Magazine Quarterly
WHAT’S INSIDE ? Competition
Interview with Dan Llywelyn Hall Artist
Ian Henery - Award winning poet, playwright & Solicitor
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Elaine Mackie Master Degree in Industrial Design
Roberta Feoli Professor, Artist and Printmaker
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Welcome to our first issue of Hidden Talents online quarterly Magazine, by the Arches Project multiaward winners of Central England Prestige Award 2020/21. This magazine is written by artists for artists and galleries, collectors, art lovers and industry, showcasing amazing artists and creatives who are painters, textile designers, photographers, glass artists, printmakers, food and nature who wants the world to see and know about their talents. The purpose of this magazine is to motivate, inform, inspire, and aim to bridge the gap between artists, creatives and paid opportunities within the art industry and will be circulated to gallery owners, art buyers, collectors, general public and companies. Many of our amazing artists are going through their career with no recognition and very few people know about them and that they are available for work, commissions and to exhibit in their galleries, we are hoping that this magazine will help in gaining exposure on a global scale for our artists and creatives and for the art world to know that they are available. We would like for you to support our magazine in submitting your articles to be included and also to sign up for our subscription and in doing so this will enable our magazine to grow and develop further in the UK as well as on a global platform, giving artists and creatives exposure and to gain recognition worldwide. Never let it be said, that to dream is a waste of one’s time, for dreams are our realities in waiting. In dreams, we plant the seeds of our future. Evette Edmeade - Founder
Designed and published by The Arches Project Ltd To Advertise email : enquiries@thearchesprojec.org Editorial: info@thearchesproject.org
Graphic Designer: Gayatri Pasricha Editors: Catrin Jackson Evette Edmeade Front Cover of Dan Llywelyn Hall photograph by Bernard Mitchell 2020 ©
DISCLAIMER Every care has been taken during the production of this magazine in compiling editorial and advertorial. However The Arches Project Ltd cannot accept responsibility for material supplied by third parties and excludes all liability relating to any products and services promoted within this publication or arising from any error, omission or inaccuracy, nor is The Arches Project Ltd responsible for the content of external websites. Finally the views expressed in this magazine are not necessarily the views of the publisher, no part of this magazine must be copied or reproduced without written permission from the publishers. Copyright ©The Arches Project Ltd. All rights reserved.
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2020 Will Go Down In History Jonathan Anthony 2020 will go down in history as one of the most impactful years for generations. I cast my mind back to History lessons at school and being taught about World War 2 and hearing how these events completely changed the landscape of Britain. We must prepare ourselves for things never to go back to normal, we will need to form a ‘new normal’. The creative industries face an uncertain future and financial support doesn’t seem to be forthcoming. It is these industries that provide us with entertainment, joy and for many an avenue for which to release. Thomas Merton famously said of art that; “it enables us to find ourselves and lose ourselves at the same time.” Although the future of these industries are precarious one thing that hasn’t wavered and in fact thrived is our desire to create. In my personal experience ‘adversity breeds innovation’ and this pandemic is proof of this. It is my prediction that over the next year there will be a phenomenal amount of new material being released; music, art, literature in specific. This is an amazing thing and something that should be looked forward to. “Creativity takes courage” most famously said by H.Matisse and it has never been truer. We must encourage individuals to continue to innovate even if it seems hopeless we must continue. Now more than ever it is imperative that we support our creative institutions in whichever ways that we can or risk losing them for good. I am sure that you have seen that theatres are at serious risk of becoming a major casualty of this pandemic, one of the countries institutions could potentially be wiped out. The economics of it all are very important when analysing the real impact of losing our creative industry. It generates well over £100bn a year for the UK economy contributing to our £2.8 tln GDP. However, those figures do not take into account the indirect income generated through the services associated with the industry. We play a huge role within society and we must remain robust. The purpose of this article isn’t to discourage or breed negativity but if we are not realistic about our situation then we cannot deal with the problems that are facing us. As the creatives we must continue to be the beacon of hope for the hopeless and a friend for those that are lonely. It is in these times that our talents are needed the most, we have to stand up and be bold when others are fearful. We need to focus on the future and how can we can protect an industry that is integral for our economy but importantly our state of mind. Can you imagine an environment without the arts…..
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Hidden Talents: Lucy Grubb My name is Lucy Grubbs. I am currently an undergraduate student on the Fine Art course at Coventry University, thinking through my work as a position; a peg practise: I am a Peg A Peg is something which is used to hang, hold and bond things together. A Peg is something that connects people, relates, bonds views and opinions, even those that might set us apart. A Peg holds, positions, fixes, reveals, supports, exposes and binds Thinking and acting as a peg A Peg practice. My work flirts with (com)position(s) and utopian desires. It resides in the interest of painting as a way of thinking about the re-modification and impermanence to what an object / structure could be or want to be. ‘References change the body of an object, references can be inserted or removed, but the object still remains.’ The associations onto these ‘genuinely real objects’ (Tarabukin) can change with the remodification of our own desires or those which have come to bear on us. When the studios in the Graham Sutherland Building shut in March, I wanted to be angry, but I knew could not. I did not want the anger and the disappointment of cancelled art shows to be the tension which made my work have an edge. At home, I had to navigate a new way of being, a re-modification of the work I had been making before. I was resisting the new aesthetic that I was creating for a while. I was dreaming about being back in the studios with my lights from B&Q and the stones, which when the studios closed, were still drying from the gloss I painted over them moments before. I found myself diving into the profound and intriguing works of Agnes Martin and Ian Kiaer most days, but it was the shadows from the sunset that peered in onto my bedroom window from my wonky blinds at 20.28pm, that always managed to capture my heart. I became quite fond of these shadows. They were there and then gone – my work had been about ‘real objects’, but the shadows, the ones which are greatly unaware of their passionate beauty, their universe, showed the impermanence of it all. Now I find poetics in more vulnerable materials. When I think back to those opaque and difficult gloss stones, the ones I left in the studios, I see a fragmented spirit that needed to feel a softness. Sometimes, I can’t help but feel thankful for the moments which lockdown has given me. I know that if the studios were still open, I would be out until an unholy hour, and then I would have never of seen that sunset that peered into my bedroom window at 20:28pm.
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