Students Rose Parish, Lucy Somers and Pip Preece will consider portraiture through the medium of painting in an innovative way. The face of the painter (if we are talking individually as well as relationally) can create an emotional, destructive and forceful piece of work that can always look back at us. We know painting is far from dead- in fact we know it is still one of the most widely practiced and philosophical contributions to an endless amount of artistic mediums that survive today.
I met Lisa Who last summer whilst I took on a studio down in Victoria Street whilst I was working at TATE for the Picasso exhibition. Her connection and knowledge surrounding the art world is quite vast, plus she is pretty down to earth. We all decided on using curve gallery (owned by Lisa and her partner Wayne) for a show. The show went pretty well (although i went half way through to go to the pub) – the fact it became three of us in such a small space worked out better and the curating was a great experience to handle not just with such a small group but also for myself. What I wanted more than anything was a strong painters show which will lead to more strong painter shows around Liverpool for the next few years hopefully. I do think it was missing.
I disagreed with the show having any connection with a module- although we are "marked" in a sense on the course. I found that extremely difficult to undertake after the show because I believe people were more concerned with that academic ideal of it, when in fact, it's really part of you as a artist and a larger experience with your practise.
There is a sporadic sense of work around Liverpool at the moment and in the UK. You question how much work is really being produced and what it is about is really unpredictable (not a bad thing.) I was thinking about this constantly before Berlin because in order to create a painters show there always has to be work available and ready to hang whereas for the Liverpool academy of arts show you had young artists with found pieces, dialogue, text, film mostly quickly done. The most important thing is the constant re-evaluation and further understanding of what you are dealing with.
In the nature of painting, you have a condemned amount of shows to ‘hangings on the wall’ . . . but I don’t condemn this to our show because I think the experience was needed early. So, back to thinking about shows I’d love to do open shows where paintings are placed directly in the floor (so you can walk/view from below) or travelling around large trucks on the side for a day or a couple of small pieces in a black cab.
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