/ / / Ric Warren / / /

UNREST, Intermedia Gallery (CCA)

2011-10-21T00:59:00.000+01:00

Works exhibited as part of UNREST, a group show with Ric Warren, Caroline Gallacher & Keith Allan. Intermedia Gallery (CCA), Glasgow:

Ric Warren
Untitled (Protest Posters), 2011
Whose Fucking Park? Our Fucking Park! (Fence: Breached), 2011.
Installation Views (timber, paint, plastic bag, paper)

Whose Fucking Park? Our Fucking Park! (Fence: Breached), 2011. -detail
Whose Fucking Park? Our Fucking Park! (Fence: Breached), 2011. -detail
Untitled (Protest Posters), 2011

Photo Credits: Michael Clarence

New Prints

2011-08-04T17:56:00.003+01:00

Mobile Museum

2011-08-04T17:44:00.008+01:00

Print produced for Mobile Museum, responding to the theme 'Friday', the print uses a photograph taken on a Friday during riots in Cairo.

Untitled, 2011

characters in search of an exit

2011-08-04T17:19:00.005+01:00

'characters in search of an exit' group exhibition with Mircea Cantor, Beatrice Gibson, Mauricio Guillén and Amalia Pica curated by Nicola Celia Wright at MOT International, London.

image credits, MOT International
www.motinternational.org

extract from exhibition text, by Nicola Celia Wright

"characters in search of an exit sees topologies of division articulated through the organising forms and devices of language. Populated by interruptions and iterations, the works are discursive of strategies with which to navigate spaces of separation. Experiencing space as syntax, the artist is frequently apparent as translator or editor. There is a sense of incompleteness given over to the exhibition through its works (a poster for a film not yet made, a scene’s script extracted from a film, a single second of video in unremitting repetition) which are sited at a point of transposition or becoming. characters in search of an exit contends to make visible, through their varied exhibitional forms, the different surfaces of the works’ disruptions, transmissions and interactions within spaces and to bring these into dialogue through shifting sets of associations....
...Ric Warren works to expose political, cultural and physical boundaries within public space. Drawing on the man-made materials which contrive our traversal of the cityscape, Warren’s structures affect to conceal, edit, or corral. Echoing the constant transitions and adjustments of the city, his works distort functionality by exploiting formal traditions of architecture to annex space rather than create it. In City Wall: Constant Shifts (Batons 1-12) (2011), the installation becomes an act of co-option within the exhibition space – a form of architecture that is built to occupy, not to be occupied. The work’s modularity allows it to be expanded or redacted dependent of the given space and permits potential privatization, seizure, and internment, as both reactive installation and autonomous sculpture. The forward slash symbol, carried through in Enclave (2011), further becomes a typographic and grammatical tool with which to reference pacings and divisions in both public space and that of the gallery....
...In a networked, mobile society location has long been liberated from geography as our forms of communication and ways of narrating spaces have similarly quickened in pace, collapsing geographies and distances. Spaces become both accelerated and condensed. Through their various cuts, disruptions, interrupted and uncertain transmissions, conceivably the works in characters in search of an exit examine this acceleration and suggest the need for an interlude, or perhaps, an exit."

Borders, Boundaries & Barricades: Redeveloping Geographies of Division

2011-05-05T13:09:00.005+01:00

Enclave, 2011
City Limits: Revanchism and the Redevelopment of Spatial Separation (Shields 1-7), 2011
City Wall: Constant Shifts (Batons 1-12), 2011
Sporting Works 1-3, 2011
City Limits: Revanchism and the Redevelopment of Spatial Separation (Shields 1-7), 2011
City Limits: Revanchism and the Redevelopment of Spatial Separation (Shields 1-7), 2011 - Detail
City Limits: Revanchism and the Redevelopment of Spatial Separation (Shields 1-7), 2011 & Frontier, 2011
Untitled, 2011

Photo Credits: Max Slaven
Ric Warren - Borders, Boundaries & Barricades: Redeveloping Geographies of Division.
David Dale Gallery & Studios, Glasgow. April 2011.

A Discursive Cartography

2011-05-05T13:04:00.001+01:00

David Dale Gallery & Studios present A discursive cartography of Borders, Boundaries and Barricades: Redeveloping Geographies of Division. An ongoing investigation of Ric Warren’s work, against the backdrop of Warren’s recent exhibition at David Dale Gallery and his forthcoming one at MOT International. The text will be in collaboration with Nicola Wright, writer and curator of Warren’s MOT International exhibition.

Taking Nicola Wright’s essay in production as the touch paper, the investigation will be an ongoing discourse between interested parties with the deadline for conclusion set to coincide with the opening of Warren’s exhibition in MOT International mid-July. Between now and then the text will be in constant flux: elaborated; redacted; contradicted and addended by the curators at David Dale Gallery, Nicola Wright and, as arbiter, Ric Warren.

The aim is to arrive at a contentious synthesis on a contentious subject, drawing on the breadth of interpretation and intent to bind a text together without author authority or resolution. Mapping arbitrary limits.

Click here to view the essay.

The Pigeon Wing Studio Residency 2010

2010-08-28T20:00:00.006+01:00

LUDO, Installation View (Steve Helm, Erik Smith, Amy Joslin & Ric Warren), 2010
Ghetto, 2010
Barricade, 2010
Overlapping Networks (Gold), 2010 / City Wall (Gold), 2010
Jobbies (Gentrified), 2010
Barricade (Collapsed), 2010
Towards a New Theory of Socio-Spatial Apartheid, 2010 / Reinforced Line of Division (Marks on Maps), 2010
Glittering Facade, 2010
Territorial Boundary (Marks on Maps), 2010
Reinforced City Wall (Marks on Maps), 2010
City Limits (Punctuating Separation) , 2010

City Wall (Blue/Grey), 2010

2010-06-15T20:36:00.000+01:00

A1 Digital drawing screen print on paper.

LUDO- The Pigeon Wing

2010-06-15T19:25:00.003+01:00

Steve Helm, Amy Joslin, Erik Smith and myself have been invited to undertake this years Studio Residency Project at The Pigeon Wing, London. The project is due to take place during August 2010, concluding with an public exhibition.

"While acknowledging various overlaps in conceptual understanding, material usage, stylistic approaches and techniques, we all have very different artistic practices. However, an important commonality is the use of ‘drawing’, in its various forms, as an integral catalyst of our research and creative development. Whether it be sketches in notebooks, photographs, digitally produce images, small models, or video clips; we see them as important and necessary junctures between initial concepts and resolved artworks. With a desire to expose these studio-based aspects of our output, it is our intention to give particular focus to the more immediate and preparatory aspects of our individual practices. Through the bringing together of these autonomous sketches and ideas we hope to rediscover resonance in our interests and form new conceptual relationships between works. We hope to utilise the Pigeon Wing’s project space as a site for experimentation and collaborative development."

www.thepigeonwing.co.uk

Overlapping Networks.

2010-04-07T23:43:00.003+01:00

Collage: Ply Wood, Cardboard, Screen Printed Paper.

Marks On Maps (City Wall)

2010-03-07T12:12:00.006Z

Digital drawing from ongoing series 'Marks on Maps'

City Wall (Punctuating Separation), 2010 - Digital drawing screen-print

With an interest in shifting socio-spatial boundaries within cities, I am currently building upon an investigation of the conceptual understanding, and the physical forms of the ‘temporary’ walls constructed around building sites. Within this process I have become interested in use of forward-slashes within the creation of 2D work. In addition to the aesthetic connection with the batons used in the creation of many construction-site hoardings, I am also interested in their grammatical usage. Similar to physical walls, forward-slashes are used within punctuation to indicate a separation of opposing ideas / alternatives. Taking inspiration from cartography, I am currently experimenting with such typography to create motifs upon grids in an attempt to reference division in physical space.

FUTUREPROOF, Gallacher & Warren

2009-12-11T18:04:00.008Z

Collective Gallery (Guest Room), Edinburgh, 2009 -in association with PLACE Projects

Brought together by the PLACE Projects, Katherine Gallacher and Ric Warren present FUTUREPROOF: an exhibition featuring selected outcomes of a collaborative research project exploring current trends in the revitalisation of urban landscapes. The installation explores various strategies to re-think Edinburgh's historic urban skyline in order to synchronise the city with the new millennium.Installation View:

Futureproof (Ambition, Modernity & Novelty) / Cycles of Transformation /Modes of Regeneration, 2009

Futureproof (Ambition, Modernity & Novelty), 2009 - Detail

Inspired by homogenous approaches to contemporary town planning that employs a process of building glimmering façades of ‘progress’, we created this tongue-in-cheek proposal for a futuristic cityscape. Concerned with the lack of longevity of such regeneration projects we used aluminium foil to create our crudely produced vision of the future. Aluminum foil has an initial aesthetic deception of a resilient glimmering precious metal contrasted with its actual properties as a cheap, flimsy and ephemeral material. This ‘town planner’s table’ attempts to blur the distinction between sculpture and architectural proposal.

Modes of Regeneration, 2009

These glittering models are loosely based on architectural features of Glasgow’s regenerated river Clyde, but are intentionally not direct copies. Instead, they are intended to cross-reference a fashionable vernacular of architecture that is played out across many post-industrial cities. This work is intended to highlight to the homogeny of contemporary urban planning that tends to use tried and tested formulas of urban reform that involve such conscious in-your-face symbols of futurity that can be considered as glittering façades of ‘progress’.

Strategies of Futurity, 2009

“…the image of the city can arise from changes in perception, as well as from physical alterations. The skyline of a city traces the visual signature of its identity. It offers an immediate reading of its ambition, modernity and novelty through which economic, social and aesthetic meanings are signified. Accordingly, urban imaginaries are constituted by visual narratives – summary readings of history and futurity encoded in the skyline, both as its is and how it might be.”

David Parker & Paul Long : ‘The Mistakes of the Past? Visual Narratives of Urban Decline and Regeneration’

City Limits (Punctuating Divisions) - Towards a Theory of a New Social Apartheid, 2009

2009-09-13T17:09:00.005+01:00

City Limits (Punctuating Divisions) - Towards a Theory of a New Social Apartheid, 2009

Installed at White House, Glasgow.

"Lines of division cut through modern cities. These are not simply questions of marks on maps, nor can we think of features such as roads or bridges merely as useful objects. Apparently neutral divisions in space, the mundane geography of walls, edges and outskirts, can have effects beyond their basic function."

Fran Tonkiss (Space, The City & Social Theory)

Cities are constantly in the process of change, reorganizing, demolishing and rebuilding. Recently I have become interested in exploring construction site hoardings- not only do I think they are aesthetically interesting, but I also think conceptually they hold a lot of weight as both a symbolic and literal sign of urban change. The very purpose of a construction site hoarding is to obstruct and to me it represents a sort of apartheid wall, as sites become retransformed and regenerated and the lines of socioeconomic boarders are redrawn. Designed as non-permanent structures within cities, it could be argued that perceptually these walls still remain in existence even after they have been physically removed.

/// CONSTRUCTS 09 ///

2009-09-05T22:48:00.004+01:00

City Wall (Punctuating Division), 2009

Marks on Maps 1-4, 2009

Invert (1 of 2), 2009

Preparatory Works 1&2, 2009

Works installed at White House, Glasgow for CONSTRUCTS, a group exhibition curated by Ric Warren. More information, including a profile of each artist involved can be found at www.constructsglasgow.blogspot.com

City Limits, 2009

2009-07-25T15:30:00.004+01:00

City Limits (Florence, Edinburgh, Siena, Glasgow), 2009

Ink & Pencil on MDF

City Wall (Digital) 2009

Symbols of Power, 2009

2009-07-24T17:43:00.001+01:00

Whilst undertaking a research scholarship in Florence, much of my research centred around perceptual understanding of urban forms, and how the making of buildings goes together with the making of urban meanings. For this work, Symbols of Power, I was exploring how masculinity is manifested within the physical structures of urban space. Taking reference from famous structures in Florence, I wished to explore how these forms can be reduced to simple motifs that are also connotative of the masculine and the phallic. The triptych attempts to represent the three major powers of Florence and is composed of; an outline of the city gate tower (The Government), a floor plan of the Duomo (The Church), and a silhouette of the Statue of David (The Population).

Disegno Interno, 2009

2009-07-23T16:21:00.000+01:00

Disegno Interno- Model of the replica of Michelangelo’s “David” (Left) and Bandinelli’s “Hercules & Cacus” (Right) as witnessed in Piazza della Signoria, Florence, 2008. 2009

Follies, 2009

2009-07-10T18:11:00.007+01:00

Folly: (noun)

-a foolish act, idea, or practice.

-a costly ornamental building with no particle purpose, especially a tower.

Follies (an investigation into the architecture of Florence), 2009.

14 Interchangeable Parts- Dimensions Variable

Monuments, 2009

2009-04-22T12:48:00.008+01:00

Installed as part of IL DOLCE FAR NIENTE : APERTO STUDIO (The Sweet Doing Nothing: Open Studios), Clydebrae Studios, Glasgow.
Models: cardboard, printed paper
Drawings: Ink & pencil on MDF

These ‘edited monuments’ were influence by research in Florence during my time on the RSA John Kinross Scholarship 2008. I was interested in representing barricaded ‘monuments’ that no longer commemorate or celebrate anything, a shrine to nothing. Yet, still suggest that they did, or once had a purpose. Material variations that insinuate a censored or an edited history, but notably, a not entirely destroyed history. A functionless structure made even more pointless -other than its ability to occupy space and provoke intrigue. A sculpture.

RSA New Contemporaries 2009

2009-02-15T11:56:00.006Z

Fear of Freedom (proposal for a prison courtyard or a town square), 2009.
Society of Captives, 2009.
To Say That Man Is A Social Animal, 2009.
Neighbourhood Watch, 2008

Façade (Renaissance Man), 2008

2008-12-18T13:37:00.007Z

Installation for homeless man in Florence, constructed from found materials (cardboard, tape, candles), Via Dello Sprone, Florence, Italy. 2008

The work consists of a frontage constructed from found cardboard and packing tape that has been installed upon a windowsill in which a homeless man named Hans lives. The text, “GRAZIE X L’AUTO”, translates as “THANKS FOR THE HELP”. This was already written on a sign that Hans had made for his donation box, and so was incorporated in to the work. The work was consciously constructed from these low value materials (that had been discarded by the city) as I wanted to play with the cliché of homeless people living in cardboard boxes by creating an elaborately decorated version. As well as referencing architecture traditionally associated with Florence, the details on the Façade of the structure was also influence by the elaborate frames of the renaissance paintings in the Uffizi Gallery. This acts as a sculptural frame that is intended to draw attention to the homeless man that it encloses. The work was intended a social commentary and a critique of the distribution of wealth in the city. It is important that the structure is merely a façade and actually offers no practical shelter to its occupant. Like much of my sculptural work that is based on architecture, it takes the guise of a functional construction, yet is in fact useless. I am aware that the work could be seen as slightly exploitative or considered as a form of gentrification. In some senses this perception was intentional. It may be interpreted as an attempt to cover up the problem and make it less offensive to public consciousness, or in contrast, as means to highlight it. The work references the city’s architecture, and in doing so attempts to become part of it. Rather than trying to direct attention elsewhere, it tries to accept and identify the homeless man as an integral part of the city. The cardboard frontage borrows the aesthetics of urban forms associated with wealth and power contrasted with another aspect synonymous of all urban environments; poverty and desperation.

AAF Recent Graduates 2008

2008-10-28T11:00:00.002Z

Shed-Shed-Shed + Buoys (Battersea Park, London) Photo by Jessica Hall

Iceberg (The Ego & The Id) - 2nd edition.

2008-09-26T14:29:00.002+01:00

Installed as part of the group show 'ROAR!' held at Bargehouse Gallery, Southbank, London, September 2008.

Ex. 2008

2008-09-26T14:22:00.002+01:00

City Limits (Redeveloping Geographies of Division) 2008

+ Structural Relations, Material Inequalities & Social Circumstances, 2008

Installed as part of the group show 'ex' held at Leeds College of Art & Design, September 2008.

Iceberg Preparatory Drawings, 2008

2008-09-06T14:25:00.002+01:00

Old & New, Pentagon Galleries, Glasgow

Artoscopic 2

2008-09-06T14:23:00.003+01:00

St. Lenoards Railway Tunnel, Edinburgh, 2008

Neighbourhood Watch, 2008

2008-08-18T20:36:00.002+01:00

Installed as part of 'Place 03 -Pastoral', Woodlands Road, Glasgow.

Art In The Garden

2008-08-11T14:16:00.005+01:00

Installation of 3 works commissioned by Edinburgh International Book Festival in association with Edinburgh Art Festival 08.

Charlotte Square Garden, Edinburgh (9th-23rd August)

Buoys (foreground) & Shed-Shed-Shed (Background) Iceberg (The Ego & The Id)

Children enjoying/destroying the work

Casa de Pájaros, 2008

2008-08-11T12:51:00.002+01:00

Collaboration with Alba Escayo

LindArt International Fine Art Colony, Lendava, Slovenia

Iceberg (The Ego & The Id), 2008

2008-06-17T18:26:00.006+01:00

Glasgow School of Art Degree Show 2008
Studio 25, Mackintosh Building

The work is a reincarnation of 'Iceberg', which was first installed in the Garage Space- although I consider 'Iceberg (The Ego & The Id)' to be a new piece. 'Iceberg (The Ego and The Id)' has developed from a body of work initially inspired from the floods that devastated many parts of the UK during summer 2007, as well as the disastrous flood in New Orleans. The floodwaters claimed many buildings, rendering them inaccessible and uninhabitable. I began to consider how this environmental change could affect my childhood home in Yorkshire; a space from which I already feel is no longer as assessable to me as it once was. Experimenting with various forms and structures I have attempted to subvert the traditional gallery floor the to suggest the illusion of a submerged structure and deny its solidity. The framed drawing of the side elevation shows the whole house, including the imagined form of the unseen structure beneath the ‘waterline’.
The work is intended to have a scale relationship to the viewer, so it is large enough to have presence in a space, yet at an appropriate size for the audience to sit on it. This idea was inspired by images of flood victims awaiting rescue from their rooftops, as well as a desire to create a stage for social interaction. Although 'Iceberg (The Ego and The Id)' is based on my ‘home’ and in part originated as an interpretation of my feelings regarding the perceived barricading of / detachment from my former sanctuary, I feel that it represents a typical suburban house. Due to the relative size and number of windows it suggest a house of multiple occupancy, a space for a group, and the padded flat roof offers room for a social unit. The main title 'Iceberg' relates to the ideas of a large unseen space (that is suggested in the framed drawing) as well as describing a natural form that is strongly associated with environmental change. The bracketed part of the title '(The Ego & The Id)' is taken from Sigmund Freud’s seminal essay and is intended to offer a reading of the work as a representation of the human mind. Freud suggests that the id "contains everything that is inherited, that is present at birth, that is laid down in the constitution”, and I feel that this is represented by the childhood/ family home. A shed on the other hand represents a space for the individual (the Ego) and like a studio it is often used as a space for thought. It is seen to be floating independently from the family home, but due to materials and general aesthetic, it is still inseparably linked to the main structure. Like a piece of ice broken off from a melting icecap.

Watchtowers, 2008

2008-05-14T13:19:00.003+01:00

Of Multiple Occupancy, 2008

2008-05-13T11:00:00.002+01:00

Shed-Shed-Shed, 2008.

2008-04-16T21:34:00.006+01:00

Garage Space, GSA, 2008

Buoys, 2008

2008-04-03T19:25:00.006+01:00

Front Space, GSA.

Recycle bins are a relatively recent addition to our cities and towns, encouraging us to protect natural resources in an attempt to combat climate change. However, it could be suggested that such efforts to halt environmental disasters are somewhat belated (as recent events have shown). This work was inspired by an image taken during the latest floods in Yorkshire that shows wheelie bins floating in the floodwaters.

Iceberg, 2008

2008-03-09T14:17:00.000Z

House-Berg, 2008

2008-02-22T11:52:00.000Z

Initially installed as part of the flat show 'Nice Ensemble' then reinstalled in the Garage Space, GSA.

108, 2008

2008-02-20T23:57:00.000Z

Meanings, Language & Symbols, 2008

2008-02-18T13:14:00.004Z

Glasgow Harbour Billboard

Public Art Project Proposal, 2008

2008-02-18T09:09:00.001Z

City as a Resource, 2008 (work in progress)

2008-02-17T23:00:00.001Z

Garage Space, GSA
(Found materials from Half-mile radius of gallery)

Components

This project was part of my investigation into urban socio-spatial segregation and inequality. I spent a day in the Garage Space constructing an unplanned structure from materials I had sourced from the streets of Glasgow. The sculpture was intended to mimic the architectural forms that compose illegal Favela settlements in Brazil, both in its aesthetic qualities and by its method of creation. The crudely constructed shanty-like form reincarnated found materials that have been discarded by the city, to construct a new structure. The scale and form were dictated by the possibilities and limitations of the available material. Unlike the impromptu dwellings of the informal human settlements, the structure was not internally assessable. It functioned instead as an object that represented such architecture of deprivation and this symbol of social inequality prompted a dialogued among the audience about such themes.

Clyde Settlement

2008-02-17T00:12:00.000Z

Structural Relations, Material Inequalities & Social Circumstance. 2007

2007-11-12T22:34:00.002Z

Front Space Gallery
Glasgow School of Art

(Bricks, Mortar, Wood, Recycled Cardboard)

"While the experience of the city may be over-determined by structural relations, material inequalities and social circumstances - it is not simply case... Urban forms are made not only out of materials and things, but out of meanings, language and symbols." (Fran Tonkiss, Space The City and Social Theory)

‘Structural Relations, Material Inequalities & Social Circumstances’ was an investigation into the structural forms that compose Brazilian Favela settlements. The purpose of which was to explore symbols of social inequality through the examination of the architecture of desperation. I was interested in exploring how the meanings of these structures change when separated from their context and wished to activate a dialogue around these politically loaded forms. The installation consisted of 32 small scale models (aprox. 15cm3) of favela structures constructed from recycled cardboard. These were displayed in a grid formation upon low plinths made from bricks and wood, which were spaced as to allow free movement around the works. The work wished to create confusion between the architecture associated with urban condominiums of the wealthy professional classes and that of the liminal zones occupied by a poor underclass. By employing the formal language associated with architectural exhibitions, the installation did not attempt reconstruct a settlement. Giving each piece its own space within the grid allowed the structures to be seen as autonomous pieces among a series. Due to the formal display, at first instance the structures could be read as models for bespoke upper class housing. Yet, upon closer inspection of the crude constructions of low quality recycled materials evoke a sense of ‘otherness’ associated with the unprompted constructions of the favelas. The low elevation of the works granted the viewer dominance over the objects and the choice of materials was intended to reflect the low value of such urban formations.

Extended Essay

2007-11-01T21:04:00.000Z

Social-Spatial Segregation and Displacement: A Comparative Analysis of Sao Paulo and Glasgow, 2007

Synopsis:
The essay explores socio-spatial divides and the displacement of working-class populations within cities, concentrating specifically on ‘Favela’ settlements in the Brazilian city of São Paulo. These are compared and contrasted with working-class housing schemes in Glasgow in order to identify global tendencies in modern urban and cultural geography.
It considers how the contemporary ‘Haussmannisation’ of post-industrial cities could be pushing working-class populations ever further out of the city towards the peripheries. Primarily researched through contemporary theoretical and statistical works the essay also highlights key historical economic changes within the cities. It identifies what effects these shifts have had on population fluctuations and how the situations have, or have not been dealt with. Thereafter, it investigates the gentrification and representation of the cities. In so doing the essay aims to explore the degree to which such tendencies could be contributing to an urban class apartheid.

Il Faut Cultiver Notre Jardin, 2007

2007-09-03T23:28:00.007+01:00

Il Faut Cultiver Notre Jardin. Room 327, Hotel Bloom!, Brussels, Belgium.

On my arrival in Brussels the forest of construction cranes that were growing through the gaps of the cityscape inspired me to produce this wall drawing in response to the theme ‘Bloom’. A predominate feature of many cities, cranes are the tools of growth and change that symbolise the bloom of urban space. We are currently within the epoch of human history where for the first time the world’s urban population will outweigh its rural. Straight lines have taken over the lives we lead - the agglomeration of man made geometric structures is now the garden to more people than the ‘natural’ environment. The quote “Il faut cultiver notre jardin” (“We must cultivate our garden”) comes from Voltaire’s famous concluding paragraph to ‘Candide, ou l'Optimisme’ in which travellers finally settle in the hope to produce a better world for themselves to live in. In agriculture and horticulture it is necessary to preserve, prune, uproot, reseed and rotate plants in order to keep the land fertile and maintain life. This is also essential for our urban environment. The city is a garden- a product of nature, or more specifically, of human nature and we must cultivate our garden.

Works on Paper, Works on Walls.

2007-06-26T00:00:00.001+01:00

Market Gallery Proposal.
I am interested in how culture-led regeneration in Glasgow has created an urban class-apartheid in which spaces such as art galleries have been used to gentrify areas of the city and thus force out working-class Glaswegians. This hand drawn proposal for Market Gallery, which is located in Glasgow’s less affluent East End is part of a series of ten drawings that propose to brick up similar art spaces across the city. The creation/proposal of artworks that act both as a physical and visual barricade to gallery spaces was intended to demonstrate/critique how the art-world is inaccessible to many members of society.

Transmited
Unheard Voice

Structural Relations. 2007

2007-06-19T14:07:00.000+01:00

Most men appear never to have considered what a house really is, and are actually needlessly poor because they think they must have one such as their neighbours.
Structural Relations, Material Inequalities & Social Circumstances: Exhibited as part of the group show SalvadorDeli, Vic Gallery, Glasgow, 2007.

100 Aggresive Acts of Egotistical Masculine Dominance/ Man-made Structures, 2007

2007-04-27T23:40:00.000+01:00

Exhibited as part of the group show "Underworked/Overplayed", Glasgow
(Fabric Screen with video projection of 100 brick walls on loop)

We Have Moved, 2007

2007-03-26T20:48:00.000+01:00

WE HAVE MOVED, 2007. Newbery/GFC Gallery, Glasgow

Using a fixed quantity of bricks, a wall is constructed in a position within the gallery, then dismantantled, and reassembled daily by the artists in a changed configuration and location within the space, and eventually outwith the gallery and into the street. Boundaries and territory are tested by the construction of these intersections in the uncertain space, thereby temorarily forming new relationships. The constant carrying and stacking of bricks can be observed by the viewer. This is an act that does not bare the appearance of 'performance', rather, being an necessary process for the fulfillment of the work. The importance of this is in maintaining the bricks integrity as an object of labour and function, instead of an aethertised gallery object associated with the works of artists such as Carl Andre. There are references to the overall process of creation, that requires a progression, and a destruction. Its is an exploration of an object which is integral to a child's firts discoveries of form and creation, whilst also accounting for the everyday maintenance and progress of our built surroundings.

Unstable Structures Under Construction, 2007

2007-02-09T00:11:00.000Z

Front Space, Glasgow School of Art

Ode to Tilted Arc
It is human nature to be intrigued by that which is concealed, so much so that building companies have began to put view holes in the fences around building sites to prevent people climbing over to satisfy their curiosity. Interested in this concept I proposed a series of potential projects that used various exhibition spaces within the Glasgow School of Art as well as public spaces across the city. The intention was to interrupt both the physical and visual experience of a space by constructing walls at a certain height that would be low enough to visually intrigue the viewer yet physically too high to actually offer a view over. The particular proposal for a popular thoroughfare of the Glasgow School of Art was intended as homage to Richard Serra's ‘Tilted Arc’. This drawing manifested itself as a direct wall drawing within a solo exhibition of all the proposals. The Show was titled ‘Potential Projects Under Construction” and was blocked off by a brick wall that made the exhibition only partially viewable from outside the gallery space.

Optical Obstructions, 2007

2007-02-08T00:04:00.000Z