26 February 2015

EMMANUEL COOPER MEMORIAL LECTURE 2015 WITH ALISON BRITTON OBE

Marsden Woo Gallery artist Alison Britton is presenting the Emmanuel Cooper Memorial Lecture 2015 at the University for the Creative Arts, Farnham. Use and Beauty: things, thinking and work will take place on Thursday 5 March at 17.30.

The famous pairing of 'use and beauty' is Bernard Leach's and the largest Leach archive resides in Farnham at the Crafts Study Centre. Britton's lecture will explore a thread through her own work over the past few years that weaves different connection to use and beauty in the way her thinking has evolved through the mixed practice of making pots, writing and curating. It celebrates the instability of craft in the spectrum of art and design.

Tickets cost £10.00 per person and must be booked in advance through 318 Ceramics: http://www.318ceramics.co.uk/programmes-and-events/m/03/ Hurry, there are only a few spaces left!














25 February 2015

VIDEO: JAMES RIGLER, 'AT EVERY FADING OF THE STARS' AT TRAMWAY, GLASGOW

Please click the link to view a fantastic video by Tramway featuring Marsden Woo Gallery artist James Rigler's current show with them: https://www.youtube.com/watch?v=p5zIRr-H9OA&feature=em-share_video_user

For more information about At Every Fading of the Stars see our previous post here, or check out the Tramway website: http://www.tramway.org/events/Pages/At-Every-Fading-of-the-Stars.aspx

The exhibition has been wonderfully received, here are links to reviews in The Guardian and The Scotsman. Congratulations, James!























Stills courtesy of Tramway, Glasgow.

24 February 2015

NOW SHOWING: NAO MATSUNAGA 'MONSTER ROCK CIRCLE'

Some wonderful installation images of our current exhibition taken by Philip Sayer, below.

Nao Matsunaga, Monster Rock Circle, now showing until 21 March 2015.
 
Installation view of Nao Matsunaga, Monster Rock Circle (2015) at Marsden Woo Gallery
image © Philip Sayer, courtesy of Marsden Woo Gallery

Installation view of Nao Matsunaga, Monster Rock Circle (2015) at Marsden Woo Gallery
image © Philip Sayer, courtesy of Marsden Woo Gallery

Installation view of Nao Matsunaga, Monster Rock Circle (2015) at Marsden Woo Gallery
image © Philip Sayer, courtesy of Marsden Woo Gallery

Installation view of Nao Matsunaga, Monster Rock Circle (2015) at Marsden Woo Gallery
image © Philip Sayer, courtesy of Marsden Woo Gallery

Installation view of Nao Matsunaga, Monster Rock Circle (2015) at Marsden Woo Gallery
image © Philip Sayer, courtesy of Marsden Woo Gallery

Installation view of Nao Matsunaga, Monster Rock Circle (2015) at Marsden Woo Gallery
image © Philip Sayer, courtesy of Marsden Woo Gallery


















18 February 2015

CAROL MCNICOLL FEATURED IN 'BLUE AND WHITE: BRITISH PRINTED CERAMICS' AT THE V&A

A piece by Marsden Woo Gallery artist Carol McNicoll is currently featured in Blue and White: British Printed Ceramics, now showing at the V&A until 3 January 2016. 

The display is free of charge to enter and shows the wide variety of designs and decoration used in blue and white printed ceramics in Britain from the 1750s to present day, in both industrial and art production demonstrating how these objects reflect British society, culture and interpret the wider world. For more information, please see the V&A website: 
http://www.vam.ac.uk/whatson/event/4090/blue-and-white-british-printed-ceramics-2004476668/

The featured work is Home Sweet Home (image below), which was first shown in McNicoll's collaborative exhibition Ideal Home with Sam Scott and Jacqueline Poncelet at Marsden Woo Gallery in 2011.

Carol McNicoll, Home Sweet Home (2011) image © Philip Sayer, courtesy of Marsden Woo Gallery

13 February 2015

UPCOMING SHOW: NAO MATSUNAGA 'MONSTER ROCK CIRCLE' 18 FEBRUARY - 21 MARCH 2015

We have a very exciting new show opening next week - Nao Matsunaga's 'Monster Rock Circle' - which runs until 21 March 2015. In his second solo show with Marsden Woo Gallery, Matsunaga further explore his ongoing fascination with ceremonial objects and archetypes through otherworldly ceramic sculptures and abstract works on paper.

Matsunaga's interest in ritualistic objects, mythical beasts and cultural symbols became enhanced during his period of ceramic artist-in-residence at the Victoria and Albert Museum in 2014. Mysterious motifs run throughout this upcoming show in the forms of talismanic sculptures, totemic wooden elements and vibrant spirited paintings. 

For more details about this show, and future exhibitions, please see the press section of our website: http://www.marsdenwoo.com/press.htm

 

 


11 February 2015

LAST DAYS OF CURRENT SHOW!

We're now in the last few days of our current show - Laura Potter, 'Fictional Final Goal'. The exhibition finishes this Saturday 14 February at 6pm. Visit before then to avoid disappointment! 

For more information about this show, please see our previous blog post:
http://marsdenwoo.blogspot.co.uk/2015/01/now-on-laura-potter-fictional-final.html

All images © Philip Sayer, courtesy of Marsden Woo Gallery. 

Installation view of Laura Potter, 'Fictional Final Goal' at Marsden Woo Gallery (2015)


 
Installation view of Laura Potter, 'Fictional Final Goal' at Marsden Woo Gallery (2015) 



Installation view of Laura Potter, 'Fictional Final Goal' at Marsden Woo Gallery (2015)

Installation view of Laura Potter, 'Fictional Final Goal' at Marsden Woo Gallery (2015)

Installation view of Laura Potter, 'Fictional Final Goal' at Marsden Woo Gallery (2015)

31 January 2015

JAMES RIGLER 'AT EVERY FADING OF THE STARS' TRAMWAY, GLASGOW 30 JANUARY - 8 MARCH 2015

At Every Fading of the Stars, a new solo exhibition by Marsden Woo Gallery artist James Rigler, has just opened at Tramway, Glasgow. His bold and vibrant ceramic sculptures are inspired by the language of architectural ornament and ruins, and this show further explores his interest in domestic objects, architectural salvage and IKEA.

Rigler was the recipient of the European Ceramic Context New Talent Award 2014 and in 2013 - 2014 undertook a six-month ceramics residency at the Victoria and Albert Museum.

For further information about this exciting new exhibition please see the Tramway website: http://www.tramway.org/events/Pages/At-Every-Fading-of-the-Stars.aspx

Some images below of James Rigler's previous solo show The Fading City at Marsden Woo Gallery...

James Rigler, installation view of The Fading City (2013)
image © Philip Sayer, courtesy of Marsden Woo Gallery

James Rigler, installation view of The Fading City (2013)
image © Philip Sayer, courtesy of Marsden Woo Gallery

James Rigler, installation view of The Fading City (2013)
image © Philip Sayer, courtesy of Marsden Woo Gallery


















16 January 2015

MARSDEN WOO GALLERY ASSOCIATED ARTIST NICHOLAS LEES EXHIBITING AT PULS GALLERY, BRUSSELS

Marsden Woo Gallery associated artist Nicholas Lees is currently showing his exquisite ceramic optical objects at Puls Gallery, Brussels, alongside studio potter Ashraf Hanna. The show continues until 21 February 2015.

For more information about this exhibition, please see the gallery website: http://www.pulsceramics.com/

Further examples of Nicholas Lees' wonderful work can be seen below...



Nicholas Lees, Object 13.14 (2013) image © Nicholas Lees

Nicholas Lees, A Symmetrical Pair of Optical Vessels (2014) image © Sylvain Deleu

Nicholas Lees, A Symmetrical Pair of Optical Vessels (detail) (2014) image © Sylvain Deleu

Nicholas Lees, A Horizontal Vessel (2014) image © Sylvain Deleu

15 January 2015

NOW ON: LAURA POTTER, 'FICTIONAL FINAL GOAL' UNTIL 14 FEBRUARY 2015

Some superb installation images by Philip Sayer below of our new exhibition - Laura Potter, 'Fictional Final Goal'.

For more details about this show, please see our previous blog posts:
http://marsdenwoo.blogspot.co.uk/2015/01/upcoming-show-laura-potter-fictional.html
http://marsdenwoo.blogspot.co.uk/2015/01/laura-potter-fictional-final-goal.html

The exhibition press release can also be found on our website here.

Installation view of Laura Potter, 'Fictional Final Goal' at Marsden Woo Gallery (2015)
image © Philip Sayer, courtesy of Marsden Woo Gallery
Installation view of Laura Potter, 'Fictional Final Goal' at Marsden Woo Gallery (2015)
image © Philip Sayer, courtesy of Marsden Woo Gallery

Installation view of Laura Potter, 'Fictional Final Goal' at Marsden Woo Gallery (2015) focus on
3D Images, image © Philip Sayer, courtesy of Marsden Woo Gallery


Installation view of Laura Potter, 'Fictional Final Goal' at Marsden Woo Gallery (2015) focus on
'Early Recollections', image © Philip Sayer, courtesy of Marsden Woo Gallery

Installation view of Laura Potter, 'Fictional Final Goal' at Marsden Woo Gallery (2015) focus on
Paint Bomb, image © Philip Sayer, courtesy of Marsden Woo Gallery

Installation view of Laura Potter, 'Fictional Final Goal' at Marsden Woo Gallery (2015) focus on
Starbucks Pebbles, image © Philip Sayer, courtesy of Marsden Woo Gallery
 
Installation view of Laura Potter, 'Fictional Final Goal' at Marsden Woo Gallery (2015) focus on
Throwing Sticks, image © Philip Sayer, courtesy of Marsden Woo Gallery














14 January 2015

'ORIGINALS' BY TORD BOONTJE AND EMMA WOFFENDEN NOW SHOWING AT SOTHEBY'S LONDON

Sotheby's are currently showing a selling exhibition of work by internationally acclaimed designer and Marsden Woo Gallery associated artist Tord Boontje and Marsden Woo Gallery artist Emma Woffenden. Curated by Janice Blackburn, Originals showcases Tord Boontje's most celebrated pieces of furniture, lighting, jewellery and textiles alongside powerful sculptures and drawings by Emma Woffenden. This stunning show is a fantastic opportunity to see a retrospective by two renowned creatives and is absolutely not to be missed.

The exhibition runs until 18 January 2015, for more information please see the Sotheby's website here.


Tord Boontje, Fig Leaf Wardrobe (2008) image © Tord Boontje
Emma Woffenden, Elephant Boy (2012) image © Philip Sayer, courtesy of Marsden Woo Gallery


Emma Woffenden and Tord Boontje, Trapeze Figures (2009)
image © Emma Woffenden and Tord Boontje

10 January 2015

LAURA POTTER: FICTIONAL FINAL GOAL PROJECT

Preface: Fictional Final Goal

I have a photograph, taken when I was around three, of me and a friend standing on a patch of grass in front of a house. In this photograph my friend, who was the same age but much taller than me, has his arm around my neck in what appears to be an affectionate headlock, and we are both dressed-up. I am draped in a curtain and he looks as though he is wearing an adult nightie or negligee. I have no memory of this event, and yet I know exactly what it is supposed to signify. It is a wedding.



























Overview: Fictional Final Goal

This work is by two people. One of them is me, and the other is slightly different. At the time of writing, I am a woman in my early forties. I am a practising artist or craftsperson and the anxiety I experience on a daily basis - the angst and frustration that proceeds from everyday urban life - finds an acceptable outlet through my creative practice. Calling yourself an artist legitimises material output that would otherwise be considered abnormal: evidence of emotional or mental instability. Consciously showing this material output to people, further increases the potential for acceptance. If you make things and show them openly to other people in an exhibition you are an artist of some kind, and the things you make are some kind of art. If you make things and hide them in cupboards and boxes, you are something altogether different.

The German psychoanalyst Alfred Adler* advanced the notion that the ideal self we strive towards is not, in fact, an adult creation. According to Adler the mental model of a successful, happy life, which governs and guides our desires and aspirations, is based on an image we constructed when we were very young: an image that is formed by the time we are six. The kind of grown-up we think we should be, the idea of adulthood we strive towards both consciously and subconsciously, was established by our six year-old self as a model of perfection and success. This model is fixed, and consequently we are always struggling towards a future self that is unrealistic and unattainable because it was generated by a child.

These objects were made by a woman who is dissatisfied with contemporary expectations around her role and responsibilities. These expectations are genuinely held external assumptions as to what she should be or do, and are revealed through her material relationships with others and in parallel with her internalised self-image. The dissatisfaction manifests as a series of materially obsessive rituals, designed to subvert the domestic norms by which she feels bound. She attempts to remake her environment as a reflection of how she really feels, rather than simply following the patterns or instructions handed to her.
This work is by two people. One of them is me, and the other is a person that does not call herself an artist of some kind. She and I grew up together until the age of six. She makes things and hides them in cupboards and boxes. She makes things for herself – to express and to understand her own private logic – and not for an audience or public. She is not concerned with the discourse of contemporary craft and has no desire to find out about it.

*Alfred Adler (1870-1937) was a contemporary of Freud, who founded an independent school of psychotherapy based on his ideas of "Individual Psychology".


Ornaments/Armaments: Fictional Final Goal

It is difficult not to have ornaments. Small statuettes made of ceramic or metal, sitting on shelves gathering dust and having private conversations with one another. Most of my ornaments are inherited, but not in the genealogical sense of the word. They weren’t handed down to me by relatives. They are fragments of other times or of specific events: things that were temporarily placed somewhere and no-one ever moved them. I have never purposefully gone out and purchased a small statuette of any kind, with the intention of placing it artfully on a shelf.

Small porcelain figurines are adapted for mildly rebellious domestic acts. Ceramic mammals and birds deploy smoke, nail varnish and barbed shrapnel, and are lashed to wooden handles for throwing at unsolicited visitors.








The Hay Wain: Fictional Final Goal

What I should do, as a sign of real commitment to domesticity, is embark upon one of those very large pieces; one that is taken from a famous old painting that everyone would recognise. Something highly detailed and complex, requiring such patience and dedication that my mother-in-law would no longer feel the need to buy me kits for banal flowery bookmarks. Obviously I will never complete something like this, but just owning the kit might be enough to appease her. She may not, however, be so easily fooled.

A large cross stick pattern is cut into tiny individual strips and stuck back together with tape. The pattern is painstakingly reconfigured to reflect alternative versions of the 'ideal pastoral scene'.


Laura Potter, Skew (1/6) © Laura Potter
Laura Potter, The Hay Wain (constructed detail) © Laura Potter


This exhibition, curated by Tessa Peters, opens at Marsden Woo Gallery on 14 January and continues until 14 February. It is supported using public funding from the National Lottery through Arts Council England.

For more information, please see our previous blog post and the show press release:

9 January 2015

UPCOMING SHOW: LAURA POTTER, 'FICTIONAL FINAL GOAL' 14 JANUARY - 14 FEBRUARY

We have returned from Christmas break and are looking forward to our first show of the new year- Laura Potter, 'Fictional Final Goal', which runs from 14 January to 14 February 2015. The exhibition is described as 'a material portrait of a disillusioned woman' in which the artist has taken on the alter-ego of a woman who is dissatisfied with contemporary expectation around her role and responsibilities. This woman borrows ideas of craft from her childhood and puts her ideas into objects made with mundane materials which she has collected.

Crafts magazine is currently featuring a fantastic interview with Potter where she discusses her fascinating new project ahead of it opening at Marsden Woo Gallery: http://www.craftscouncil.org.uk/articles/me-myself-and-i/

To read the show press release, please click here.





























8 January 2015

MARSDEN WOO GALLERY ASSOCIATED ARTIST JOHN RAINEY SHOWING AT THE ONASSIS CULTURAL CENTRE, ATHENS

Marsden Woo Gallery associated artist John Rainey is currently exhibiting work in a show at the Onassis Cultural Centre in Athens. The exhibition is about 3D printing and its significance in the worlds of art, design and fashion, and it continues until 31 January. For more information please see the centre website here: http://www.sgt.gr/en/programme/event/1830

Rainey has also been awarded an arts council grant to develop his next solo show with Golden Thread Gallery in Belfast. We're looking forward to hearing more about this exciting project!

Some images below of Rainey's exhibited work, along with pictures of older work featured in 'Hyper Activity: Scenes from An Other Reality' - his Marsden Woo Project Space show in 2013.


John Rainey, 'Love in the Time of Artifice #6' (2014) image © Matthew Booth
John Rainey, 'The Fall of a Great Connection' (2013) image © Matthew Booth
John Rainey, The Insurgence Series (2012) image © Matthew Booth

Installation view of John Rainey, 'Hyper Activity: Scenes from An Other Reality' (2013)
at Marsden Woo Project Space, image © Philip Sayer, courtesy of Marsden Woo Gallery

Installation view of John Rainey, 'Hyper Activity: Scenes from An Other Reality' (2013) 
at Marsden Woo Project Space, image © Philip Sayer, courtesy of Marsden Woo Gallery
Installation view of John Rainey, 'Hyper Activity: Scenes from An Other Reality' (2013) 
at Marsden Woo Project Space, image © Philip Sayer, courtesy of Marsden Woo Gallery