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Come Together Right Now

Come Together Right Now was a two-part international online research event organised by Camberwell College of Arts UAL, the Ontario College of Art & Design University (OCAD U) in Toronto, Canada, and City and Guilds of London Art School (CGLAS). The event aimed to foster a new online community of artists while exploring the potential of collective civic responsibility in contemporary artistic practice. Five students from MA Fine Art were invited to participate in a workshop and a subsequent public seminar, highlighting the themes, discussions, and collaborative endeavours undertaken during the event. The workshop was led by artists Cole Swanson (OCADU), Smriti Mehra (CGLAS), and Jacob V Joyce (UAL), who expressed interests in climate emergency, social equality and decolonising our approaches to the individual artist genius, which have become dominant themes within contemporary practice. This project initially captured my attention because I aimed to challenge the concept of the autonomous artist by emphasising the active utilisation of space, where the audience plays a pivotal role. I was enthusiastic about actively participating in conversations and collaborative activities focused on exploring fresh approaches for building a global artistic community rather than confining myself to a conventional self-contained practice.

During the workshop on September 29, 2023, I actively engaged in discussions and collaborative exercises to explore new methodologies for establishing a global artistic community. The workshop emphasised the interplay between expressions of selfhood, identity, and individuality, encouraging participants to deconstruct and decolonise conventional approaches to contemporary artistic practice. The subsequent public seminar, held on October 20, 2023, provided an opportunity for selected participants, including myself, to showcase the outcomes of the collaborative projects developed during the workshop. The seminar welcomed diverse approaches to subject matter and format, fostering an open and experimental environment for presenting art projects. Initially, I developed a PowerPoint presentation to structure my research process, after which I transitioned to the Miro board to participate actively in the collaborative project. I utilised a mind map on the Miro board as the foundation for my subsequent presentation during the seminar.

Notably, the seminar facilitated critical feedback and discussions involving faculty members and lead artists, as well as invited guests from the participating institutions. My participation involved contributing to collective speculative projects where I chose to respond to the provocation made by artist Jacob V Joyce, which critically examined the relationship between art and collective civic responsibility with the task of selecting a historical moment from the context of activist and liberation struggles that symbolised progress toward collective freedom. The goal was to choose a relatively lesser-known historical event and analyse it within the broader framework of such movements, paralleling Joyce's approach in his representation of the Brixton uprising. My chosen historical event, the Merthyr Rising 1831, held particular significance as it was an uprising close to my heart and aligned with my local history.

The Merthyr Rising transpired in the town of Merthyr in Wales, which played a pivotal role in the global industrial revolution. Despite its economic prosperity, driven by iron exports, the labour force endured remarkably low wages and deplorable working conditions, leading to rampant disease and premature deaths among workers. Parliament introduced a reform act that, regrettably, did not extend the right to vote to the working class of Wales. Consequently, wage reductions and layoffs triggered widespread riots and protests. The Court of Requests, responsible for seizing goods, was looted, and its records were destroyed. The physical structure of the Court of Requests still stands today, albeit transformed into a local pub bearing the same name. As the riots escalated, magistrates sought refuge at the Castle Inn, fortifying the building with military support from the Sutherland Highlanders. Protesters encircled the Castle Inn, and the magistrates struggled to quell the agitated crowd. Matters took a tragic turn when the military opened fire, resulting in the loss of many lives among the protestors. Due to limited documentation, precise figures remain elusive, as it is believed that families clandestinely buried their loved ones to avoid repercussions. Amid the turmoil, one of the soldiers was disarmed and wounded with his own bayonet—subsequently, 26 individuals faced arrest, imprisonment, or transportation to Australia. Notably, a 23-year-old man named Richard Lewis, also known as Dic Penderyn in Welsh was accused of stabbing the soldier and condemned to hanging. Despite a petition from 11,000 individuals advocating for his innocence, the British Home Secretary insisted that at least one individual be executed to serve as an example of the consequences when the Welsh working class rebelled. Dic Penderyn met his fate at Cardiff Gaol, which is now the site of Cardiff Market. His final words on the scaffold were "O Arglwydd, dymagamwedd," which translates to "O Lord, what injustice." Years later, a confession from a man on his deathbed in America revealed the actual assailant of the soldier, subsequently elevating Dic Penderyn to the status of a martyr for Wales and the working class. A commemorative blue plaque now adorns Cardiff Market in his honour. A noteworthy aspect of the protests is the claim that rioters marched with two flags dipped in calf blood, marking the birthplace of the red flag in Britain as a symbol of workers' revolt. This event, therefore, holds significance not only for Wales but for all of Britain, where the red flag came to symbolise the labour movement and socialist ideals over time.

In parallel to this historical context, I found it essential to draw connections to the June Rebellion in France, characterised by strikingly similar events in Paris during the following year, 1832, particularly as it became evident that art and literature have a profound impact on altering our understanding of the historical significance of these events. Prominent examples include the novel and musical "Les Misérables" and Eugène Delacroix's painting "Liberty Leading the People." Jacob V. Joyce's provocation prompted contemplation on how the Merthyr Rising could be re-enacted through visual art. During the seminar, I proposed creating a painting that mirrors the occurrences of the Merthyr Rising, akin to Eugène Delacroix's renowned artwork "Liberty Leading the People." This artistic endeavour aims to ensure historical relevance while respecting the prevalent artistic styles of that period.

The central question raised by artist Jacob V Joyce’s provocation with this re-enactment is how it might transform the prevailing historical framing through which the event has typically been understood. A notable consideration is that a romantic era in painting characterised the period in which the Merthyr Rising occurred. This element introduces a layer of irony, as the idealism of romanticism sharply contrasts with the harsh realities experienced by the revolutionaries, marked by violence and political turmoil. Additionally, it is essential to acknowledge that while uprisings aim for collective freedom, romanticism predominantly celebrates individualism. Hence, these nuances underscore the complexity of representing historical events through artistic means. 

While there are numerous factors to consider in this artistic undertaking, I welcomed further insights and perspectives during the seminar to align with the collaborative efforts of the event. To aid in this painting project, I sought valuable references, including archive imagery of the Castle Inn and two paintings of Merthyr created close to the events of the Merthyr Rising. I also presented an archival image I discovered of the Castle Inn from a period predating its demolition in the 1920s. It was accompanied by a well-known painting of the Sutherland Highlanders during the Battle of Balaclava, potentially offering a faithful representation of their military attire. To aid in my research, I also have plans to explore the museums of South Wales, including St Fagan’s National Museum of History, which offers an immersive exploration of Welsh life through the ages with more than 40 original historic buildings that have been reassembled; the National Waterfront Museum in Swansea that dives into the industrial history that celebrates the mining, metal-working and transport technologies that changed the face of Wales; as well as The Argyll Sutherland Highlanders Museum in located in Stirling Castle, Scotland, that traces the history of the 91st Argyllshire Highlanders and the 93rd Sutherland Highlanders up to the time of their amalgamation in 1881.

A comprehensive and immersive exploration of the Merthyr Rising's historical context and direct engagement with relevant artefacts from various museums provides a critical foundation for a more precise and culturally sensitive re-creation of this significant historical event through painting. By delving into the extensive resources and artefacts available in museums, I can better understand the social, political, and cultural dynamics surrounding the Merthyr Rising. The comprehensive examination of historical materials, including archival documents, visual representations, and physical remnants of the era, facilitates a deeper grasp of the context in which the uprising occurred. In particular, my planned visits to museums, such as St Fagan's National Museum of History, the National Waterfront Museum in Swansea, and The Argyll Sutherland Highlanders Museum in Scotland, are strategic efforts to immerse myself in the intricate details and narratives that underpin the historical events related to the Merthyr Rising. These institutions provide invaluable insights into Welsh life and industrial history, offering a nuanced perspective on the socioeconomic conditions, political struggles, and societal transformations that shaped the backdrop of the uprising. I can authentically capture the essence of the Merthyr Rising in my painting by meticulously examining the historical artefacts and first-hand encounters with the physical remnants and visual representations from the period. This immersive approach not only ensures the accuracy and historical fidelity of the artwork but also underscores my commitment to sensitively representing the cultural significance and complexity of this pivotal moment in Welsh history.

PowerPoint Presentation

Historical context and archival resources that could serve as valuable references for re-enacting the events of the Merthyr Rising through a painting

Useful archival websites and informational resources:

• https://libcom.org/article/1831-merthyr-tydfil-uprising

• http://alangeorge.co.uk/high_street_2.htm

• https://coflein.gov.uk/en/site/408151/

• https://www.peoplescollection.wales/collections/606527

• https://en.wikipedia.org/wiki/File:Eugène_Delacroix_-_Le_28_Juillet._La_Liberté_guidant_le_peuple.jpg

• https://en.wikipedia.org/wiki/Dowlais_Ironworks

• https://en.wikipedia.org/wiki/Red_flag_(politics)

• https://www.youtube.com/watch?v=fOxFCqYbyCI

Lisa Milroy

When researching the work of Lisa Milroy, I found an interesting correlation between her work and my theoretical perspective of still life that helped me to refine and define my ideas. In the canvases of Lisa Milroy, each object undergoes meticulous and protracted craftsmanship, receiving an equal measure of attention to detail irrespective of its inherent subject matter or hierarchical standing within the visual narrative. The artist endeavours to eliminate any hierarchical imbalance, ensuring that no part weakens the overall composition, thus creating a planar space where everything happens simultaneously. Straying from conventional hierarchies that typically demarcate foreground from background, Milroy's work requires no fixed viewpoint for scene penetration; any perspective is signified. Consequently, the viewer's gaze becomes inherently mobile, beckoning us to still, to slow down, and truly observe. Within the frame of Milroy's paintings, no element carries greater or lesser significance; there exists no hierarchy of importance. Absent are dramatic focal points demanding attention. The essence of patience lies in disentangling the aesthetic function of the artwork from its explicit content or the narrative suggested by its production. The painting unfolds as a deliberate interplay between painted subjects and backgrounds, constituting its primary objective and authentic subject. In Milroy's oeuvre, any external reference to a model vanishes, making room for a dialectic, an intricate interplay of reciprocal influences meticulously crafted within the painting. This interplay remains in a constant state of modification throughout the artistic elaboration, revealing a dynamic where the real subject emerges from the ongoing dialogue between painted elements, transcending external references.

The Hari Art Prize 2023

This year, the Hari Art Prize 2023 received over 1000 applications with a shortlist of just 20 artists. The Hari Art Prize, in collaboration with A Space For Art, is held for its second year as part of the hotel’s now annual rolling art programme, celebrating the global roster of artistic talent attracted to London. The twenty shortlisted artists have their individual pieces exhibited throughout the Hari hotel in Belgravia from 20 September 2023 until January 2024. The three finalists will be announced at a VIP award event at The Hari on 15th November 2023. The winner will be presented with a £10,000 cash prize, kindly donated by The Hari’s CEO and Chairman, Dr. Aron Harliela, with the two runners-up becoming The Hari’s Artists in Residence for 2024, taking over a room each for the month of January, followed by an exhibition of their work in The Hari’s public spaces.

The award was open to all applicants who are self-taught or have graduated in the last two years (2021-2023) from UK art colleges from 3rd April until 30 June 2023 via A Space For Art’s website. A shortlist of artists was then chosen by the prestigious judging panel, including judge Irene Bradbury, Senior Director of White Cube, CEO and Chairman Dr. Aron Harliela, Head of Curatorial for A Space for Art Melissa Digby-Bell, Art Historian, Writer and curator Hector Campbell, Galleries, art dealer and curator Anthony Wilkinson, Artist Agents and Publicists Jo Brooks PR.

2023 Shortlisted Artists:

Amy Powell, Ana Viktoria Dzinic, Angus Vasili, Bethan Evans, Bo Sun, Brian Parker, Caroline Thomson, Cherry Aribisala, Clara Garrido, Cole Robertson, Gus Monday, Imogen Marsteller, J.G Fox, Ken Nwadiogbu, Kialy Tihngang, Lily Hargreaves, Monica Perez Vega, Nicole Burnay, Nina Ogden, Yasser Claud-Ennin

Lotus Laurie Kang, In Cascades, the Chisenhale Gallery

Lotus Laurie Kang's "In Cascades" exhibition unfolded as a site-responsive commission within London's Chisenhale Gallery, offering a captivating exploration of light-sensitive, unfixed photographic film. What particularly captivated my attention were the extensive sheets of this film, suspended from a robust steel joist structure. These film sheets, breathing in light and humidity from their surroundings, underwent a mesmerising transformation of colour, a gradual evolution that unfolded with the passage of time. Kang's intentional correlation between the body and the building intrigued me, as her exhibit focused on nearly identical pieces adorning the architecture. Described by Kang as "porous skins" that continuously absorbed light and humidity, these film lengths embodied a perpetual state of becoming vulnerable to the environmental influences that distorted and stretched them before being printed and elegantly displayed at the gallery's height. The extensive nature of Kang's work not only delineated the exhibition area but also engaged spectators in a reflexive interaction, urging them to contribute their lived experiences to the evolving narrative of the work. Kang skillfully crafted sculptures resting on tatami mats strategically positioned on the gallery floor. Beyond their aesthetic significance, these sculptures implied cyclical movement and adaptability—an inviting vessel for a body that moves between the spaces of display.

What resonates most profoundly in Kang's work, and where it intersects with my artistic exploration, is the parallel she draws between building and body. This transition from self-referentiality to self-reflexivity becomes a focal point, emphasising the interconnectedness of institutions and the circulation of experience, navigating the boundaries of correlated methodologies. In a perpetual state of transition and vulnerability to their environment, Kang's images put forth a compelling proposition: that images are not confined to fixed positions but are open to endless transitive possibilities. In this perspective, artists conceptualise not only the networks of immersion but also the physical and virtual spaces for display, transforming the viewing experience into a dynamic and ever-evolving encounter.

Lucy Mckensie

Lucy McKenzie's artistic endeavours delve into the potency of visual language, employing a trompe l’oeil technique that intricately manipulates perceptual faculties, creating paintings of such striking realism that they ingeniously "deceive the eye." Some of her compositions, rendered close to life-size, evoke a theatrical ambience, fostering the illusion of expansive, lifelike space extending beyond the conventional two-dimensional plane. Noteworthy among these is the large-scale work "May of Teck." Drawing inspiration from diverse sources such as historical mural painting, graphic design logos, and architectural settings, McKenzie's oeuvre serves as poignant reflections of social and political ideologies, albeit with white-washed apparitions of the long history of visual language. An aspect of her work that resonates with particular significance is her adept utilisation of washed-out motifs, which function as a requiem to the inherent power of painting. Evoking parallels with historical painting, McKenzie imbues her works with a sense of nuanced negotiation between anachronism and contemporary abstract painting, effectively blanching out an intricate history. McKenzie consistently navigates politically charged subject matter, deftly reconstituting the power of images through a negotiation with media sources. This transformative process transmutes the intangible apparitions pervasive in her work, known for “ghosting”, into an artistic resonance of aesthetics.

Alla Prima Exhibition Curated by Grace Mcnerney

London's Emerging Fine Artists @ 1 Warwick

Alla Prima aims to be a captivating celebration of London’s young creatives, shining the spotlight on the emerging artistic talent from the graduate or undergraduate pool of both BA and MA Fine Art graduate courses from Goldsmiths, UAL, Slade and more. The proposed exhibition would last around a week and aims to bring together young emerging artists with members who are interested in supporting the emerging London painting scene

📍 Location: 1 Warwick Members Club, Soho, London 🗓️ Date: 20th October - 27th October  

Why "All Prima"? 

The name itself, derived from the Italian term meaning "at first attempt," reflects the spontaneity and innovation that these emerging artists demonstrate in their practices. It also honours the point at which they find themselves in their careers, at the precipice of their artistic careers and aims to celebrate the beginning of their journey.

 London's Emerging Artists

The proposed featured artists curated by Grace Mcnerney, believes them to be the rising stars of London's painting scene and have selected them from a vast array of degree shows and art schools all over London. They embrace the "All Prima" approach, infusing their pieces with unrestrained energy and authenticity. This collection showcases a tapestry of styles, subjects, and narratives. There is a strong emphasis on painting alongside textiles and drawing.

Venue and Vision

1 Warwick Members Club sets the stage for a great place for artists and art enthusiasts to come together. Beyond the canvas on display the exhibition will allow for young artist and those interested in art to engage in thought-provoking conversations with the private view opening evening giving members an opportunity to connect directly with the creative minds behind the art.

Capturing the Moment at Tate Modern

Exploring the interplay between brushwork and photography, Capturing the Moment delves into how artists, through modern and contemporary art, have utilised painting and photography to encapsulate fleeting instances. Instead of aiming for a definitive account of the ongoing conversation between these two mediums, the exhibition encourages an open-ended discourse through diverse portrayals of people and places. The surge in photography and digital advancements triggered a significant re-evaluation of the boundaries of painting. These developments offered new avenues for artists within pictorial practices. In a world inundated with media, these novel reproductions have progressively reshaped and challenged traditional forms of replication and imitation, asserting themselves prominently in ambitious art. The ubiquity of digital reproductions has fundamentally altered our engagement with earlier pictorial practices. In contrast to the materiality of painterly techniques, the increasing prevalence of these technologies has consistently disrupted and undermined the aesthetic significance and practicality of painting. This fluctuating discourse between aesthetics and authenticity has given rise to medium-specific challenges within contemporary art.

In today's media-saturated landscape, the once-celebrated illusionism of paintings has been supplanted by many enigmatic images, creating a need for more apparent positions for critical evaluation within the realms of painting boundaries. The exhibition navigates this complex terrain by charting the course of painting through various expansions and differentiations of the medium. From the incorporation of photography and mass media imagery to the historical revival of painterly styles, the exhibition sparks a robust dialogue among the diverse artworks. While it may seem chaotic at times, the showcase illuminates how artists have broadened their horizons since integrating photography into the artistic landscape. The exhibition underscores that painting remains resilient, far from succumbing to the proclamation of its demise in the face of contemporary pictorial reproductions. Its endurance does not hinge solely on the confines of its specificity but on expanding its preconditions—spanning a spectrum of imagery, mediums, methods, techniques, and institutions. Painting, in adapting rapidly to the ever-evolving landscape of contemporary art, diffuses its formerly unchallenged material foundation, affirming its continued relevance and adaptability.

Airbrush + Oil Paint Workshop with Marissa Oosterlee

During the summer break, I participated in a comprehensive workshop focused on acrylic airbrush and oil painting under the guidance of Marissa Oosterlee, an artist with more than 15 years of teaching experience. Marissa adeptly demystified intricate steps and techniques, presenting them in easily comprehensible and sequential lesson blocks. Over four days, the workshop covered a spectrum of aspects, including sketching, observational techniques, proportional considerations, textural nuances, detailed rendering, value dynamics, and colour. The methodology involved the application of a commercial reference image selected by Marissa. While she predominantly emphasised a freehand approach, she also introduced shields and various tools to simulate diverse effects, thereby expanding my perspective on unconventional implements beyond traditional paintbrushes. The introduction to airbrush techniques, an entirely new experience for me, proved to be exceptionally liberating.

Several foundational principles conveyed during the workshop closely mirrored my own methodologies in teaching painting workshops, underscoring the universality of these artistic principles. Nevertheless, assuming the role of a learner in this context provided valuable insights into refining my approach for conducting future workshops. Of particular interest was Marissa’s adept utilisation of glazing techniques, involving the strategic layering of paint to impart depth. Her meticulous manipulation of opacity and transparency within these layers demonstrated a nuanced approach to creating lifelike depictions. This aspect particularly caught my attention, especially considering my inclination towards an alla prima method, which, by comparison, tends to produce flatter paintings. This experience prompted a thoughtful reflection on my artistic pursuit, explicitly exploring the interplay between flatness and form within pictorial practices, with a notable emphasis on the influence of photographic reproduction.

One-Hour Screenprint Workshop

I intend to orchestrate freelance workshops within educational institutions, incorporating a spectrum of artistic expressions extending beyond conventional painting. The primary objective is to cultivate creativity among students and allow them exploration opportunities within a broad array of artistic practices. In pursuit of this objective, I have meticulously devised a series of workshops, employing a lesson plan format akin to that of Postgraduate Certificate in Education (PGCE) students. The design of these workshops considers the alignment with the school syllabus.

In the context of this workshop proposal, I suggest the implementation of a single, one-hour instructional session designed to facilitate the cultivation of a diverse approach to screenprinting among students. The primary objective is to encourage creative exploration and experimentation with various artistic mediums, drawing inspiration from prominent artists such as Marlene Dumas, Jonathan Wateridge, and Martha Zmpounou. Furthermore, the proposed workshop encourages collaborative engagement by enabling students to share the workshop facilities, thereby fostering opportunities for critical reflection and mutual learning.

For the forthcoming workshop, my intention is to allocate the initial 15 minutes to a thorough exploration of artistic inspirations derived from the works of esteemed artists, namely Marlene Dumas, Jonathan Wateridge, and Martha Zmpounou. The focus will be on their stylistic acumen, expressive prowess, and abstract utilization of portraiture. Their collective ability to infuse vibrant hues with a multitude of emotional nuances will serve as a significant source of contemplation. 

In the introductory phase, a comprehensive exposition of the professional contributions and significance of these artists within the realm of contemporary art will be provided. Subsequently, a succinct yet informative demonstration will be conducted, complemented by the presentation of illustrative examples. It is noteworthy that these artists each possess distinctive voices and employ unique artistic methodologies, which are intrinsically shaped by their personal experiences and underlying artistic philosophies.

Of particular relevance to the workshop objectives is the shared practice of abstracting facial features as a means to evoke emotional responses and establish conceptual profundity within their respective works. This unifying characteristic among the artists will serve as a focal point for the exploration during the workshop, encouraging students to engage in thoughtful analysis and experimentation within their own artistic endeavours.

When an artist creates a portrait, they typically aim to capture the likeness and identity of the subject. However, by moving away from a realistic representation and towards abstraction, the artist may choose to omit specific details and focus on more general and expressive aspects. This abstraction might involve simplifying facial features, distorting proportions, or using bold and unconventional colours. By abstracting a portrait, one can invite a greater level of interpretation, particularly through the use of colors and other artistic elements. Contrary to the initial assumption that reducing recognizable details might diminish the interpretative potential, the isolation of a distinct figure and the decrease in narrative elements actually intensify the interpretive impact.

During the workshop, participants will be tasked with submitting a self-portrait or a portrait of a family member, with the necessary permissions obtained for the utilization of these images. Alternatively, students may opt to work with provided magazine images. The selected images will be placed beneath a transparent silkscreen, rendering them visible to the participants. Subsequently, students will be afforded the opportunity to directly apply analinky paints onto the surface of the silkscreen, with the freedom to manipulate and refine their compositions until they are satisfied with the artistic outcome.

Once the painting process has reached a satisfactory stage, students will remove the underlying image and replace it with a sheet of white watercolor paper. Utilizing a squeegee, students will then proceed to pull the fluid medium through the silkscreen. This technique is anticipated to yield a visually compelling and colourful representation of the chosen image, mirroring the distinctive stylistic attributes associated with the aforementioned artists. The liquid medium may be systematically passed through the silkscreen on multiple occasions, leading to a divergence in outcomes, characterized by shifts in pigment prominence. This deliberate variation in technique promises to evoke diverse visual and emotional responses within the artwork. Subsequently, these resultant creations, enriched by their multiplicity, may be incorporated into subsequent lessons. They offer the advantage of possessing multiple iterations of the image, enabling further enhancements through the application of additional artistic mediums such as paint, pens, soft pastel, and oil pastels.