My exhibitions, residencies and events
AR7007
I feel extremely grateful that I have had so many opportunities - residencies, exhibitions and events - during this module. I recognise how the physical arranging of work and making in a real space, with real people, activates something in me and has inspired me beyond anything I could imagine, especially after so many months of isolation. It makes me think again of the way that artist Nathaniel Stern describes embodiment as ‘moving-thinking-feeling’ (Stern, 2013, p2). Like him,
'(c)entral to my work are the feedback loops between sensation, experience, movement, and understanding. What do we sense, and how does that make sense? Where do we move, and when are we moved? What do we value, and how does that change our values? Materiality and embodiment, affect and perception, transformation and time. I want to foster greater dialogue around these complex and relational ecologies' (Stern, no date).
Stern, N. (2013) Interactive art and embodiment: the implicit body as performance Canterbury: Gylphi Ltd
Stern, N. (no date) Artist statement Available at: https://nathanielstern.com/artist-statement/ (Accessed: 17 November 2020)
'(c)entral to my work are the feedback loops between sensation, experience, movement, and understanding. What do we sense, and how does that make sense? Where do we move, and when are we moved? What do we value, and how does that change our values? Materiality and embodiment, affect and perception, transformation and time. I want to foster greater dialogue around these complex and relational ecologies' (Stern, no date).
Stern, N. (2013) Interactive art and embodiment: the implicit body as performance Canterbury: Gylphi Ltd
Stern, N. (no date) Artist statement Available at: https://nathanielstern.com/artist-statement/ (Accessed: 17 November 2020)
Social Knitwork,
at The Art Cohort , plus a series of outdoor participatory installations in Bath, 1.5.21-7.6.21 |
MF7004
I have exhibited just once during this module:
Lou Baker, Parts of me, detail, installed at the MA Degree Show, Bath Spa Uni, 19.9- 22.9.20
3.1.21
I've just reread what I've written for MF7003 about cancelled exhibitions and opportunities and I echo what I've said there for MF7004. I really miss exhibiting and I'm so grateful to have had the opportunity to show my work at the MA Degree Show in September and to actually be able to have a very few visitors to the exhibition at the last minute. Exhibiting online is totally different and I don't think my work is seen at its full advantage via a screen. It has such presence; its physicality and materiality are critical to gaining the full experience. I made the decision early on not to apply for online exhibitions, but I am conscious that the legacy of the restrictions of the pandemic will almost certainly affect the way art is viewed in the future. Already I know that the ideas I have as to what I might research and develop for my final Master's project are more suited to being viewed via a screen. I am very keen though to maintain the authenticity of my work, in terms of material and process, touch and presence. We'll see. What will my future self think when she looks back and reads this at the end of the MA? What will the world be like 9 months from now?
Hopefully, between now and then I will have a couple of opportunities to exhibit. I have written a proposal with Tim Heath and Sarah Kniveton to set up a show at the Michael Pennie Gallery at Locksbrook in March 2021, potentially. We're still waiting to hear about that though. Also, I'm hoping to be part of a show at 44AD Gallery in Bath with some of the current MA Fine Art cohort in July. It will be good to exhibit again!
I've just reread what I've written for MF7003 about cancelled exhibitions and opportunities and I echo what I've said there for MF7004. I really miss exhibiting and I'm so grateful to have had the opportunity to show my work at the MA Degree Show in September and to actually be able to have a very few visitors to the exhibition at the last minute. Exhibiting online is totally different and I don't think my work is seen at its full advantage via a screen. It has such presence; its physicality and materiality are critical to gaining the full experience. I made the decision early on not to apply for online exhibitions, but I am conscious that the legacy of the restrictions of the pandemic will almost certainly affect the way art is viewed in the future. Already I know that the ideas I have as to what I might research and develop for my final Master's project are more suited to being viewed via a screen. I am very keen though to maintain the authenticity of my work, in terms of material and process, touch and presence. We'll see. What will my future self think when she looks back and reads this at the end of the MA? What will the world be like 9 months from now?
Hopefully, between now and then I will have a couple of opportunities to exhibit. I have written a proposal with Tim Heath and Sarah Kniveton to set up a show at the Michael Pennie Gallery at Locksbrook in March 2021, potentially. We're still waiting to hear about that though. Also, I'm hoping to be part of a show at 44AD Gallery in Bath with some of the current MA Fine Art cohort in July. It will be good to exhibit again!
MF7003
10.9.20 Sadly, due to the pandemic, almost all my planned exhibitions and events were cancelled during this module. The only one that actually, eventually, opened was 'Incendiary'. I really miss the motivation, research possibilities, feedback and general buzz of exhibiting. I've absolutely loved setting up my installation for assessment and it has reminded me how much I miss it. I hope that we will be able to open the MA show, at least with restricted numbers, but somehow I doubt it, as the numbers of Covid case are increasing.
For me, an online exhibition is not the same. My work is powerful as a screen based set of images, I think, but there is definitely something about its physicality and materiality that is lost on a screen. The nuance of surface, the almost impossible urge to touch, especially the knitted surfaces, the detail of the cast feet, gesture of the welding and the physical presence are all very hard to capture via a flat, smooth plastic rectangle.
I'm especially disappointed that having been selected with a group proposal for a Centre of Gravity residency at Gardiner Haskins in October and November, we were then rejected. I'm really hoping that the MA cohort can pull together a physical show somewhere, if we can't open at Locksbrook.
For me, an online exhibition is not the same. My work is powerful as a screen based set of images, I think, but there is definitely something about its physicality and materiality that is lost on a screen. The nuance of surface, the almost impossible urge to touch, especially the knitted surfaces, the detail of the cast feet, gesture of the welding and the physical presence are all very hard to capture via a flat, smooth plastic rectangle.
I'm especially disappointed that having been selected with a group proposal for a Centre of Gravity residency at Gardiner Haskins in October and November, we were then rejected. I'm really hoping that the MA cohort can pull together a physical show somewhere, if we can't open at Locksbrook.
MF7002
Incendiary 2
Pound arts, Corsham, Wiltshire 18th March - 18th April 2020, set up in March but cancelled due to Covid-19, finally open for 6 weeks in July and August |
MF7001
Lou Baker, 2018, The whole is greater than the sum of the parts
|
Scott Sandford and Lou Baker, 2019, IN.BRS.2019.39,
installed at B-Wing |