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Residency Artists

Emma Gregory, Esmé Clutterbuck, Henny Burnett

Henny Burnett‘s work reflects a fascination with both museums and the personal memorabilia we all gather, asking the audience to examine how we view such artefacts today. She works in a range of media that include casting, installation, collage, assemblage, photograms, light-boxes, projections and sound. Her work explores impermanence and memory; is rooted in the fabric of the home, yet presented in an historical context.

Henny has been awarded numerous grants, commissions and residencies, recent examples: Animating the Archives funded by Heritage lottery; National Memory – Local Stories lead by The National Portrait Gallery, London; Cicatrixin Montreal funded by ACE and British Council.

Axisweb and Instagram 

Esmé Clutterbuck makes work which explores the physicality of life through drawings and prints based on hair – a subject with qualities at once human and ‘other’. She currently uses her photographs as grounds on which to draw and enjoys trying to get the two elements, digital image and handmade marks, to coexist and together make something new. Esmé has exhibited nationally and internationally and shown in numerous open exhibitions including the Royal Academy Summer Exhibition. She has work in public and private collections; is a member of BV Studios and a sometime member of Spike Print Studios, Bristol.

www.esmeclutterbuck.co.uk and Instagram

Emma Gregory enjoys using her hands. Her engagement with materials and process is playful and direct. She employs a range of media:  drawing, print, assemblage, installation, text and sculpture to explore concepts of ‘family’ in relation to time. The resulting work has been described as ‘a bold, tender and honest account of mothering’.

Emma exhibits nationally and internationally, benefitting from long-term collaborations with print studios in Alkmaar and Köln.

In relation to education, Emma has contributed to the gallery-based learning programmes of the Royal Festival Hall, the Hayward, the Whitechapel in London, and the Bluecoat in Liverpool. She is a visiting lecturer at universities and teaches at Bath College and Spike Print Studios in Bristol. Finally, Emma is a member of Spike Print Studios and A_N.

 www.emmagregory.co.uk and Instagram

From Emma Gregory:  Esmé, Henny and I began working together in September 2019, members of a group who met for practical sessions to explore drawing. We were travelling to Drawing Projects UK in Trowbridge. Days of shared activity built a level of trust which allowed for great conversations in the car there and back. We thought we’d like to put time aside to look at the relationships between our own practices – a short burst of creative collaboration and play.

I also had my own agenda. I am at my happiest playing with ideas, throwing out rapid makes without judging or reflecting too much on what I’ve done. Conversely, I’ve spent comparatively little time considering how to resolve or present pieces for an audience. This is an obvious area of strength for Henny and I wanted to learn from her.

Esmé’s work is sometimes representational and sometimes not. It is telling a story but indirectly. I’m trying for a less direct approach to narrative myself and wanted to understand how unconscious or conscious her approach to the subject was.

From Esmé Clutterbuck:  I realise, looking back, that I had no idea what to expect and very few preconceived ideas – which was good.

People think in different ways. Our working processes took different forms. Some work was brought in as a starting point; some pieces were made together and others in response to another’s work or an instruction.

Emma:  There were common threads: the domestic; nourishing others; loss from the perspective of a mother; that kind of thing.

Esmé:  Drawing, making, placing. Chance and happenstance.

Original ideas around nurture and feeding were developed and modified.

Playfulness is liberating but ideally one needs other people to play with. Processes that are often more private became shared.

Calm, bright professional space.

Perhaps the spirit of generosity which is manifest ‘at the Garage’ infused itself into our time there.

We learnt not to be critical but playful.

Our working processes took different forms. We were not always all there at the same time; sometimes it was a question of bringing pieces into the space and leaving them for the others to react to or not. Sometimes we all three met together and sometimes in different groupings.

From Henny Burnett:  It’s surprisingly liberating to be able to play in another artist’s presence. I’ve only recently had the confidence to collaborate truly and reveal my thinking and making processes. It’s not something I could have done a few years ago and it was only possible because we’d already worked together on the drawing project.

The Garage also proved a versatile space: allowing for play and a formal presentation. It was also important that The Garage was a neutral space, not one of our own studios.

Esmé:  I feel I have been refreshed. Gave us the chance to stand back, figuratively and literally. It’s been a hugely enjoyable and creative time.

Emma:  The true value of this residency was in its timing. No-one could have known how important ‘close contact’ would become, or sharing or collaboration. These are all aspects of my practice which I was investing in and actively developing prior to lockdown. Covid-19 wiped this out and forced me back into the role of full time carer. For the last month The Garage has been where people reflect and confirm my identity as an artist. In terms of hanging on to my sense of self through a very difficult period it has been critical. It has felt like a gift.

I’ve never had a studio outside the home. I see how important it is now. Lifting the work out of a domestic setting changes its meaning. The stuff I made during the residency was stuff I couldn’t have made at home: I had the empty space, both real and in my head, to ‘see’ new outcomes.

Henny:  I’d like to get all of this into a different space and show it. I think we’d see it all differently again.

I received a lot of good and constructive feedback about the cast pieces. I’ve got lots of ideas about how to present them in next year’s exhibition.

This opportunity was invaluable – particularly coming so soon after the March to August lockdown. It felt like a key transitional moment. All practices need time and space to regenerate so they can move forward and the three of us were granted this through the generosity of the artist/owner Helen Acklam.

 

 

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Residency Artists

Karolina Ptaszkowska

Karolina lives and works in Bristol, but was born in Nowy Sacz (Poland). She gained her MA from The Academy of Fine Arts in Warsaw in 2010 and in recent years, she was enrolled on the Turps Art School Correspondence Course.

Karolina works across painting and installation and articulates poetic, inter-subjective dialogues. It results from myriad sources: psychoanalysis, linguistics, the mundane as well as art history and pop culture.

Karolina’s works mirror painterly sensitivity defined by vitality, drama and sign-tracing. She highlights the physicality and psychology of the painterly gesture. She asks a question if the image has a body, and if yes – is it a social, a physical or a psychological one. Ptaszkowska addresses these aspects in various layers of her practice.

Website: http://www.karolinaptaszkowska.com

I spent three months working at the Garage towards my (postponed) solo show with a gallery based in Warsaw (Pl). Time at the residency aligned with the national lockdown, and the cycling to the Garage became my window on the world.

I have a home-based-studio and work in isolation, therefore I appreciated regular friendly chats with the host (first month only through the window glass), as well as other studio visits, that initiated longer discussions about methods, and ideas behind the art; and led to new social connections.

I was able to comfortably immerse myself in the work, experimenting with a scale, different structures and textiles for my paintings, as well as non-linear narratives. Being able to focus on a few pieces at the same time, as well as a prolonged time-frame for my thought and material processes resulted in a more consistent approach to the overall picture for my art and future possibilities.

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Residency Artists

Victoria Coombes + Anton

Victoria Coombes + Anton

www.victoriacoombes.com

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Residency Artists

Benjamin Risk

TELESCOPE: Benjamin Risk.

Leonardo da Vinci famously advised aspiring young painters to look at stains on a wall; Ben Risk’s magical, confounding paintings depend on this principle, weaving images between marks and stains that appear, in the early stages of painting, on the material he uses – linen, cotton bedsheets and paper…The theoretician and art historian Richard Wollheim called da Vinci’s faith in stained walls the act of ‘seeing in’ – the process of looking at an image and a surface as a twofold but single experience, like seeing forms in clouds. Ben capitalises on this foundation stone of representation in highly personal and lyrical ways, calling to mind artists like Craigie Aitchison, R.B Kitaj and Victor Willing – and of course Henry Tonks, the Slade professor who gave his name to the process of absorbing away Oil paint with paper to create soft and diffuse areas of colour.

Excerpt written by Nigel Cooke for the Telescope Exhibition at the Jerwood Gallery (now Hastings Contemporary) http://benrisk.org

There were no fixed plans upon starting at The Garage for the two month residency, although I had some vague ideas that the mass of accumulated material from my previous studio could somehow come into play. The space itself provided a ‘blank canvas’ in which to give some clarity to previous explorations.  Over a period of about 7 or 8 years I had kept all of the paint rags (tonks), or pieces of cotton which had been used to soak up excess paint from paintings, some were testament to ‘trying things out’ and carried old motifs, marks and remnants from sections of paintings which had either been deemed too solid, or too derivative of artist which had come to occupy my mind.

Much has been said about stains, and staining, in relation to time.  So it felt appropriate to give new life to the ‘paint rags’ by chopping, collaging and working back into the material to see if old marks could be given new life.

The residency proved to be extremely useful in terms of finding a way forward with the work, and testing out ideas without the commercial constraints of making finished work.  Some of the preconceived ideas about what to do during a residency seemed to dissipate. Proving to me that working with instinct, and chance surpasses ‘having an idea’, which usually falls flat when trying to convey and retrieve some form of emotion in the work.

 

 

 

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Residency Artists

Fiona Winning

I’m an artist. I realise my ideas using different media that includes; painting, printmaking, performance, installation, video, public workshops…. I collaborate with other artists on projects, most recently, The Do Nothing Club and Home Residency. I’m also a Creative Coach.

 

What I wanted was an empty space to unscramble my head of thoughts that were undermining my art practise. An idea come to me that seemed to fit my intention….. garage – cars have an annual check to see if they are road worthy. Artist MOT it was…..

I brought some tools and materials to assist the process..

  • A box of coloured pencil crayons
  • A box of empty boxes I’d been collecting. I’d used some in a previous body of work.
  • A box of porcelain figures. I’d made these a few years ago and they appear like film extras in my projects.
  • Paper, a mixture of quality cartridge and sugar paper and newsprint, notelets.
  • Blue masking tape, a stocking trade medium of mine.
  • A tool bag; scissors, stanley knife, pens, felt tips, tape measure, pencil sharpeners, and other assorted things.
  • Packed lunch, tea pot mug and loose herb tea.
  • Camera, tripod, mobile phone and charger cable, yoga mat.

Intention- to be playful, see what happens, follow through, avoid censoring, make notes of the process; audio, photographic, written  ( for me and to share).

My first action was to sharpen my pencils… I experienced joy, excitement, relief, frustration, anger, confusion, being stuck, being open, I cried (head in hands), I laughed, I was playful, I was serious, I had conversations with visitors, I made connections, I worked figuratively, abstractly, metaphorically, conceptually, contemporarily, realistically, imaginatively, I worked hard physically, emotionally, and intellectually.

My last action was to throw a ball of used blue masking tape into the air.

I confirm that I passed the MOT,  with minor repairs, asap – make time to reflect, make  a record of the residency for sharing. Monitor and repair:

  • Do more of…. Following through……. being  playful in approach
  • Do less of….. over thinking….
  • Stop ….being over critical
  • Start …..sharing and engaging with like minds – both artists and others
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Residency Artists

Martyn Cross

photo credit: Irina & Silviu

“My studio practice is primarily painting led but I also work with sculptural forms, interventions and installation. The works usually depict beings in ponderous poses and transcendental states, their personal possessions charged with human characteristics. Taking inspiration from the artwork and artifacts of ancient civilizations, together with signifiers of contemporary living, I try to describe a world that slips between the cracks; something that is equal parts frightening, funny and falling apart.”

The time I spent at the Garage was a pause in my regular studio practice and a chance to pull together some rogue elements that had been knocking around my head for some time. Having the space to spread out and play was a welcome break from the tiny and overcrowded workspace that I normally call home. It was an opportunity to throw some daft shapes and not worry what the outcome was going to be; it felt like I was dancing and nobody was watching.

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