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Forge for Derwent Pulse

This is Forge, an animation projection that was shown as part of Charles Monkhouse’s Derwent Pulse event at Darley Abbey, Derby on Friday night (31 October). It was made with my University of Derby colleagues Stuart Poynton and Marc Bosward. Rob and Phil at Derby QUAD provided the projection and the PA system.

We were approached by the Darley Abbey Society, after seeing our previous projection piece at Strutt’s North Mill Belper, to make a short animation work which was looped and projected onto the faces of the Grade I listed Long Mill (1782-89) and the adjoining West Mill (1819-21).

Stuart, Marc and I each made short animation sequences, with a soundtrack by Marc. The animation references the history of water, power, fire and rebuilding that characterises the history of the site. I used and abused letterpress printing I’ve made at the Univeristy of Derby’s printmaking studio. There is a certain joy in seeing little pieces of 30pt Univers lead type (with a x-height of about 6mm) transformed via ink, digits and light into 60 centimetre tall kinetic chaos bouncing across the walls of the mill.

Derwent Pulse
Darley Abbey Mills
Darley Abbey
Derby QUAD
Printmaking@derby
College of Arts University of Derby

From Here and There flyer3 Luddite Drawing Plain Weave (Tim Shore) SML

From Here and There

Three of my ‘Luddite’ series drawings have been selected for the group exhibition From Here & There: Drawings from Colorado & Wales.

The exhibition, curated by Jonathan Powell, director of the Elysium Gallery (Swansea) will open first at the Clara Hatton Gallery (Colorado State University) from 26 September to 26 October 2014. The exhibiton will then travel to Wales for From Here & There: Drawings from the UK at the elysiumoffsite venue ‘The Old Iceland Building’ in Swansea.

The preview is on Friday 28 November and the show continues until 20 December.

The three A2 drawings exist only as Giclée prints (oh the irony). They explores ideas around drawing, work, craft, repetition, copying and the presence and performance of the body in the drawing process.

In making the drawings I set myself rules that I deliberately could not meet. I devised a game that pitched the production of the drawing against factors like tiredness, concentration, measurement and correctness. My methodology was guided by Marina Warner’s writing about play and the haptic qualities of making and experiential learning, and David Pye’s theory of  ‘the workmanship of risk and the workmanship of certainty.’

The drawings look like textiles and in a way represent weaving and not weaving. They look like they may be an image of plain weave, but the drawn lines are not actually interlaced and therefore only have the appearance of warp and weft superimposition. The play with production and copying and the removal of the (drawing) hand is further tested by the last iteration of the drawings in their final form as digitally produced Giclée prints.

From Here & There: Drawings from Colorado & Wales
From Here & There: Drawings from the UK

Cabinet (T.Shore) 01 Cabinet (T.Shore) 02 Cabinet (T.Shore) 04 Cabinet (T.Shore) 05 Cabinet (T.Shore) 06 Cabinet (T.Shore) 07 Cabinet (T.Shore) 08

Cabinet (2006)

Cabinet is being shown in The Box Season 17,  a programme of artist film curated by Eve Ropek, at Aberystwyth Arts Centre from Monday 15 September to Friday 16 January 2015.

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The Print Project

I spent a happy five days last week at The Print Project, Shipley, West Yorkshire, on the Summer 2014 Letterpress Printing Workshop.

The last time I did any letterpress printing was in about 1980 or ’81 at Wolverhampton Polytechnic.

The week was great and really productive. After an overiew of  what the Print Project had to offer and an introduction to the basics by Nick we were left to get on with it with Nick offering help, guidance and instruction as we worked on typesetting (wood and metal) and printing while drinking gallons of tea.

I used text from my New Opportunities Award project for content and made a small ‘8 page right-angle fold’ (with a cut) publication, letterpress printed with a wood type on the front (Latin 18pt Bold Condensed) with a wood ornament and a little bit of metal type. And on the back I cast hotmetal 14pt Record Gothic Bold for the headings and 12 and 10pt Garamond for the body copy. Forgot to make a note of the leading (space between between the lines of type).

The hotmetal was cast using the Ludlow hotmetal typecasting system. The type matrices or mats (for casting) are assembled in a stick (below, where you can see the line ‘The Factory Inquiry Commission, 1833.’) which is then slotted into the machine. In the second photo you can see the stick after the type has been cast. Molten lead is fired into the mat and a metal slug with the line of type ready for composing and printing is pushed out of the machine (the third photo).

One of the hardest parts of the week was having to work without a computer.

The hands-on and physical nature of letterpress printing meant I had to work more instinctively, with an idea of what something might look like, because other than sketching it, I couldn’t visualise it precisely as I would do normally with InDesign. The placement of the type on the paper was largerly a process of trial and error as you are working with physical mechanical elements that must be lined up, measured, nudged, and realigned to get – sometimes – only close to what was originally planned.

Galley LudlowSlugsFolded insideFolded outside

The Print Project is beside the Leeds and Liverpool Canal which runs through Shipley. I wallked alongside it everyday to and from my B&B at Baildon and these last three images are of other lettering examples from beside the the towpath.

Graff 1 Saltaire AA Graff 2 JJ Rousseau Graff 3 Wild the Cities

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Rubbish Gallery at ADCo.

I submitted an image of my laser cut off-cuts to Alice Bradshaw’s Rubbish Artists’ Brief at ADCo. It’s online with other artists remnants of their practice. Alice (Museum of Contemporary Rubbish) is the guest curator for Advertisiting Exhibitions first online gallery.

ADCo.
Alice Bradshaw
Museum of Contemporary Rubbish

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Carbon (1′, 2001, RCA)

Carbon, a one minute film I made at the RCA in 2001, is being shown in ’Kinetic Typography’, part of the  #SEENINTHEDEEN exhibition at Peacock Visual Arts, Aberdeen.

The exhibition runs from 22 November to 21 December 2013. More information at Peacock Visual Arts.

Peacock Visual Arts
21 Castle Street
Aberdeen AB11 5BQ
Scotland, United Kingdom
01224 639539

Gallery Opening Hours
Tuesday to Saturday 9.30am to 5.30pm

Caution_Philosophy_72DPI_05Caution_Plurabelle_72DPI_01Caution_Philosophy_72DPI_04Caution_Philosophy_72DPI_03Caution (plan form) Tim Shore 72dpi

art:language:location
Cambridge, 17 October  – 13 November

Yesterday I attacked Cambridge with my corrugated cardboard quiver of one hundred arrow shaped ‘cautionary’ paper bookmarks.

My targets were Adam Smith, Darwin, Malthus, Riccardo et al. in the stacks of the Philosophy Library at the University of Cambridge, Sidgwick site.

I didn’t find Smith’s ‘An Inquiry into the Nature and Causes of the Wealth of Nations’ (1776) but I did discover his ‘Essays on Philosophical subjects’ (1795) under Modern Philosophy in the Metaphysics section A32 – A42.

I set to work. Because the bookmarks work best when massed together I clustered them around Adam Smith in a small space between two book stacks and now that the bookmarks are installed I’ve realised that /CAUTION/ is a sculptural and spatial installation that disrupts the grid of the library system.

The bookmarks are oversized and too large to be placed inside books so instead they are positioned in the spaces between the individual books, projecting out of the stack and into the library space. The bookmark’s diagonal motif – seen in its design and structure and its use of metaphor – extends the Cartesian x y plane of the library structure, experienced in book case, spine and shelf by extending along the z axis into three dimensional space.

The bookmarks themselves will be prone to disruption and displacement because the 70 or so placed in the Philosophy Library impede the students access to books. Over the duration of the art:language:location exhibition the installation is liable to displacement, replacement and destruction. Its final form is largely dependent on the engagement and playfulness of the faculty’s Philosophy students.

Or maybe they will stay away and not touch, because when I had finished making the installation I saw that the massed bookmarks presented an angry cluster of dense yellow and black darts or quills to the library suggesting that (the) books are not for reading.

A smaller cluster of bookmarks has also been installed in the stock of Plurabelle Books.

Casimir Lewy Library
Faculty of Philosophy
Sidgwick Avenue
Cambridge
CB3 9DA

Library Opening Hours
Monday to Friday 9am to 6pm
Saturday 10am to 5pm

Plurabelle Books
Homerton Business Centre
Bldg 3
Purbeck Road
Cambridge
CB2 8QL

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Jodie Foster is okay to go down the wormhole

My text based work Jodie Foster is okay to go down the wormhole installed at QUAD for the group exhibition Event Horizon (Friday 27 September to Sunday 1 December 2013).

Walking up from the mezzanine to the first floor and looking back down again and noticing how its almost impossible to photograph the work in situ. It’s not really a mezzanine, it’s somewhere where the staircase stops and turns a corner, affording a view of the Market place and also a peek down to the BFI Mediatheque on the ground floor (not shown).

http://www.derbyquad.co.uk/exhibition/event-horizon
http://www.derbyquad.co.uk/exhibition/time-travel-season-launch-and-exhibitions-opening

EH 01 IM
EH 02 OK
EH 03 TO
EH 04 GO
EH 05 x15

Jodie Foster is okay to go down the wormhole

My text based work Jodie Foster is okay to go down the wormhole is in the group exhibition Event Horizon at QUAD, Derby from Friday 27 September to Sunday 1 December 2013.

The work is made from the short phrase “I’m ok to go” which is repeated approximately 15 times by the actress Jodie Foster (playing scientist Eleanor Arroway) in Robert Zemeckis’s feature film ‘Contact’ (1997).

At a pivotal point in the film Jodie is found on the cusp of a very flashy CGI sequence that will launch her into the unknown and fling her down a wormhole to eventually arrive at a distant planet called Vega. There she will meet an alien who has considerately taken on the outward appearance of her deceased father (to make it less psychologically overwhelming for her).

The work celebrates Foster’s performance and her absolute desire to inhabit the role of a space scientist – on the cusp of what must be one of the greatest theoretical journeys unknown to humankind – to offer an alternative version of a fictional visualisation of an unknowable event.

Jodie Foster is okay to go down the wormhole is about performance, belief, anticipation, not knowing and Hollywood. It recontextualises a text from a significant and well-known work of popular culture to explore the theme of the Event Horizon exhibition – ‘the great sense of the unknown’.

Event Horizon is part of the Time Travel season at QUAD that also includes the Lindsay Seers show ‘Monocular4’ in the QUAD gallery.

http://www.derbyquad.co.uk/exhibition/event-horizon
http://www.derbyquad.co.uk/exhibition/time-travel-season-launch-and-exhibitions-opening

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Cloth&Memory2

These are photos of  ‘WARP + WEFT’ by Katharina Hinsberg from the textile arts exhibition Cloth & Memory (2), curated by Lesley Miller.

The work of 23 UK and international artists is exhibited in the former Spinning Room of Titus Salt’s Salts Mill, Saltaire, Bradford.

In 1853 when the mill complex was completed, it was the largest factory in the world and in its heyday the mill manufactured over 30,000 yards of alpaca cloth (using fleece imported from Peru) per day. The Spinning Room is 168 meters long and the exhibition catalogue details how at the peak of production the Spinning Room ‘contained 16,380 cap spindles for spinning yarn. Raw fleece arrived at the top of the building and was processed down through the building to emerge as finished cloth.’

Hinsberg’s work responds to the space the exhibition inhabits. It references the materiality of the spinning process by its use of a simple red yarn that is used first to measure the space and then as material to remake the room as a scale model (1:100) plan or diagram. The yarn is material, memory, measurement and dimension. Employing the line and the grid she creates an abstracted but tangible model of the space and its history that makes connections between yarn, weaving, production, architecture and process.

Cloth & Memory (2)
Salts Mill
Saltaire
Shipley
West Yorkshire BD18 3LA

clothandmemory.com