebeforehebecometooill.His wereunfinished,soIhadtheneedtocarry onwhereheleftoff.’

Left

‘Doesthatmeanyou’renotcomingfordinner?’

PartofthedeadDadseries,mixedmedia,2018 (paintingtrestletable,paintsplatteredchair, woodenpipeandpaint-stainedshoes)

Above 50:50,bestofboth’,2019

Diptychoilandacryliconcanvas 50cmx50cm

TINACRAWFORD

‘Thispieceisalmostsetlikescales,the sewnononesideandthepileofscraps theother.Asamaker,thiswasmade aboutmentalhealthandtherepairfrom damageandhowthereisalwaysmore toheal.

Eachpieceofscrapfabricwasfree embroideredtothenext,randomly pickedandsewnatthemachine.Itwas asmuchabouttheprocessastheend piece.’

YouthoughtIhaditall sewnup,2022 NHSscrubremnant fabric,thread

DeadtoMe 2018

Shrunkjumper,thread, dripstand,bead.

‘Thetextonreversereads:

‘Myhusbandputthisjumperinthewrong washitshrank,nousetoanyone.Ireally likeditbutasacomfyjumperitisdeadto memuchlikemygirliepiecesthatcontinue tofailandburdenme.Inowpreparetosay farewelltowhathasmademefemalethey havecausedthemostpainbuthave producedthemostjoy1972-2018’.

Thispiecewasarequiemtomywomb, afteranoperation.BeforethesurgeryI wonderedifitwouldmakemefeelless ofawoman,itdidn’t.Thepiecestarted offaboutmypainandendometriosisand infertilitybutendedupinbeingsomuch more.Thedripstandissettomy height.’

CLAREPALMER

Myworkexploresthecontradictionbetweenthe veneersoforderandcontrolweshowtotheworld; andtheprivaterealitiesthatliehiddenbeneaththe surface.

Consequently,myworksisoftendisjunctivein nature­ajuxtapositionbetweenclean,curvedforms andrawness/brokennessevidentinpiecessuch asTheDepths.Conversely-giventhepersonal natureofmyinspiration­otherworksexploreless overtlyopposingforces,ascanbeseeninUnease.

Unease(left)

Ceramic

TheDepths

Ceramic

NATALIECRONIN

‘Vocabularyisaboutthelanguageofthe naturalworld.Settinginwhiteformthe curvesandtwistsofplantsandbugs againstthehardstraightboxeswhichwe categoriseandmakesenseoftheworld aroundus.Thereisaprofoundaesthetic disconnectbetweenthetwo,andyetthe oppositesbringoutthevalueineach.’

(Dis)equilibrium

GicléePrintsonCansonBarytaarchivalfineartpaper, diasecandaluminiummounted Editionof5(plus1xAP)

81x56cm

JULIEDERBYSHIRE

‘Myworkexploresthemesoffragilityand transiencethroughaphysicalandvisual engagementwithobjectsandmaterials.

Iusetheconstructedphotographasthefinal distillationofacreativeprocessthat encompassesactsofmaking,manipulationand disruption.

Oftensmallscaleandofatemporarynature,the worksaremademorecompellingthroughthe mediumofphotography;transientmomentsof precariousnessandsuspensearecaptured withintheframe.

Myworkisdefinedbyacombinationofbeauty anddisquiet,invitingtheviewertoreflectand toquestionwhatliesbeyondtheimage.

Thesmall-scalesculpturesin(Dis)equilibrium alludetofragility,lackofbalanceandthe inequalityofforces.’

LISAPFEFFIFER

‘DreamingofFlowers

Wearenotawake.

Holdingontonight

perfectlife.

Painfulwakingworld

Flowerswilldie.

Refugeintodreams

Openeyes.’

Paintingandcollageontextile backing,2022

12x16inches(detail)

14x18inches

Paintingandcollageontextile backing,2022

LAWRENCEARTITZONE

‘Thiscollectionofworksisaninterpretation ofthedistortionanddisjunctionofdreams. Aswerememberandpiecetogetherour dreams,theessenceorthemecanberetold, butoften,weforgetquicklyorentirely.

Myworkexploresthejourneyofthesefast butpowerfulflashesofstorytellingtoldin thesubconscious.

Istartbycreatingquickandnaivesketches, drawingsandpaintingsofboldstructural forms.Ithenusetheseasthedesignsfor thenextstageinmywork,tobringthemto lifeas3Dstructures.’

PossessionsofaDream Ceramicobjectsanddrawings,multiplesizes.

DARSHANAVORA

‘Thelongdrawing,reminiscentof Chinesehandscrollstoexpressthe landscape,haslinesbeginningand endingpromptedbymovementand flow.Aninvitationtotheeyesto interpretandengagewiththeforms, theworkisneverstaticandnever thesame.Thedrawingislikethe experienceofwalking,where vantagepointsshift.Thiswork,done onwallpaperliningpaperisanything butprecious.’

‘Wind1’isadigitalsound piececomposedoftexts narratingpassagesof notionsofHeaveninthe Bible,KoranandBhagvad Gita.Byusingthesound cadancesofspokentexts, theaccidentalmusic subliminallyinfluencesthe listener.’

‘Thegreenmountainsareforeverwalking’

2022 Watercolouronliningpaper 56cmx300cm

HARRIETHOULT

‘Mypiecescanbeseenasmeditationson ourrelationshipwithlife,drawinginfluence fromboththeinnerandouterlandscape.

Exploringthemessuchashome,boundaries -bothphysicalandpsychological,asenseof belonging,freedomandbeauty,mywork aimstotakeusbeyondtheintellectual processtoanunderlyingvisceralexperience.

Myprocessisintuitiveandthepaintingsare createdinaninstinctiveway,evolvingon thepapermarkbymark.’

PARTICIPATINGARTISTS

AMELIALANCASTER

www.amelialancaster.com/ www.instagram.com/lancaster.amelia/

JONREES

www.iamjonrees.com/ www.instagram.com/iamjonrees/

KATELOWE

www.kateloweartist.co.uk/ www.instagram.com/Kateloweart/

ALEXAHARRIS

www.alexaharris.art/ www.instagram.com/alexaharrisart/

TINACRAWFORD

www.tinacrawford.co.uk/ www.instagram.com/tinacrawfordartist/

CLAREPALMER

www.clarepalmerceramics.com/gallery @clarepalmerceramics

NATALIECRONIN

www.nataliecronin.co.uk/ www.instagram.com/nataliecroninartist/

JULIEDERBYSHIRE

www.juliederbyshire.com @juliederbyshire

LISAJPFEIFFER www.lisajpfeiffer.com/ @lisajpfeiffer

DARSHANAVORA darshanavora.portfoliobox.net/

LAWRENCEARTITZONE

@artitzone

HARRIETHOULT

www.harriethoult.com/ @harriethoult

Exhibitionview1

L-R

TinaCrawford,KateLowe,AmeliaLancaster,JonRees,AlexaHarris,JonRees,AmeliaLancaster

TinaCrawford,KateLowe,AmeliaLancaster,JonRees,AlexaHarris,JonRees,AmeliaLancaster

Exhibitionview2

L-R,foreground

DarshanaVora,NatalieCronin,ClarePalmer,LisaPfeiffer,HarrietHoult

Exhibitioncatalogue

MPBirlaMillenniumArtGallery

TheBhavan,London

April22-May5,2022

t:02073813086

BharatiyaVidyaBhavanLtd

RegisteredCharityNo.312879

CompanyRegistrationNo.1090630