An ‘in’ with a stranger starting a creative conversation
Front Cover: Catrin Andersson; Joanne Mitchell; Zoe Preece; Tim Shaw
An ‘in’ with a stranger starting a creative conversation curated by Aidan Moesby
A Llantarnam Grange Arts Centre Exhibition 2016
An in with a stranger… Starting a Creative Conversation Aidan Moesby has curated this exhibition
only the world around us but the way we
“An in with a stranger…” with the aim
look at and respond to art that reflects
of starting a creative conversation that
it. Curators are there to bring ideas and
explores the idea of weather as metaphor
objects together to act in as the signposts
for the human condition.
and way markers to assist us in the finding of solutions. The curator is looking for
“An in with a stranger…” has for Aidan been
answers to help us unlock the questions
a creative journey, he has moved from being
that are central to our very existence and
artist to curator. This in itself has meant a
the way we perceive the world around us.
change in the way he has had to pose the way creative questions are asked and how
The artist as creator sets out on a journey
he finds the solutions to answer them.
to find specific creative solutions to a unique set of questions while a curator can
I feel the role of the curator is to advance
find those same art works may also solve
the visual vocabulary of the viewer,
other questions not initially considered
broadening the way we perceive not
by the creative artist. The curator is not
about finding artists and makers with the
same questions as Aidan through their
same view but more about being able to
work. He has seen connections, links
provide us as viewers with a new way of
and similarities that are unknown to the
looking at the fundamental questions.
creators. It is only through Aidan’s curation that this very disparate group are brought
Aidan is exploring how weather as a meta-
together. We can then start to see their
phor can be used to explore deeper ideas.
work in a different way, making our own inner connections, drawing upon our own
“metaphor is a figure of speech that
personal visual and cultural vocabulary
identifies something as being the same as
to experience the world around us in
some unrelated thing for rhetorical effect,
a different way. Through his exhibition
thus highlighting the similarities between
“An in with a stranger….” Aidan provides
the two”
us with a new perspective on how we perceive the notion of weather.
None of the artists selected for this exhibition have set out to answer the
Hywel Pontin, Director Llantarnam Grange Arts Centre
Catrin Andersson; Joanne Mitchell; Zoe Preece; Tim Shaw
Weather as Metaphor In Scandinavia there is a phrase ‘There’s
the way people interact in anonymous
no such thing as bad weather, only bad
public situations means people don’t just
clothes’. In Germany in the 1960’s
a
strike up conversations with strangers
Deutsche Bahn railway poster depicted
in the way they once did, particularly in
a train ploughing through the snow with
dense urban environments - where often
the phrase ‘alle reden vom wetter, wir
the screen is used to avoid contact, to
nicht’, alluding to the fact that nothing,
separate ourselves from ‘social toxicity’.
not even the weather, stops DB so there is no need to talk about it.
In my approach to curating ‘Weather as Metaphor’ I am attempting to engage
We love it seems, to talk about the weather.
the same practices, approach and milieu
It is a social “in” with strangers, or it was
that I employ with my practice as an artist
until recently when the dynamics of social
- multi-disciplinary, conversational and
interactions changed with the increasing
socially engaged. What is of concern here
prevalence of ‘life mediated through
is weather as metaphor. How the internal
the screen’. This significant change to
state, the human condition, can be
Zoe Preece; Catrin Andersson; Joanne Mitchell; Tim Shaw
represented by language associated with
context. The politics and discourse around
weather and then re-presented through
Disability Arts and Disability Curation are
metaphor using art as a medium.
complex. To summarise this complexity however, there is a lack of representation
Exhibitions about weather have tended
of artists and curators with disabilities
to focus upon actual physical weather,
within the art world and they are often
climate change or exploring mans
viewed through a perjorative filter. This
relationship with his environment. Very
has the result of creating
few exhibitions explore the weather as
deficit of quality when the term Disability
a psychological metaphor. The weather
prefixes or suffixes anything within the art
does not exist in isolation and nor we do
world.
an implied
we. It is of us and we are of it. The simple sophistication of the work This exhibition “An ‘in’ with a stranger
allows it to be read in many ways. Some
– starting a creative conversation”, has
works may apparently reference the
been curated within a ‘Disability Arts’
notion that disabled people are broken,
Joanne Mitchell – Legion, kiln-formed glass, air entrapment 2015
imperfect versions of a perfect, or whole
within Preece’s ceramics - each touches
self. Whereas in reality there is no such
upon a different sensory metaphor of
reference and nor is it made by a disabled
our experience of internal and external
artist.
weather.
Within “An ‘in’ with a stranger…” the media
Mitchell’s
and scale within each of the artist’s work is
expansive yet claustrophobic. There is
both broad and varied. What at first glance
nothing conceited or ostentatious here.
may seem a disparate selection actually
Whilst “Deconstructed Being” may deal
forms a cohesive whole within the design
with the fragmentation of the physical
of the exhibition. From Shaws’ collation
and psychological self, “Legion” explores
of digital weather data into evocative
the collective, the need for communion
analogue immersive sound streams, to the
and conversation yet ultimately addresses
glass encased voids of Mitchell and from
the overwhelming sense of alienation in
the large scale ‘environmental drawings’
the modern day.
of Andersson to the palpable tensions
works
are
simultaneously
Tim Shaw – Gust, mixed media 2016
engagement;
is pervasive, not only do we hear it but
they invite, then demand the viewer
we feel it too. It is evocative, palpable
to contemplate and reflect. They are
and Shaw’s sound works mirror this, in a
conversation pieces in all contexts of the
manner which is so much more than mere
phrase.
reflection. Playing with a musical/aural
These
works
demand
language he creates works which develop Glass, even the material itself is a metaphor
their own language and metaphors as
for the human condition, always fluid in a
they ebb and flow into the gallery.
state of flux and capable of being moulded and shaped. Depending on the external
Shaw doesn’t work in a derivative
and internal stresses it is both ductile and
reductive manner with sound. He is much
brittle, robust and fragile. Very much like
more responsive as he mediates created
the psychological self.
or collected sound between source and audience.
Much of Shaw’s work occurs in, or is founded in, the public space. Weather
At times it is difficult to know whether
Catrin Andersson – Fall of Water, rust and charcoal on drawing paper 2015
Andersson is directly responsible for
tension here exists between that quiet
the mark making or the director of the
presence and the geologic, the universal.
physical processes of nature that exert their influences and presence within her
Zoe Preece, Presented as an everyday
work. However she does not play safe,
object in different forms, transforms
there is inherent risk within her practice,
ceramics from the Arts and Craft to the
it is created at the intersection of ‘too little
domestic.
- too much’: between the work not being
together these worlds in her exquisite
created and it being destroyed.
work.
Preece manages to bring
Suggestive
of
the
idealised
homeliness of the kitchen and family, This is the pivotal metaphor within the
she injects an air of the sinister into these
work. We can always push forward but
otherwise nurturing motifs. The work is
we can never go back. Andersson always
redolent of the pastoral, yet visually the
brings us back to being ‘Mindful’ – thinking
tension, constraints and the pushing of
about the now, the individual moments
limits is palpable.
and the fragility of where we are. The
Zoe Preece – No Tangible Object 1, porcelain, wood 2015
Preece, as do all the artists, encompasses
The works selected and brought together
the context of the exhibition, the social,
in “An ‘in with a stranger…”are neither
physical, environmental, political and the
obviously about the weather or the human
psychological.
condition. Nor are they ‘about’ disability. They are about all these things. The covert
At first view none of the work in this
or ‘consciously unconscious’ drive here is
exhibition is instantly suggestive of
about starting a conversation, illustrating
weather as metaphor, yet and importantly
the connectedness and impact on mental
each piece selected has the power to
wellbeing this can have.
initiate reflection, contemplation and start a conversation. They are not huge
My aim is for these works to act as a catalyst,
spectaculars but rooted firmly in their own
to get people talking again, and once the
traditions, nor are they the candy-floss or
exhibition is over to leave a legacy of a
the ‘low-cal’ simulacra so prevalent in the
‘space’ where that conversation can
instant gratification frenzy of much of
continue.
contemporary low brow culture.
Aidan Moesby
An ‘in’ with a stranger - starting a creative conversation Curator
Aidan
Moesby
begins
a
conversation exploring the notion of weather as a metaphor for the human condition. Aidan has brought together an International selection of artists whose work resonates with his vision. Featuring Catrin Andersson; Joanne Mitchell; Zoe Preece and Tim Shaw This exhibition is a Tu Fewn project and presented as part of LGAC’s “Maker to Curator” series.
Catrin Andersson; Joanne Mitchell; Zoe Preece; Tim Shaw
Aidan Moesby, curator Aidan Moesby is an artist curator based in
or context specific works he creates/
Newcastle. His work explores the worlds we
curates. Moesby works increasingly at the
create and the roles we play within them.
intersection of Art, Technology and Well-
He is concerned with the relationships we
being.
have to the environments we inhabit and the space we occupy – the stories which unfold and the memories which are left there. With a psycho-social research based approach, his practice is underpinned by conversation – real, imagined or virtual – which maybe experienced personally as a participant or observed. Language and metaphor is fundamental to the manner in which he sees the world, informing his approach to the site and/
Catrin Andersson – Between There and Now, night black charcoal on drawing paper, rust 2015
Catrin Andersson Catrin Andersson is a researcher, a
your feelings.
documenter and an excavator of the shifting Swedish landscape, using drawing, photography and sculpture to express her vision. Catrin uses the outdoors as a mechanism and metaphor to explore her inner world. For Catrin, the main elements of being an artist are to believe in yourself, follow your intuition and listening to your feelings to create a piece of art. “We all have within us a creative force and an artist within.� But for Catrin it’s about daring to take that first step to believe in your-self, for her the strongest power of art is that you listen to
For Catrin Andersson art is everywhere.
Joanne Mitchell – Legion, kiln-formed glass, air entrapment 2015
Joanne Mitchell Joanne Mitchell’s recent sculptural work
based PhD at The University of Sunderland.
examines how immaterial elements can
Joanne’s
be exposed or preserved through glass,
pioneering kiln forming techniques to
exploring the concept of making visible
create forms and images trapped as air
the intangible, using air as a metaphor for
bubbles, suspended within a glass space.
thought, memory and absence. Her work has been presented in galleries across the UK and in exhibitions in Europe and America, and featured in several publications on British Glass. Joanne has designed for Edinburgh Crystal, and been resident artist at the National Glass Centre, Sunderland. Joanne recently completed her practice-
research
has
developed
Zoe Preece – No Tangible Object 1, porcelain, wood 2015
Zoe Preece For Zoe Preece the condition of being
the viewer through the repeated image
in-between states is central to her current
of spoon.
working practice. Uncertain and transient, it is a condition that exists at the heart of human being. The meniscus on a spoon filled to the point of tipping: this visual detail has been the point of return for her more recent works. The bulging liquid at the very limits of its container and beyond, describes a moment of extended pressure, of pent up potential. The ubiquitous image of spoon becomes a reference point towards connected narratives in the mind of the viewer. A thought, an idea is offered to
Tim Shaw – Gust, mixed media 2016
Tim Shaw Tim Shaw works internationally as a
work in various international venues
professional performer, sound designer
including Café OTO, NIME, CHI, NK Projekt,
and artist. His practice incorporates
ZDB, CTM and FACT Liverpool. He is
diverse approaches to sound capture and
currently studying a PhD in Digital Media
processing, and includes creating site
at Culture Lab at Newcastle University.
responsive sonic artwork. Shaw’s work explores the materiality of sound, working with
electro-acoustic
technologies,
sound synthesis and digitally driven techniques,
he
creates
installations,
musical instruments and performances. Collaboration plays a central role in his approach, he has been lucky enough to make artistic work with many people including Chris Watson, John Bowers and Sébastien Piquemal. Tim has presented
Catrin Andersson; Joanne Mitchell; Zoe Preece; Tim Shaw
Tu Fewn: Tu Fewn is an exciting development
The aims of Tu Fewn are to increase the
opportunity for arts organisations in
number of Disabled visual artists :
Wales to commission new high quality work by Disabled visual artists from across the UK and Internationally. The three participating Galleries in Wales are Llantarnam Grange Arts Centre, G39 and Ffotogallery.
• Exhibiting in mainstream galleries in Wales • Developing
Curatorial
skills
with
Mainstream galleries in Wales • Working with Arts Organisations in Wales
Tu Fewn was commissioned by DASH
• To change working practices of galleries
Disability Arts Shropshire Working in
and arts organisations through a practical
partnership with Disability Arts Cymru
partnership and network
with funding from Arts Council Wales.
• To increase the number of Disabled people as an arts audience
‘An in with a stranger’ A Llantarnam Grange Arts Centre Exhibition. Design: Hillview Design Published by Llantarnam Grange Arts Centre. Text LGAC 2014 Llantarnam Grange Arts Centre St.David’s Road Cwmbran Torfaen NP441PD T: +44(0)1633 483321 E: info@lgac.org.uk W: www.lgac.org.uk Llantarnam Grange Arts Centre is part of the Arts Council of Wales portfolio of Revenue Funded Organisations. Registered Charity no: 1006933 Company Limited by Guarantee no: 2616241 Llantarnam Grange Arts Centre is funded by the Arts Council of Wales, Torfaen County Borough Council and Monmouthshire County Council. This publication may not be reproduced in whole or in part in any form without written permission from the publisher.
Picture credits: Catrin Andersson: All images courtesy of ELASTIC Gallery, Stockholm and the artist. Joanne Mitchell: All Images C. Rennie Zoe Preece: All Images Chris Stock except page 13 Toril Brancher Tim Shaw: All images the Artist