“And then to keep on living”: the art of Laura Edmunds

by Tom Jeffreys This text was originally published to accompany 'A Soft Introduction', a solo show for artist Laura Edmunds at Ocean Studios, Plymouth as part of the Plymouth Weekender 22-24 September 2017. “The air itself is one vast library, on whose pages are for ever written all that man has ever said or woman… Continue reading “And then to keep on living”: the art of Laura Edmunds

New publication: Imagination and Potential

Imagination and Potential in the work of Noëmi Lakmaier by Mary Paterson As AWG art writer in residence for Bristol, Mary Paterson used some of her time to develop this publication about Cherophobia, a 48­-hour durational living installation by the artist Noëmi Lakmaier. Cherophobia is an attempt to lift the artist’s bound and immobilised body off the… Continue reading New publication: Imagination and Potential

Interviews: Transition at Newlyn Art Gallery

Transition was a residency programme at Newlyn Art Gallery, running from 14th Feb to 11th Mar 2017. The gallery describes it as "an opportunity for artists, or artist groups, to use the gallery space to consider how a series of works is developing or to try out ideas for an installation or interactive project. Transition gives artists… Continue reading Interviews: Transition at Newlyn Art Gallery

Riding the wave: Plymouth’s burgeoning art scene

On 6 September 1620, 102 passengers and a crew of around 25–30 set sail on the Mayflower from Plymouth. It was over two months until they sighted land: the curved promontory on the east coast of North America today known as Cape Cod. The rest, as they say, is history. As Plymouth gears up for the 400th… Continue reading Riding the wave: Plymouth’s burgeoning art scene

A Tapestry of Invisible Strings

Earlier this year I visited Barbara Hepworth's Pelagos 1946 at Tate Britain. Carved from elm and resting on a square base of oak, the sculpture is similar in size to a basketball.  In contrast to its exterior, which is polished to a nutbrown sheen, the inner plane is painted a pale matt blue redolent of calm seas and cloudless skies. Lengths of string connect its inner and outer edges. Woven through holes in the work's swooping wavelike arms, they create a focal point of fraught connection in an otherwise continuous and indivisible form.  This is an excerpt of an article written for Tate Etc. Read the article here (requires a subscription)

Morgan Quaintance: Intervention

by Morgan Quaintance I think art criticism - or rather writing about contemporary art, artists,arts professionals, institutions and the socio-cultural and political structures in which all of those actors and elements are embedded - is at a turning point. The yearly cycle of 'crisis of criticism' articles, essays and symposia seems to have stopped, and… Continue reading Morgan Quaintance: Intervention

Maria Fusco: Intervention

11 statements around art writing co-authored by Maria Fusco, Yve Lomax, Michael Newman, Adrian Rifkin Art writing emerges as a practice. Art writing is a possible form of the liberty of the image. Art writing names an approach within contemporary culture that, in wanting new potentials, embraces writing as a problematisation of the object of… Continue reading Maria Fusco: Intervention