Friday, 20 July 2018

The Brownfield Research Centre - Brownfield Artists of the Day : Frederick Hubble, Pandora Vaughan, Angela Sidwell

In our ongoing series highlighting Artists and works submitted to our Brownfield Research Centre, each day until July 22nd, we will be highlighting the work of artists submitting to our Open Call.

Frederick Hubble, The Sower



Hubble's current practice encompasses ideas surrounding gesture. Working with the residual, the vestige of an art practice he investigates an idea of time, the continuing ruptures/ reformation/ the nonsensical to the sensual, in a multiplicity of forms and ideas.

Formulations of ideas can spring from the everyday, making and connections are formed everywhere.
Pieces are often traces of events or objects that are vestiges of gestures. He questions notions of authenticity through his practice, and the nature of experience and that translation or transference of experience, whether that is a gesture, a performance, a photograph or a piece of prose.

Through exploring different cultural and natural histories my practice interweaves narratives and histories attached to place. Exploring cultivation, growth and cooking as artistic gesture, creating through these methodologies art can become a cultural, physical exchange, a different form of cultivation that endures in a different manner to conventional art making.

He is interested in the cultural and natural histories of places, the forms we find in them, the presence we find in them, and how these presences resonate through creating artwork on the sites, the site becomes a lens through which to view art and become a new language through which the site can speak.


https://www.fredhubble.com
https://www.fredhubble.com/aleppo-pine
https://www.fredhubble.com/harvesting-dew-to-make-a-cup-of-coffee-

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Pandora Vaughan, Various

The Seed 2017


Silk & cotton on hessian stabilisation netting, seeds
Sited on a hidden railway embankment near Dial House in Essex
Words by Gee Vaucher
From the Emblems for Now series, in which I asked artists & writers for words about their work. ‘Peace Within Is the Seed, Peace Shared is the Flower’, was embroidered on netting and underplanted with wild flowers. As they grew the text disappeared. The work is now hidden and partially biodegraded.

http://www.pandoravaughan.com/hyponoia-emblems.html

Group of Seven 2018

plastic, ink, rope, soil, seeds
Unbesandten, Germany
For Wilde Welt Wald, BBM art collective

I see forests as a place of refuge between cultures. This is a transitory hand printed habitat linked with handmade rope and planted with seeds from the Longo Mai co-op. Both shelter and induced coma. The installation changes form as the season progresses. The print process became a celebration of inefficiency and self identifying intent.

http://www.pandoravaughan.com/unbesandten.html
http://bbm-ww.de/event/wilde-welt-wald-pfingsten-2018

Various Projects on Derelict Hard Surfaces

A small visual documentation of several projects where neglected sites were re-imagined. Some permanently, some imaginary, some briefly.
2009-2016

http://www.transitionbelsize.org.uk/projects/royal-free-growing-site
http://www.maindee.org/blog/huw-owen-writes-about-his-maindee-experience

Pandora Vaughan works with designed & confined spaces. Some of these are nostalgic, some futuristic, some internal, some imposed. They sometimes explore sentiment as a tool for coercion, the failure of collective memory in the public realm and/or the politics of land use. She uses a re-interpretation of ‘popular’ arts and texts in combination with intensive making.

She currently lives/works in London & Berlin

http://www.pandoravaughan.com/

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Angela Sidwell, Habitation, Crossing Point


Habitation
Porcelain paper clay, volcanic glazes, steel wire, 2018
  
Crossing Point

Stoneware paper clay, oxides, steel wire, 2018

Life finding temporary footholds in marginal spaces such as edge lands, brownfield sites and derelict buildings has become a significant focus of my work. I use paper clay to create fragmented sculptures - the paper fibres allow me to stretch and tear the clay, pushing it as far as I can before it breaks. The rough edges hint at a ragged and delicate life in the balance: I do not aim to capture a static moment: more a feeling of time continuum.

Volcanic glazes echo the textured greens, yellows and deep red hues of moss, lichen and rust that can I see taking hold between the nooks and crannies of both natural and manmade surfaces.

Exploration and consideration of these sites has encouraged me to revisit the use of wire in my work: Combining it with the fired clay is not a comfortable process - it is both physically challenging and visually there is a conflict between the juxtaposition of the two materials. But as the steel grinds with the ceramic surface there is a dialogue here between process and subject matter - that of life on the edge; harsh, precarious, difficult.





 

 

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