New work by Melissa
Maloco using ash from a studio which was destroyed along with her Degree Show work will be shown at the GSA in Dunoon exhibition which opens on Friday 4 July 2014.
Maloco using ash from a studio which was destroyed along with her Degree Show work will be shown at the GSA in Dunoon exhibition which opens on Friday 4 July 2014.
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I felt that
there was something very fitting and beautiful in the use of a
material
there was something very fitting and beautiful in the use of a
material
born out of
destruction and tragedy “giving life” to new artwork
destruction and tragedy “giving life” to new artwork
Melissa Maloco
Artist Melissa Maloco,
a Fine Art Photography graduate from the GSA, lost all her work in the fire
that swept through the west wing of the Mackintosh Building in May 2014. Now
she has recreated part of her Degree Show using ash from the Mackintosh building
fire. Her pieces will be shown alongside work by eight other artists and
designers who graduated from the GSA last month in Part Seen, Imagined Part: GSA in Dunoon
which runs in the Burgh Hall from 4 – 26 July.
a Fine Art Photography graduate from the GSA, lost all her work in the fire
that swept through the west wing of the Mackintosh Building in May 2014. Now
she has recreated part of her Degree Show using ash from the Mackintosh building
fire. Her pieces will be shown alongside work by eight other artists and
designers who graduated from the GSA last month in Part Seen, Imagined Part: GSA in Dunoon
which runs in the Burgh Hall from 4 – 26 July.
Melissa’s work creates
visualisations of the everyday. Seemingly abstract images, they are the outcome
of concrete acts. For the original Negotiation
of Space (A Door Opening and Closing) a
line of carbon dust was poured onto a sheet of paper and placed inside a
doorway. The door was then opened and closed, sweeping the dust into a natural
curve and mirroring the door’s movements. The dust was fixed in place,
anchoring the fleeting action of something coming together and moving apart. For the recreated work she has used carbon dust from the fire and a
door in the Mackintosh Building.
visualisations of the everyday. Seemingly abstract images, they are the outcome
of concrete acts. For the original Negotiation
of Space (A Door Opening and Closing) a
line of carbon dust was poured onto a sheet of paper and placed inside a
doorway. The door was then opened and closed, sweeping the dust into a natural
curve and mirroring the door’s movements. The dust was fixed in place,
anchoring the fleeting action of something coming together and moving apart. For the recreated work she has used carbon dust from the fire and a
door in the Mackintosh Building.
“Negotiation of Space (A Door Opening and Closing) was my favourite work in my Degree Show
presentation,” says Melissa. “When I
was invited to make work for the GSA at Dunoon exhibition my first thought was
to remake this work in some way.
presentation,” says Melissa. “When I
was invited to make work for the GSA at Dunoon exhibition my first thought was
to remake this work in some way.
Throughout my final year I had been working a lot with carbon, dust and
general bi-products of the everyday from both ourselves and our environment,
making large, abstract sweeping drawings with carbon as a means of representing
our passage through space, and anchoring the momentary human presence.
general bi-products of the everyday from both ourselves and our environment,
making large, abstract sweeping drawings with carbon as a means of representing
our passage through space, and anchoring the momentary human presence.
The fire was such a huge, pivotal moment in all of our lives making the
pieces felt necessary as a means of processing the event. The fact that the carbon used in these drawings came directly
from the Mackintosh building after the fire added another layer to the already
loaded material.
pieces felt necessary as a means of processing the event. The fact that the carbon used in these drawings came directly
from the Mackintosh building after the fire added another layer to the already
loaded material.
I felt that
there was something very fitting and beautiful in the use of a
material born out of destruction and tragedy “giving life” to new
artwork. Also, being granted access to the Mack post-fire to create the
work really helped me to deal with and process the incident.
there was something very fitting and beautiful in the use of a
material born out of destruction and tragedy “giving life” to new
artwork. Also, being granted access to the Mack post-fire to create the
work really helped me to deal with and process the incident.
The carbon
used in the drawings came from both the Library and Studio 32, my own Degree
show space, and the drawings serve as a sort of conclusion to this area of my
practice.
used in the drawings came from both the Library and Studio 32, my own Degree
show space, and the drawings serve as a sort of conclusion to this area of my
practice.
There is power
in their subtlety that speaks of the incident and the emotions felt far
more effectively than my words ever could.”
in their subtlety that speaks of the incident and the emotions felt far
more effectively than my words ever could.”
Also on show in the
exhibition is Survival II, an
installation made of raku-fired ceramic stones resting on black sand by
Painting & Printmaking graduate Lin Chau. The name of the piece has taken
on an added resonance since the fire. Lin’s original work had been created for
Degree Show and as it was installed in the east wing of
the Mackintosh building it was one of the artworks that survived unscathed.
exhibition is Survival II, an
installation made of raku-fired ceramic stones resting on black sand by
Painting & Printmaking graduate Lin Chau. The name of the piece has taken
on an added resonance since the fire. Lin’s original work had been created for
Degree Show and as it was installed in the east wing of
the Mackintosh building it was one of the artworks that survived unscathed.
Part
Seen, Imagined Part: GSA in Dunoon has been curated by GSA
alumni Theresa Moerman Ib and Colm Docherty. It features work by jeweller Ellis
Mhairi Cameron, Communication Design graduate Zheng Li and pieces by Fine Art
graduates Lin Chau, Romy Galloway, Joe Hancock, Melissa Maloco, Nicola Massie,
Frank McElhinney and Norman Sutton-Hibbert.
Seen, Imagined Part: GSA in Dunoon has been curated by GSA
alumni Theresa Moerman Ib and Colm Docherty. It features work by jeweller Ellis
Mhairi Cameron, Communication Design graduate Zheng Li and pieces by Fine Art
graduates Lin Chau, Romy Galloway, Joe Hancock, Melissa Maloco, Nicola Massie,
Frank McElhinney and Norman Sutton-Hibbert.
“The title of
this year’s GSA in Dunoon show is borrowed from one of Charles Rennie
Mackintosh’s watercolour drawings made in 1896,” says Theresa Moerman Ib. “It reflects the unique process involved
in selecting this year’s graduates for the exhibition due to the fire that
damaged and destroyed part of the Mackintosh Building and the Fine Art Degree Show.”
this year’s GSA in Dunoon show is borrowed from one of Charles Rennie
Mackintosh’s watercolour drawings made in 1896,” says Theresa Moerman Ib. “It reflects the unique process involved
in selecting this year’s graduates for the exhibition due to the fire that
damaged and destroyed part of the Mackintosh Building and the Fine Art Degree Show.”
“We were able
to view some works physically, some survived only as photographic
representations and some were lost entirely and had to be described to us
verbally,” she adds. “By partly seeing existing work and partly imagining what the
selected artists would be able to present, we worked to curate a show that
provides a visual and mental space for
reflection on the events that have affected the entire GSA community over the past
weeks.”
to view some works physically, some survived only as photographic
representations and some were lost entirely and had to be described to us
verbally,” she adds. “By partly seeing existing work and partly imagining what the
selected artists would be able to present, we worked to curate a show that
provides a visual and mental space for
reflection on the events that have affected the entire GSA community over the past
weeks.”
The exhibition, which
also features a digital slideshow of images submitted by each student from the
final year in Fine Art, which was recently presented at the showcase at
Glasgow’s McLellan Galleries, celebrates the resilient spirit of the GSA
graduates as they continue to make their mark beyond the boundaries of the GSA.
also features a digital slideshow of images submitted by each student from the
final year in Fine Art, which was recently presented at the showcase at
Glasgow’s McLellan Galleries, celebrates the resilient spirit of the GSA
graduates as they continue to make their mark beyond the boundaries of the GSA.
Ends
Further information:
Lesley Booth,
0779 941 4474
Listing
July
4 – 26 2014 (Thursdays – Saturdays
only 12noon – 3pm)
4 – 26 2014 (Thursdays – Saturdays
only 12noon – 3pm)
Dunoon Burgh Hall
195 Argyll Street, Dunoon, PA23 7DD
Scotland, UK.
Scotland, UK.
Part
Seen, Imagined Part: GSA in Dunoon
Seen, Imagined Part: GSA in Dunoon
Exhibition of work by recent graduates
from the Glasgow School of Art including new work by artists impacted by the
fire in the Mackintosh Building.
from the Glasgow School of Art including new work by artists impacted by the
fire in the Mackintosh Building.
Free
Information 01369 703302 www.burghhalldunoon.com and www.gsa.ac.uk/exhibitions
Notes for Editors
Rationale
The title of this year’s GSA in
Dunoon show is borrowed from one of Charles Rennie Mackintosh’s watercolour
drawings made in 1896. It reflects the unique process involved in selecting
this year’s graduates for the exhibition due to the fire that damaged and
destroyed a significant part of the Mackintosh Building and the Fine Art degree
show on the 23rd of May 2014. Some works we were able to view
physically, some survived only as photographic representations, some were lost
entirely, while others had to be described to us verbally by department tutors
or the artists themselves. By partly seeing existing work and partly imagining
what the selected artists would be able to present, we worked diligently to
curate a show that provides a visual and
mental space for reflection on the events that have affected the entire GSA
community over the past weeks. At the same time, it is a show that
celebrates the resilient spirit of the graduates as they continue to make
their mark beyond the physical boundaries of the art school itself.
Dunoon show is borrowed from one of Charles Rennie Mackintosh’s watercolour
drawings made in 1896. It reflects the unique process involved in selecting
this year’s graduates for the exhibition due to the fire that damaged and
destroyed a significant part of the Mackintosh Building and the Fine Art degree
show on the 23rd of May 2014. Some works we were able to view
physically, some survived only as photographic representations, some were lost
entirely, while others had to be described to us verbally by department tutors
or the artists themselves. By partly seeing existing work and partly imagining
what the selected artists would be able to present, we worked diligently to
curate a show that provides a visual and
mental space for reflection on the events that have affected the entire GSA
community over the past weeks. At the same time, it is a show that
celebrates the resilient spirit of the graduates as they continue to make
their mark beyond the physical boundaries of the art school itself.
(Curators)
Ellis Mhairi Cameron (Silversmithing & Jewellery)
Cuimhne Collection
Silver,
slate, stone, found objects
slate, stone, found objects
My current body of work investigates the feelings related to personal
bereavement and the process of grieving. In order
to give my research a sense of visual concreteness, I primarily documented the
surroundings of my family environment as it triggered particularly strong
recollections. I
explored a monochrome colour palette to suggest ideas of removal, abstraction
and the balance between presence and absence. I
focused on the importance of subjective worth, through exclusively combining
silver with ‘non-precious’ found elements, such as slate and stone. I have
utilised metal work practices such as casting, forging and chasing. I am
developing innovative ways of using these time-honoured skills as a way of
chronicling states of emotion. These
interpretations give a constancy of form to the otherwise intangible; allowing
my memories physicality, through my studies of the natural landscape. My
collection stands both as a record of loss
and as a consideration of the fragility and subjective nature of time.
bereavement and the process of grieving. In order
to give my research a sense of visual concreteness, I primarily documented the
surroundings of my family environment as it triggered particularly strong
recollections. I
explored a monochrome colour palette to suggest ideas of removal, abstraction
and the balance between presence and absence. I
focused on the importance of subjective worth, through exclusively combining
silver with ‘non-precious’ found elements, such as slate and stone. I have
utilised metal work practices such as casting, forging and chasing. I am
developing innovative ways of using these time-honoured skills as a way of
chronicling states of emotion. These
interpretations give a constancy of form to the otherwise intangible; allowing
my memories physicality, through my studies of the natural landscape. My
collection stands both as a record of loss
and as a consideration of the fragility and subjective nature of time.
Lin Chau (Painting
& Printmaking)
& Printmaking)
Survival II
Raku-fired ceramic stones, black sand
My influences are first and foremost, things I see, feel and experience. However,
over the years, I have been particularly drawn to issues related to
migration, the idea of existing in-between spaces and notions of transience and
displacement. At present, I am interested in the interconnection between
the subjective and the objective aspects of what we encounter through the media
and how politics and world events increasingly enter our daily domestic
sphere. The core of my practice
includes drawing, printmaking and installations. The material I use is
often semi-autobiographical, stemming from my own cultural and social
influences. The subject matter of each body of work determines the materials
and the forms of the work; they can be constructed or ready-made. My
projects often consist of multiple works that use a range of different
media and are grouped around specific themes and meanings.
over the years, I have been particularly drawn to issues related to
migration, the idea of existing in-between spaces and notions of transience and
displacement. At present, I am interested in the interconnection between
the subjective and the objective aspects of what we encounter through the media
and how politics and world events increasingly enter our daily domestic
sphere. The core of my practice
includes drawing, printmaking and installations. The material I use is
often semi-autobiographical, stemming from my own cultural and social
influences. The subject matter of each body of work determines the materials
and the forms of the work; they can be constructed or ready-made. My
projects often consist of multiple works that use a range of different
media and are grouped around specific themes and meanings.
Romy Galloway (Painting & Printmaking)
Screened Out
Oil
paint on plastic
paint on plastic
I consider myself first and foremost
a painter, but led by a practice that hinges on material weight and encounter.
My painting is still led by the representation of space and light, handling
images now of a certain flatness and spatial plane, a certain brightness or
light, a certain grain of colour, or texture. Involved in a conversation
between two representative structures and regimes of viewing, my painting
practice seeks to translate and open up a contemporary visual culture of
screens. The works look to new terms of conceptual dimensions for images,
aesthetic influence, and the effect this culture has on the actual images that
we proliferate and the terms of interaction they instil.
a painter, but led by a practice that hinges on material weight and encounter.
My painting is still led by the representation of space and light, handling
images now of a certain flatness and spatial plane, a certain brightness or
light, a certain grain of colour, or texture. Involved in a conversation
between two representative structures and regimes of viewing, my painting
practice seeks to translate and open up a contemporary visual culture of
screens. The works look to new terms of conceptual dimensions for images,
aesthetic influence, and the effect this culture has on the actual images that
we proliferate and the terms of interaction they instil.
Joe Hancock (Sculpture & Environmental Art)
Cataphote, or, Beauty is in the I of the Beholder
Archival inkjet print
I am a maker; sculptor; writer. My
work is multidisciplinary and allows me to explore phenomenological questions
about our existence in relation to the material world. I believe that the act
of making is universal, profound and extends beyond the physical: what
interests me is how things come into being, what happens to them and what they
mean.
work is multidisciplinary and allows me to explore phenomenological questions
about our existence in relation to the material world. I believe that the act
of making is universal, profound and extends beyond the physical: what
interests me is how things come into being, what happens to them and what they
mean.
The making of thoughts and objects,
tangible and intangible, occurs in the transcendental moment between
non-existence and existence. We construct our own human condition in this
manner, all self-important yet ephemeral, made by our own hand.
tangible and intangible, occurs in the transcendental moment between
non-existence and existence. We construct our own human condition in this
manner, all self-important yet ephemeral, made by our own hand.
Cataphote… plays with the
experience of reading i.e. the moment when we translate what we see into what
we think and feel; when we make belief. The work exists as a virtual book,
present only as a catalogue entry in the libraries of three art schools I have
attended (Leeds, Glasgow, Chicago), where ideas were made.
experience of reading i.e. the moment when we translate what we see into what
we think and feel; when we make belief. The work exists as a virtual book,
present only as a catalogue entry in the libraries of three art schools I have
attended (Leeds, Glasgow, Chicago), where ideas were made.
Zheng Li (Communication Design)
Diary in Puzzle/Embossed
Diary
Laser
cut MDF, acid-free paper
I like to play with letters because
I was deeply influenced by the graphic designer Stefan Sagmeister. For this work,
I used an extract from my diary. I tried to deconstruct meaning by making the
piece illegible. After many experiments and lots of research, I made this final
piece. You can actually play with the puzzle and move the pieces around.
However, it is a conceptual art piece and also very fragile, so I do not allow the
audience to touch it.
I was deeply influenced by the graphic designer Stefan Sagmeister. For this work,
I used an extract from my diary. I tried to deconstruct meaning by making the
piece illegible. After many experiments and lots of research, I made this final
piece. You can actually play with the puzzle and move the pieces around.
However, it is a conceptual art piece and also very fragile, so I do not allow the
audience to touch it.
Melissa Maloco (Fine Art Photography)
Negotiation of Space (A Door
Opening and Closing)
Opening and Closing)
Carbon
dust, artist’s paper
dust, artist’s paper
My practice is an ongoing
exploration of the dialogue between ourselves and our surroundings; a
visualisation of connections in the everyday. Seemingly abstract images
record the absence of an activity, solidifying the unseen. Hovering
between presence and absence they are abstract marks created from very concrete
acts. It is reality, but not always tangible.
exploration of the dialogue between ourselves and our surroundings; a
visualisation of connections in the everyday. Seemingly abstract images
record the absence of an activity, solidifying the unseen. Hovering
between presence and absence they are abstract marks created from very concrete
acts. It is reality, but not always tangible.
I am interested in finding a way to
make materials that lack intimacy vessels for emotion, reconstructing the
domestic and using process to generate narrative within the work. I am keen to
explore our relationship with the unseen and re-establish our connection to the
unobserved, ‘nothing’ refers to the presence of something; it is just something
other than what is being sought.
make materials that lack intimacy vessels for emotion, reconstructing the
domestic and using process to generate narrative within the work. I am keen to
explore our relationship with the unseen and re-establish our connection to the
unobserved, ‘nothing’ refers to the presence of something; it is just something
other than what is being sought.
Nicola Massie (Painting & Printmaking)
Remnants, Static, Bottle, Stone
Screenprint
on paper, image transfer on glass bottle and stone, various objects in resin.
on paper, image transfer on glass bottle and stone, various objects in resin.
Playing host to the multitude, each
city provides a stage for similar patterns and urban practices. Moving from one
city to the next, I have become fascinated by the dynamics of the metropolis,
observing within it the paths of individuals that intertwine and connect to
compose a manifold story of the urban environment. In their wake emerges an
archaeology of traces — a bus ticket, a receipt, a sweet wrapper. These
ephemeral fragments, which comprise the residual matter of everyday existence,
are what have informed my recent practice. Exploring ways to record traces of
regular activity and interested in the accumulation of matter, I began to
collect and document found objects, layering the resulting imagery on a daily
basis to create dense, black prints. Preserved in resin, other remnants float
in suspended animation, a frozen cross-section of human consumption during a
particular moment in time.
city provides a stage for similar patterns and urban practices. Moving from one
city to the next, I have become fascinated by the dynamics of the metropolis,
observing within it the paths of individuals that intertwine and connect to
compose a manifold story of the urban environment. In their wake emerges an
archaeology of traces — a bus ticket, a receipt, a sweet wrapper. These
ephemeral fragments, which comprise the residual matter of everyday existence,
are what have informed my recent practice. Exploring ways to record traces of
regular activity and interested in the accumulation of matter, I began to
collect and document found objects, layering the resulting imagery on a daily
basis to create dense, black prints. Preserved in resin, other remnants float
in suspended animation, a frozen cross-section of human consumption during a
particular moment in time.
Frank McElhinney (Fine Art Photography)
Slate: Drawing Exchange
Ink
on paper
on paper
Here are one hundred and two unique
prints made using broken slates from the Glasgow School of Art, mirroring the
number of GSA fine art students graduating in 2014. Visitors may take a slate
mono-print from the wall in direct exchange for making their own drawing of a
building. A selection of these drawings will then become the remaining trace of
the artwork. The artwork itself lies in the act of creative exchange.
prints made using broken slates from the Glasgow School of Art, mirroring the
number of GSA fine art students graduating in 2014. Visitors may take a slate
mono-print from the wall in direct exchange for making their own drawing of a
building. A selection of these drawings will then become the remaining trace of
the artwork. The artwork itself lies in the act of creative exchange.
Fire in The Mack, it’s a big story
that calls upon communal support and resilience, but we are all in the same
boat trying to reach safe shores. Dunoon Burgh Hall has its own appeal for
refurbishment donations to cover costs both large and small. The smallest item
on the list reads: “£5 – buy a slate for the roof”.
that calls upon communal support and resilience, but we are all in the same
boat trying to reach safe shores. Dunoon Burgh Hall has its own appeal for
refurbishment donations to cover costs both large and small. The smallest item
on the list reads: “£5 – buy a slate for the roof”.
I make drawings, photographs and
barters.
barters.
Norman Sutton-Hibbert (Sculpture & Environmental Art)
Boyfriend Material
Salvaged
men’s shirts, buttons, wooden drawer, fishing wire
men’s shirts, buttons, wooden drawer, fishing wire
As an artist I use painting,
printmaking, collage and sculpture to enable me to pursue my interest in the
conventions of colour, and the roles of pattern, repetition and multiples. In
my sculptural work I have a real love of using discarded fabrics, often combined
with found objects, to allow me to explore these interests. Fabrics also allow
me to engage with the history or presence of the previous users, and to begin
to add my own through my working with them.
printmaking, collage and sculpture to enable me to pursue my interest in the
conventions of colour, and the roles of pattern, repetition and multiples. In
my sculptural work I have a real love of using discarded fabrics, often combined
with found objects, to allow me to explore these interests. Fabrics also allow
me to engage with the history or presence of the previous users, and to begin
to add my own through my working with them.
‘Boyfriend Material’, is one of
several works, three of which were destroyed in the GSA Mackintosh building
fire, created in response to my interrogation of the concept of male identity,
and how it is constructed or played with. ‘Boyfriend Material’ is primarily
about a man/men reflecting on past loves and loves who, for a myriad of
reasons, never were.
several works, three of which were destroyed in the GSA Mackintosh building
fire, created in response to my interrogation of the concept of male identity,
and how it is constructed or played with. ‘Boyfriend Material’ is primarily
about a man/men reflecting on past loves and loves who, for a myriad of
reasons, never were.