EM16: Pulse 4

The project space has begun to empty as our resident artists move their work downstairs and take over the main gallery space. There’s a monster in the middle of the room, black drapes dancing from the rigging and a lace table, that isn’t quite a table, by the stairs… It’s hard to believe that all this has been created in only four weeks. It's harder to believe we're almost at the end of those four weeks! Our artists have shown nothing but dedication and love for their work but it’s not just their exhibited work; they’ve done their own press release, designed their own catalogue and really taken every opportunity to make this their show. At Surface, it’s been a pleasure to watch their work grow and to help in whatever ways we could. I think they can also feel very safe in the knowledge they have some huge fans in all of us (especially me, I can never stop gushing after each interview how excited I am for opening night).  It comes back to what Jane and I talked about, Surface very quickly becomes your home and I think we quickly take in our artists are part of our Surface family.

So what’s next? Well, opening night is the 4th November 6-9pm and we would absolutely love to see everyone there. It’s a celebration of learning, a celebration of growth and just looking at some interesting art. Plus, we have some cracking local beers and I don’t think there’s a much more satisfying Friday night than wandering around Surface with a Roaring Meg. 

After that we have an artist talk and tour on the 12th November at 2pm where you can follow after the artists and ask everything you didn’t get to read in our interviews. You can engage with their work and question their motivations or you can find out their favourite flavour of crisps.

There’s a whole two weeks to explore and enjoy their art and then you can always keep up with them online

Tracey King - traceyking.com / Uta Feinstein uta-feinstein.com /

  Jane Smith janerosesmith.wordpress.com / Tayler Fisher taylerfisher.com

Connie Liebschner  connieliebschner.com / Dave Dent davedentartist.com

Miriam Bean miriambean.comEllysia Bugler ellysiabugler.com

Written by Lucinda Martin for Surface Gallery

Images by Gavin 'Urban Shutterbug' Conwill

EM:16 Connie Liebschner

Reams of Connie's black fabric hang down from our skylight, it takes the middle of the room and the rest of the work exists around it but also as part of it. Where the fabric falls here, you notice how it frames itself around a desk and draws you to the notepad left on it, where it climbs up to the ceiling you notice how lovely the light falls through the arch. We sat down to discuss drawing attention to what's actually around you and enjoying the smaller moments.

Have you felt much of a difference creating for a ‘graduate show’ as opposed to creating as a student

There’s a difference between setting your own goals comparative to the goals set on a degree course; it’s nice to have that freedom to be able to do something without necessarily having to tick boxes or jump through hoops so you can justify what you’re doing. It’s nice not having to stop the flow of continuous creativity to stop and document those moments. You can be really in the flow of doing something and it’s really working and you’re inputting something you’ve read but you don’t have to stop and go ‘right i’m going to evaluate why this happened’; even though you do that naturally in your own head. Liberating is the way I’m looking at it but it’s also slightly daunting because you don’t have that cushion of being an undergraduate. You’re establishing yourself as an artist and thinking well this is one of the first pieces to come out after [graduation] so there is some pressure but more from a personal point of view.

What does Pulse mean to you, how do you connect with it?

I think Pulse symbolises something alive and there was also a jokey irony like we’re all still alive, we’ve survived and we’re still wanting to do this. Because financially it’s difficult and there’s a lot of things that say why on earth would you do that kind of thing, despite doing a degree in it, so i think it’s nice to… There’s sort of that thing that we’re still desperately trying to pursue that avenue. We’re still alive, we still love it and there’s that kind of side of it.

But also, in my own practice, I like to do stuff that’s with the here and now and where I am at that moment; it’s about the light-space interaction but it’s temporary and it’s a personal moment and that only happens when you’re alive in that moment. I think Pulse is relevant to everyone’s practice in some way, but that’s my personal take on it.

That personal moment you mentioned - is that something you want your audience to feel, some personal moment with your work?

I think it’s a reflective moment, there’s a personal association for me; a lot of my work is based on observing the everyday and taking a moment to think, yeah actually, that’s really beautiful, that’s really aesthetically pleasing. You look at something in a slightly different way and I think that’s really nice to stop and be reflective on this process. Sitting in this space, it’s been an inspiring space for me because it is interesting architecturally but also being amongst new, creative people. I’m trying to use the space as part of the work and it’s specific, what I’m feeling at that moment. I’m thinking, right i’m going to observe this, I've not really done stuff like this before. It’s really interesting because I'm personally interacting with the space - drawing people’s attention to different parts of the space, maybe slightly differently than how they’ve seen it before. In answer to your question, I guess that’s what I’m trying to get across.

How did you get into using light and space as a medium?

Throughout my degree, I really spent my time documenting the everyday and so, I use a lot of stuff within my own house and this idea of moving and every time you’re remaking a space and after a few months it becomes like home.. Exploring that, I used several different mediums, I was painting, I was photographing, I was printing and all the time the house became like this installation piece. It was quite funny because we’d have group crits and people wouldn’t necessarily know about my work beforehand and they’d say ‘oh is this a set design, have you set this up?’ None of it was ever set up it was all just things I was observing as time went on but because people don’t stop and look at the everyday you assume it’s some beautiful show home type thing where the light’s coming across and everything’s really perfect and it’s not. It’s just you’re in that moment and you go ‘I want to photograph that’ or ‘I want to paint that really quickly’. I think a lot of the time artists are searching to find out what they’re interested in but actually it’s all around them all the time.

There’s a little extracting formula for it as well - like what do all these images have in common because often it’s very visual. There’s often lots of similarities between the images so you’re thinking is it a tonal thing? Is it the light? Is it an angle that keeps repeating or the window? What is the formula to that moment? Because everyone relates to that same moment. I remember somebody saying to me, it’s really strange because you’re putting this out there and then everyone else is relating to it so then this solitary becomes a group thing.

I know we’ve touched on how you want to draw people to what they don’t really notice but how will you use the space - what do you want people to get from it?

We were discussing this with Diana Ali, [in the group critique] and I was saying I’m really inspired by this space up here and how’s this going to translate downstairs because it’s a very different space. I think the idea is I’m going to respond to it quite spontaneously not too far beforehand because I think then it becomes a bit forced.

The interesting thing about the space downstairs is it’s an exhibition space so there’s remnants of that everywhere - there’s hooks and hanging points you can see, the nails in the ceiling where people have hung stuff before and I think that’s kind of interesting because you can draw attention to the history of that space by attaching and reusing those kinds of fastenings or whatever and I’ll play on that. I want it to be about the space not just about what I’m putting into it so that will kind of dictate where the fabric will go - where it will be hung from. it’s kind of exciting but also a bit scary because i’m usually very much, i know exactly what i’m going to do and i’m coming out this from a very different - much more spontaneous angle.

It must be quite difficult though because you’ve got a lot of fabrics set up here - in the space - and it will need to move down to a new space.

I’m always changing it, that’s the thing about it. I’ve been using these chairs [to position it] and I like the idea people can then sit in the chairs. Originally I wanted it to be really clean and I was going to drill bits into the floor so I could do fastening very discreetly. Because I’m experimenting, I don’t want to do anything that will risk the fabric for the time being so I’ve just been attaching them to the objects that have been up here but actually the chairs work really well - if you go sit in the chairs you get a completely different angle from each one and it pulls you into certain points in the ceiling which I think is really interesting so maybe i’ll end up using chairs in the space.

Diana advised us to go with it and literally a few hours before opening just set it up and i was like oh god, i’m not sure about that but i get what she means, it’s a very spontaneous approach to something that could become very artificial. Like a bit pre-planned and rigid and what works about it right now is that it does feel fluid. I don’t mind if people move the chairs, it moves the dynamics of the space and that’s the fun - I can just take it down. Each time I take it down and put it back up it’s turned out completely differently.

Why did you apply for the residency?

I think it’s very difficult at the beginning to create by yourself with no input - it’s almost like you get so much freedom it’s overwhelming. The first few weeks after my degree I was really into the flow of it and I was really excited about what I was able to do; I started printing again and started doing things and really enjoyed the making aspect. I applied for the residency because I thought actually it gives me an opportunity to be experimental but within this sphere where you’ve still got other people's input - all these new artists, and everyone at Surface, that I’ve never met before and that’s really helpful because everybody has come from a slightly different perspective - so that’s an interesting dynamic for the group. We’re all very different in the subject matter, I was hoping that would be the case because it gives you a completely different input so i think the residency is really helpful because it’s that transition point.

So you’re enjoying sharing the space with other people?

I like the feedback because what you like doing, you can get very stuck in a certain route and you keep doing the same thing over and over again. You don’t have anyone to say oh what do you think of this - it’s really nice to have a new set of people to say should I make it interactive? Do you like these photographs ? It’s even really nice to have someone say I don’t think that’s working. People don’t often say they don’t like things - it allows you to question yourself a bit more.

Written by Lucinda Martin for Surface Gallery

Images by Gavin 'Urban Shutterbug' Conwill

www.connieliebschner.com

instagram..com/Connieliebschner_art

EM:16 Pulse

It’s one of the most exciting times of year at the gallery, not only is Halloween just around the corner but the East Midlands Graduate Programme is finally beginning its residency. Our eight resident artists have been chosen for offering a style and project our committee was genuinely excited to showcase; and this year our artists cover a wide variety of mediums and influences so it promises to be a varied and exciting show. There’s something incredibly special about the first project created after graduation when you are beginning to label yourself as an artist without the adage of ‘student’. We’re excited to be part of this transition and hope you are as well.

    Connie Liebschner, Uta Feinstein, Jane Smith, Dave Dent, Tracey King, Ellysia Bugler, Tayler Fisher, Miriam Bean

   Connie Liebschner, Uta Feinstein, Jane Smith, Dave Dent, Tracey King, Ellysia Bugler, Tayler Fisher, Miriam Bean

Our first planning meeting, this Monday, was the first time we’ve all met in one big group; this could be an incredibly awkward experience with lots of drawn out introductions and ‘ummm’s but everyone’s instantly bonded. We’re all there for the same reason, to create something great. and besides, we don’t have time for nerves, there’s too much to do.

                      The Group Discussing Ideas

                      The Group Discussing Ideas

Our main aim this week is to discuss flyers and names - how the group want to brand themselves and present their debut. The recurring idea is that the design, and name, needs to say ‘Artist’ not Art Student’. The name settled on is Pulse, and the flyer, well, you’ll have to keep an eye out for that.

This week, the group was happy to meet with John Mitchell, of WiT Partnerships, who is conducting an independent evaluation for Surface to follow the residency; it plans to see what the artists hope to gain from the residency, what their plans are and then will reflect back on this once the exhibition has actually begun. John describes it as “more about learning than evaluation,” and it promises to teach us at Surface as much as it does the artists.

Next week, the artists will be having their critique sessions, which was mentioned in our October newsletter. Local artists will be meeting with the graduates, based on their experiences for individual critique sessions, as well as a group critique. Look forwards to reading more about this next Wednesday, when we look back on what’s happening and how the group are feeling for their sessions.

                                                       The Artists known as Pulse            

                                                       The Artists known as Pulse            

This Saturday kicks off our first EM16 workshops, the ‘Noisemaker Workshop’ led by Miriam Bean and ‘Engaging the Senses’ with Ellysia Bugler. I’ll also be publishing some interviews with them on Sunday so make sure to check back and find out how it went!

Written by Lucinda Martin for Surface Gallery

Images by Gavin ‘Urban Shutterbug’ Conwill