Showing posts with label Liz West. Show all posts
Showing posts with label Liz West. Show all posts

Wednesday, 14 December 2016

Liz West featured in FRAME

I was delighted to be able to meet up with artist Liz West while she was in Newcastle. Liz recently invited me to contribute to 'Our Colour Wheel', a new work in a three-person alumni exhibition at Leeds College of Art's Vernon Street Gallery, part of the College's 170's Birthday celebrations. The exhibition opens tomorrow night, Wednesday 14th December 2016 and runs until 27 January 2017. Liz was able to show me a sneak preview of the works that will be in the exhibition, and I will share some of these once the exhibition has opened.



Liz was also excited to show me the latest edition of FRAME magazine. "Frame is the go-to reference for designers and interior architects." Since its inception, the magazine has identified the world’s most innovative interiors, and the December 2016 publication features an article about Liz West and her installation Our Colour Perception.



"Liz West creates vivid environments that mix luminous colour and radiant light. Working across a variety of mediums, West aims to provoke a heightened sensory awareness in the viewer through her works. She is interested in exploring how sensory phenomena can invoke psychological and physical responses that tap into our own deeply entrenched relationships to colour.


West's investigation into the relationship between colour and light is often realised through an engagement between materiality and a given site. Within physical and architectural space, West uses light as a material that radiates outside of its boundaries and containers. She playfully refracts light through using translucent, transparent or reflective materials, directing the flow of artificial and natural light. Our understanding of colour can only be realised through the presence of light. By playing and adjusting colour, West brings out the intensity and composition of her spatial arrangements."





Thursday, 8 December 2016

Our Colour Wheel


In October I received an invite to contribute to Our Colour Wheel, an ongoing project by artist Liz West which will be exhibited as part of a three person exhibition at Leeds College of Art. "Throughout 2016 Leeds College of Art has been celebrating 170 years of art education in Leeds. In recognition of the history of the College and the achievements of alumni, the Vernon Street Gallery in the College’s historic 1903 building is hosting a series of group exhibitions celebrating the diverse and ground breaking careers of past students and staff."

Colour Wheel, the forthcoming exhibition in the programme, features Georgina Starr, Liz West and Georgia Lucas-Going, a triptych of female contemporary artists who all studied at Leeds College of Art.

West is interested in human visual perception, particularly colour perception and how we all see and experience colour differently. For this exhibition she is asking Leeds College of Art alumni and staff to paint her their own interpretation of a traditional colour wheel (a pedagogical tool which has been at the foundation of her practice). Her aim is to illustrate our different perceptions of colour, how it is arranged and how we individually see and interpret colour. This series is part of her ongoing research into colour theory, human perception and light. The resulting collection of paintings will be exhibited together as a series in identical frames. After this exhibition West will open out this invitation to others.

The following instructions were given to the participants:

Paint your own interpretation of a traditional colour wheel.
Please use good quality white paper.
Please mix your own colour using only red, blue, yellow, black and white pigment
Use any type of paint or ink you wish
Annotate the painting if you feel suitable
Your colour wheel should fit the constraints of a 29.5cm x 29.5cm piece of white paper
A minimum diameter of 15cm for the colour wheel is necessary
Do not sign the artwork on the front I found the instructions quite limiting, particularly the rule that states that the colour wheel must be painted. I am very interested to see the range of responses that Liz has received.


Colour Wheel will open on Wednesday 14 December 5-7pm, and takes place at Vernon Street Gallery, Leeds College of Art.

The exhibition is open 15 December - 27 January 2017

For more information visit
http://www.leeds-art.ac.uk/news-events/events-exhibitions/2016/12/15/alumni-exhibition-colour-wheel/

http://www.liz-west.com/

Saturday, 24 May 2014

Liz West blog



I really enjoy keeping up to date with the work of artist and fellow lover of colour, Liz West by following her blog.

A while ago she disclosed that she felt stuck, and so with a little advice from her Mum, artist Jenny West, she developed a project to help her be playful and generate work in a free and open manner.

'Construction project' was intended as "a two or three week project of consecutive days", but has occupied her for a couple of months. During this period, every day Liz was in her studio, she had to construct, document and deconstruct a work using only materials that were already in her studio. 

Liz writes, "I felt liberated from the constants I felt I had, able to move freely around my mind in order to explore ideas, respond to space and in the selection of materials I choose."


http://liz-west.blogspot.co.uk

This exercise demonstrates the creative potential in following rules. I regularly construct rules that i have to work with. Rather than being restrictive, I find that a degree of narrowing down can be liberating. I liken it to looking at things with a macro lens; focusing on a smaller section can reveal and enhance, offering a new way to understand and interpret the world. 

Rules are one way of exerting control over what can otherwise be overwhelming.



Monday, 3 February 2014

Wrapped and moved

Today was the final day of destall of BRIMMING at 1 Royal Terrace. All the casts were wrapped in bubble wrap and transported out of the gallery, into my friend's car and then driven to my studio. We then loaded the casts into a number of shopping trolleys and wheeled them into the studio. 






Unfortunately, the lift that connects the ground floor with the main lift is not operating at the moment, meaning that I had to transfer the casts from one trolley, up a few stairs and into another trolley.





With over 100 bricks being moved, it was rather a time-consuming and laborious task, but I am pleased to report that all work arrived safely without any breakages.






















As I was filling and emptying the trolleys, I was reminded of a performance I did called Helter Skelter (video documentation can be seen on my website http://www.helenshaddock.co.uk/portfolio/index.php?sub=performance&link=helter-skelter) in which a similar cyclical process was followed, this time it being one of creation and destruction.



I was also reminded of a work by the artist Liz West in which she filled shopping trolleys with products of the same colour.

http://www.liz-west.com/index.aspx?sectionid=1206216

Tuesday, 29 October 2013

Liz West: An artist with extra Spice By Ian Youngs Arts reporter, BBC News

Liz West, a fellow artist, lover of colour, Glasgow School of Art alumni, and my ex-flatmate, talks about how her collection of Spice Girl memorabilia has helped fund her art practice.

Liz West: An artist with extra Spice
Liz West is known for her artworks that use bright coloured light
 
Artist Liz West is gaining a glowing reputation for her colour-drenched light installations - but her art career might not have taken off if it were not for her world-record collection of Spice Girls memorabilia. Art and pop can go hand-in-hand, she explains.
 
West is taking part in two exhibitions this week - one featuring her strips of coloured light radiating from the corner of an old warehouse, which is in the Synthesis exhibition as part of Manchester Science Festival.

She has a growing reputation as a contemporary artist thanks to her arrangements of lights in precise, pleasing patterns and her collections of objects bathed in bright, bold hues.
For the other exhibition, she has lent some of the 5,000 Spice Girls items she has amassed since the age of 11, including branded clothes, crisp packets and a clock, to an exhibition celebrating 40 years of Virgin Records in London.

As well as being an artist, West holds the Guinness World Record for the largest collection of Spice Girls memorabilia.

Liz West  
 
The Spice Girls collection comprises 5,000 items of clothing and merchandise
"The way I see it is that installation art is high culture and Spice Girls is pop culture," she says. "Although the two hold hands, they're separate."

When looking to launch her art career, West's Spice Girls obsession came in useful when she found she could get paid for loaning her girl-powered pop collection to museums, film crews and events.

"Because I was given that financial boost to start with, my art practice has been able to roll and roll," she says.

"Now I'm able to fund my art practice through my art. I don't have to work in Starbucks part-time. A lot of artists do have to work part-time, and I think that would kill any creativity for me. It really would."

West was born into the art world - almost literally - almost born on the floor of the Whitworth Gallery in Manchester, she says, when her mother Jenny was artist in residence there 28 years ago.

A five-day-old West attended the opening of her mother's exhibition.

Liz West exhibition  
 
West recently staged a solo exhibition in an empty office unit in Manchester.
 
When she was seven years old, West remembers putting nail varnish bottles on a bedroom shelf in line according to their colour. It is not difficult to spot a link between her love of colour as a child and the artworks she now creates.

Then when she was 11, the Spice Girls arrived.

"A very impressionable age, I think," she says. "I was hooked. The colour, the energy, the different personalities. That appealed - more so probably than the music."

When the Spice Girls' second album came out in 1997, West decided to collect any and every recording and item of memorabilia she could get her hands on.

"I'd go to the pound shop and buy bags of things as a 13- or 14-year-old. They brought out the dolls and I went to London to the Hamleys sale.

"Of course, when eBay appeared when I was 18, I had a student loan, went a bit mad, and it just continued."

Spice Girls at the Brit Awards 1997  
 
West owns Emma Bunton's 1997 Brit Awards dress - but not Geri Halliwell's
 
Influenced by her parents (her father Steve is also an artist), West attended the prestigious Glasgow School of Art.

"When I was a student, I'd go into the studio all day and then I'd go into the library in the evening and just bid and bid and bid [on eBay]," she says. "I'd have a day of art and an evening of Spice."

West says she has spent "tens of thousands" of pounds on her collection, which also includes outfits from the Brit Awards, the Spiceworld movie and the jacket Mel B wore to meet Nelson Mandela.

But it does not include the most iconic Spice outfit of them all - Geri Halliwell's union jack dress from the 1997 Brit Awards. That was bought by the Hard Rock Cafe in Las Vegas for £41,000.

"That's the holy grail," West says. "And it's in storage. That's quite upsetting."

Now, West's art career is taking off thanks to her luminous installations that look like she has dismantled and rearranged a rainbow.

Liz West exhibition  
 
West has been in exhibitions at Manchester's Cornerhouse and Blankspace
 
"Did you see the rainbow the other day over Manchester?" she says excitedly at the mention of rainbows. "This was a double one and it was a proper arch. I stopped in the street for about five minutes and stared at it.

"I thought, forget James Turrell and Olafur Eliasson and all the artists that I absolutely love - this is true absolute beauty. There's something in that that I could never create, even if I tried."

West says she is not worried about her Spice Girls obsession undermining her reputation as an artist.

"It's completely in keeping with my personality," she says. "And because I've got such a passion for it, I win people over with that passion. It's not just about T-shirts and dollies.
"As a serious artist, this is my career. I want to be nominated for the Turner Prize.

"If you look at other artists, there are quite a few that have quirky collections out there and haven't hidden them. I don't have a problem with it."

What do other artists say when they find out about the collection? "They think it's quite funny," West replies.

"You know, it would be really boring if I didn't do anything else. People tend to think that it's a quirk, and quite a nice one."

For the original article and to watch a video of Liz West on the BBC news, please visit

http://www.bbc.co.uk/news/entertainment-arts-24655947

Wednesday, 24 July 2013

Manchester International Festival

At the weekend I travelled to Manchester to visit the Manchester International Festival (MIF) and catch up with my good friends, artist Liz West and artist, curator and tutor, Mark Devereux (I will be blogging about their interesting work later on so keep a look out!)                                                                                                           

Our first stop was Piccadilly Place (http://www.piccadillyplace.co.uk/), a number of vacant multi functional spaces in the heart of the city centre. Mark explained that the office blocks had been built a number of years ago, but the large ground floor spaces have never been permanently filled due to the premium rental costs and so rather than leave the spaces empty, artists can hire them out for free. This seems a mutually beneficial scheme. Liz has booked one of the spaces for a show in September. While we were there one of the other spaces was being used as a gallery by artist Richard Shields.




Unlike Glasgow International festival of Visual Art which, as it's name suggests, concentrates on visual art, Manchester International Festival encompasses music, theatre, performance, visual art and more.

As we sat in Albert Square, the festival hub, live musicians provided cheerful rhythms. Local producers were offering high quality street food and stripy coloured deck chairs added to the summery vibe, enhanced by the glorious sunshine.




There was a cosmopolitan and continental feel to the city as we walked past graffitti artists working on walls, beautiful florists and unique cafes with outdoor tables and chairs.

After being shown a couple of Manchester's best art suppliers, (including the range of spray paints that Liz has currently been using in her work)



we headed to the Chinese Arts Centre (http://www.chinese-arts-centre.org/) where there is an exhibition by Jennifer Yang called First Step.




 I then headed to Mayfield depot, the disused railway station built more than a century ago. The expansive space was an idea setting for Martin Spangberg's "Epic", abstract artowkr in which nine dancers moved around an informal platform in weird and wonderful ways, reacting to each other, music being played and interacted with numerous objects surrounding them, all creating a vibrant and engaging landscape.


This dancer was pouring fluid onto glass sheets which reminded me of the breezeblock sized works I had made with coloured plaster at the Market Gallery.




The final artwork of the day was Tino Sehgal's "This variation", and what an artwork it was to end the day! 

As on the MIF website (http://www.mif.co.uk/event/tino-sehgal-this-variation),

  "This radical and immersive work plunges visitors into a pulsating sensory landscape, by turns enigmatic and recognisable. Taking advantage of the visitor’s own dilating pupils, This Variation constantly shifts perception, processing and transforming before eye and ear. "



Entering the pitch black room was rather daunting as I had no idea of the other people in the room or what was going to happen. Performers were constantly circulating the space, singing and making music of some kind. Gradually over the course of about 30 minutes, my eyes adapted, and by the end I was able to see the silouette of other people around me. It was a breathtaking experience.

Saturday, 2 March 2013

Market Gallery Residency - Day 20

Yesterday Liz asked whether I have tried using silicone paper to line my moulds, to which the answer is no. She recommended a silicon paper from Lakeland Plastics which she uses when she is baking. It is non-stick and can be used over and over again, and put in the dishwasher! I was rather overwhelmed at the range of non-stick sheets that are being sold at Lakeland Plastics, and after asking some advice, I bought a couple of non-stick materials to test out.

I rolled a couple of small cones from the two materials, and filled them to create solid cones. The 'non-stick baking parchment' with a lining of silicone was too thin and flimsy to hold its shape when filled, but I may be able to use this to wrap around solid forms such as the inside of a pipe.

The 'magic non-stick liner' was able to keep it's shape and was thicker and easier to form a cone with. The plaster was repelled by the surface, and so it would not be able to create a hollow form, but the plaster did set after time, and so could be used to create solid forms. I will see tomorrow if the plaster peels easily off the surface, and if this is the case, I may well be going back to the shop to see if they have large rolls of the material!

I am trying to create a form that has a solid single colour on the outside, but layers of colours on the inside. I want for the viewer to be surprised when they see inside. In order to be able to see the layers, the form will need to be bored into, and so I set up an experiment today whereby I inserted a cone wrapped in 'non-stick baking parchment' into the centre of the form. I had coated the outside of the would with a single colour of plaster, and will now fill around the outside of the cone with layers of coloured plaster.



I have been trying to create more 'polo' sculptures, but am finding this difficult as the plaster is not coming out of the mould easily, and in the process of trying to get the plaster out of the mould, the cast often breaks.


                                                                                                                                                
After my recent trip to Lakeland Plastics, I wonder whether a cake tin would be a good thing to use as a mould. I could line the cake tin with the baking parchment that I bought today.     

I added some more layers to the 'v-shaped' cardboard mould.                                                                                                                                                     

                                                                                                                                               
I am thinking of using the pipes as props within the exhibition, and started to pour layers of plaster around the edge of the pipe to create dribbles or spillages down the sides of the mould.                                                                                                


I worked on the grey outside of the corner cast, but am finding that each time I rotate the mould to cover another surface, the grey begins to peel off the other sides.


My experiment yesterday with adding the strengthening fabric to the sheet of plaster was very effective at adding strength. The cast could be removed from the mould without any breaking off, and the sheet is strong enough to be propped up against the wall.


I added a layer of the strengthening fabric to the breezeblock shaped casts from yesterday.

I am excited about the potential of using the strengthening fabric to create hanging sheets and also large sheets that stand up.






Friday, 1 March 2013

Market Gallery Residency - Day 19

I began the day with a walk to Allscot, a company specialising in glass fibre products. I have done some research into strengthing plaster, and it would seem that putting a layer of glass fibre in between 2 layers of plaster would strengthen the plaster. John, the guy I spoke to at Allscot was ever so helpful and suggested that a fabric would be better than glass fibre as glass fibre needs to be used with resin.

Back in the Market Gallery I had a good review of my work, and drew an inventory of all the work that I have made during the residency to date. I now realise how much I have to play with for the exhibition. I had a bit of a clear-up and thought about specific things I want to make.






I began a new hollow cylinder form, added another grey layer to the cardboard form, and tested out a small sample of the fabric weave that I hope will strengthen the plaster.

In the evening I had a wonderful studio visit from artist Liz West and Mark Devereux, Independent Curator, Artist & Tutor based in Manchester, UK. Blank Media Collective Founder & Director 2006-2012. I will post more about their work in later blog posts, so keep your eyes peeled! Meanwhile, here are some links to have a look at:

http://www.liz-west.com

http://liz-west.blogspot.co.uk/

http://www.axisweb.org/seCVPG.aspx?ARTISTID=14896

https://twitter.com/LizWest_Art

https://twitter.com/mark_devereux

http://www.markdevereux.co.uk/