Ian Thomson reflects on the nature of his sound work ‘Underground Lift’ and the connection between the inner ear and the Holbeck interchange.
‘Lost Portals’ continues at BasementArtsProject until Friday 26th April. There will also be a Lunchtime Conversation event on this day.
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The unusual texture of printed plastic, slightly warped due to AI filling in gaps, allow onlookers to discern between works cast in pewter and jesmonite. These ‘copies’ of works usually guarded behind glass evoke cultural memory yet leave viewers with a sense of remembrance just out of reach
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…my process is a hit and run technique, I can be anywhere and I might see something that grabs my attention, a shape a form that is different so like a photographer I want to capture that moment but instead of it being two dimensional it’s in the three dimensional realm.
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2023 was, for me, a tale of two birthdays. It was the year that I turned fifty-one and resigned from my job of nineteen years with the Henry Moore Institute. It also represented thirty-four years, to the day, since I took on my first proper job, beyond a paper round, with Sainsbury’s.
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Whilst I always understood that Jacob’s Ladder would be a labour of love for both myself, as BasementArtsProject: the commissioning organisation, and for sculptor Keith Ackerman, I knew that it would definitely take longer than the one-hundred days of the Yorkshire Sculpture International 2019. But we never imagined the three year odyssey that it would become thanks to the C***d pandemic lockdowns.
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For the last few months I have been in discussion with artist Paul Digby about his latest sculpture project ‘Looking To The Future: Emily’, and talking about BasementArtsProject’s position as co-creator on it.
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Beneath the surface of the locked down world the oxygen is running low. The tiny life support capsules sustaining our presence in the airless vacuum of millions of hard-drives, can only sustain three dimensional life for so long. It is time to head for the surface, but not too rapidly.
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So how do we get past the problem of perception, access and desire. Life is about dialogue, that is how we learn. We educate ourselves through experience, we find the edge of our zone of comfort and understanding and we push past it, through to what lies beyond.
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When we lose a sense of purpose we lose our sense of the future, and that is where hopelessness slips into the void and feeds our deepest fears. That is the point at which the sun sets never to rise again.
Read More![Lockdown Journal: Dortmund Edition [Travelogue 04]](https://images.squarespace-cdn.com/content/v1/5a32eeef7131a54afcc07e5f/1635117880847-SRT6NNJDF9ZL9NB46L88/IMG_6872.JPG)
Today is essentially a free day. With the exhibition now fully installed and all of the tech stuff working properly, I can spend the day taking in some art elsewhere. I have arranged to meet Sylvia and Christiane at the Dusseldorf U building.
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The question is how to achieve those elusive steps to improvement, how to train your vision on a new horizon and attempt to take people with you on that journey.
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there is something really fascinating about revisiting, reworking and stripping back. Sanding down the floor of the studio, peeling back layers of varnish and paint that had become caked on the floor was both an incredibly satisfying feeling - like cleaning a dirty kitchen and then seeing it sparkle
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. . . the fact that there is much art out there that most of us will never be able to experience firsthand does not mean that there is no point in trying to experience or understand it.
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There is something rather disheartening about opening up my computer each day to a raft of reminders and notifications telling me that I should be installing, opening, taking down yet another exhibition that has not happened.
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he source material, a photo of a wrapped garden ornamental pedestal, was sent to me by my American pal and painter Peter Waite.
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This series of drawings were made during coronavirus lockdown and are based on Henry Moore’s Three Standing Figures, which are based in my immediate locality and stand overlooking the quietness of the lake in Battersea Park.
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“…the situation we find ourselves in, here in the 21st Century, is a direct result of our colonial history and there is a bill that will always be due!”
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Alabaster for my brother’s 60th, made during the 2020 Covid-19 lockdown.
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As part of the Lockdown Journal I decided that at some point I would try and post something about work that I have produced myself; hence the Twin Peaks quote on the last BasementArtsProject journal page ‘Next time you see me it won’t be me!’. This time it is not BasementArtsProject it is me as Bruce Davies.
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