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It was late, and I was tired, but I could’ve sworn I saw a mother and child walking towards me that night. Why is it that our memories change so much in the after-thought of a major event? Why can’t I quite picture the look on her face, or the words on her t shirt? Perhaps they will read this message and contact me.
(Bevis Martin & Charlie Youle, ‘Mother and Child’, 2015)
#bevismartin#bevis martin#charlieyoule#charlie youle#bevis martin & charlie youle#sculpture#studiopoetry#mother#child#plaster#white#contact me
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‘But the floor is so smooth, we simply can’t dig here’
‘You must, that’s where the gold lies’
‘Can’t we dig over there, and come in through the side?’
‘Absolutely not’
(Cyprien Gaillard, ‘Today Diggers Tomorrow Dickens’, 2013, installation view at Barbara Gladstone Gallery, New York)
#cypriengaillard#cyprien gaillard#diggers#dickens#concrete#barbaragladstone#studiopoetry#industry#sculpture#art
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A long time ago an old man began to gather his things and rest them on top of each other. It was hard work and they fell over a lot. One time they didn’t fall over though, and the man was happy. This particular combination stood tall and strong for years, until the old man died and eventually the stack had to be dismantled.
(Oscar Enberg, ‘Imagination Dead Imagine (lilt for tenor and Jean Arp electric guitar)’, 2015, brass, bronze, copper plated, powder coated and rusted steel flue, stainless steel cowl, hand woven willow, wrought iron, custom electric guitar (Fijian kauri, mahogany, rosewood, paua shell veneer), H200cm x W450cm x D120cm)
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I can’t work out how big you are. Or how you are standing up. Or how it feels when I touch you. Or if I’m allowed to touch you.
(Anissa Mack, ‘Cathedral (Dak)’, 2013, Can, Amethysts, Mechanical Base, 8 1/2 x 7 x 7inches)
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That day was just perfect. The cool surf kept us refreshed and when the time came, we went to shred. Micky-Jo came in 3rd place at regionals!
(Kim Schoenstadt, ‘Sight Line Series: Southern California’, 2012, Photo with Drawing and Collage Mounted on Bristol Board)
#kimschoenstadt#kim schoenstadt#postcard#surf#surfing#southern california#socal#art#studiopoetry#sea#beach
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I struggled at my pottery class. I was sitting near to someone who worked for Habitat and had the lightest of touches with her glazing. She made beautiful pieces. The tutor told me to work on something that felt right. When it came to glazing I felt overwhelmed by the choice so stuck with what I knew
(Alice Mackler, ‘Untitled’, 2012, Ceramic, Glazed)
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It took ages to get the shiny ball in place. As we moved one tentacle into position, the other would move, and once that one was in position, the smooth ball would glide across the polished desk and perilously close to the grate. Eventually, Thom had the idea of using a clamp.
(Camille Henrot, ‘Digging for gold on another planet (Desktop series)’, 2014, Bronze, H50cm x W73cm x D20cm)
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‘No, it’s fine, the painting can have my seat’ Sally murmured as she leant against the seafoam-green wall. Her legs were killing, she’d been standing up all day and been for a run this morning. Still, paintings were more important than people to her mother.
(Ad Minoliti, ‘Mr Rosa’, 2015)
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‘Another notice?’, Josh said as he reluctantly taped the crisp sheet to the wall.
‘Just put it up there’
(John Houck, ‘Industrial Arts’, 2015, Archival Pigment Print, H132cm × W101cm)
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My fingernails were full of dirt and I was told to go and wash them. I quite liked them looking like that though; a clear crisp dark arch underlining my nail - a furrowed brow for my finger in one direction and a smart smile in the other.
(Max Hooper Schneider, ‘The Extinction of Neon 2′, 2015 (detail)
Acrylic Terrarium, Modelled Landscape, Used and Broken Neon Signs, Plastic Flora, Gallows Structure, Automotive Detritus, Steel Chains, GTO wires, Found Objects, Insect and Animal Matter, Polymer Resin, Custom Aluminium Stand
H167.6cm x W106.7cm x D61cm)Â
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Not there. No not there either. Look. Just. No, to the left. Too far. Come on. Just. Almost. No.
(Park McArthur, ‘Ramps’, 2014, installation view at Essex Street, New York, US)
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How it buzzed, and how it hurt she thought as she lay back quietly. It should look good though, and elegant (on the whole). He is quite mysterious.
(Mira Dancy, ‘Call From Violet’, 2015, Neon)
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You can cup your face in your hand, your chin in your palm, until it begins to sweat. There are 16 of us now, and we haven’t even begun
(Darja Bajagić, ‘Chess 2′, 2014, Mixed Media)
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Soon after, when the room empties, Ian opens his hand and shows Alexa the broken enamel shards that have gathered in his sweaty creases. She takes one and places it in the pocket of her fleece
(Stuart Middleton, 2013, Acrylic and Ink on Paper, H100cm x W65cm)
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Everything in scale felt so polite. But in matter so repulsive. ‘Mixed Media’, that pink piece that you defiled with your naïve handwriting
(Tom Owen, Untitled)
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Those horribly over-familiar scribbles on your favourite piece. You said that they’re not yours as if it would hide your anxiety, but it doesn’t
(Tom Owen, Untitled)
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There were four of us that day. All waiting and watching, waiting and watching. Whilst we all looked similar we couldn't relate to one another. Sometimes our spasmodic actions came at the same time, like an on-land synchronised swim.
(Dora Budor, ‘Amygdala’, 2014, 42″ Acrylic Screen, 4 Production Made Chest Prosthetics from ‘Splinter’, View Control Film, Wall TV Mounting Bracket, Assorted Hardware)
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