Marco Palmieri

Algae
Ink, Watercolour, and Gouache on Paper

Marco Palmieri

The Forest
Ink and Acrylic on Paper

Marco Palmieri

Hello Kitties
Watercolour and Gouache on Paper

Hannah Lees editions for sale

Hello everyone!

This is just a quick note to tell you that as of Sunday 1 April you will be able to purchase my small sculpture editions (and other peoples stuff) from 'Shop' (above Chambers cafe), so please check it out!

Word to your mother

Drawing Show Proposal-Horsebridge Centre

Hello to all. This is the drawing proposal for the show we are trying to set up in the Horsebridge centre in Whitstable. The directore of the place, Hannah, has recieved the proposal and images, and really loved it. Unfortunately, the space is booked until mid-2008. But we are high on the waiting list. Basically, if anybody cancels, we get the space. This means that if we get the space, it will be on a very short notice. That is why I am showing you the proposal.

Just have a think about it, and if you are interested, start drawing! Basically, if the show is offered to us, I'll call you up and ask if you have anything, and if you do, you're in the show! This included even the people who have not been included in the proposal. So please give us some feedback on what you think.

Proposal

Drawing is a practice which is carefully embedded in everyday life. From home, to school, to work, and even in our free time, drawing is one of the earliest tools of communication we have at our disposal. It presents itself in various ways, from childish doodles to official architectural plans. Drawing in fine art is but one of many examples.

This show will present various examples of how drawing presents itself in contemporary artists’ practices. The artists who will be exhibiting come from different countries and backgrounds, providing a more varied collection of work.

The Artists:

Ben Fletcher obsessively collects disparate kinds of objects, and meticulously reworks them, transforming them into new precious oddities. Clocks, door knobs, and walking sticks transform to become strange framing devices for little drawings which can be found encapsulated in the pieces.

Kuriko Kraemer fully enjoys the experimental and experiential nature of drawing. Her works evolve without a fixed composition, leaving space for the development of abstract images. Her works reference the primitive nature of drawing. She does not use it as a tool to illustrate an idea, but rather investigates the basic techniques of drawing (contour-line drawing, perspective, etc.)

Ceci Lombardi’s works develop like single-celled organisms. Initially large stains, these amorphous forms gain corporeal solidity by the various marks (lines, squares, circles, notes, shadows) which follow. This organic growth of the image/idea results in the creation of work which borders between painting and drawing, abstraction and rationalizing figuration.

Marco Palmieri’s work investigates the relationship between architecture and ideology. The use of architectural drawings to portray idealized landscapes has been present in city planning for many centuries. He uses these same tools of constructions to illustrate run-down rural areas, to produce anti-ideological scenes.

Maria Søilen Jahr draws large diagrams of odd vegetable/animal hybrids. Reproduction, enclosure, shelter, and survival are some of themes she illustrates in her work, presenting images of alluring organisms. Referencing the current climate of biotechnology, the work aims to investigate how natural shapes relate and interact, questioning the body as a machine and an interdependent or parasitic relationship with the plant/botanical world.

Russell Terry’s sculptures are a result from an extensive number of sketches and diagrams. There is a constant interplay between drawing and sculpture, form and body, pure idea (Plato) and mere physical presence. Through a study of various sketches and maquettes, a sculpture finally takes form, rooted in the very foundations of drawing itself.

Invitation for Grockles at Sea

Grockles at Sea

Exiting!!!!

Everyone!
Attached are the invites for the show Grockles at Sea. It has taken us a few days to come up with an image that would sum up the idea behind the show and a title, but together with extensive google research and me and Marco pulling each others hairs we managed to "fabricate" an image that hopefully give the idea of four visitors (grockles) arriving at a town by the sea such as Folkestone.

The incorporation of objects, fruits, the wallpaper (by William Morris I must add!!), exotic plants and the odd heads,
alludes to the idea of craft making, recreation of objects, collection, redundancy, strangers in a town, the arrival of abandoned and random things that the sea brings (quoting Eleanor)..etc..

For more info on the word Grockle (which I'm quite proud of finding!):

What is the origin of the word 'grockle'?

This slightly dismissive term for a 'tourist' was, as several of our readers have noted, first popularized because of its use by the characters in the film The System (1962), which is set in the Devon resort of Torquay during the tourist season. Some older dictionaries suggested that this might be a West Country dialect word. Other scholars have suggested that it might originate in a comparison of red-faced tourists (in baggy clothing with handkerchiefs on their heads) to 'Grock', the famous clown. The word grockle was indeed picked up by the script-writer from the locals during filming in Torquay. However, it was apparently not an 'old local dialect word'. According to research by a local journalist in the mid-1990s, the word in fact originated from a strip cartoon in the children's comic Dandy entitled 'Danny and his Grockle'. (The grockle was a magical dragon-like creature.) A local man, who had had a summer job at a swimming pool as a youngster, said that he had used the term as a nickname for a small elderly lady who was a regular customer one season. During banter in the pub among the summer workers, the term then became generalized as a term for summer visitors. This seems to have occurred in, or only shortly before, the summer in which The System was filmed: we know of no instances of the word dating from before the release of The System (though one or two people from the south-west remain convinced that they knew it before then).

Anyway, it's been a late night so I'll leave you with this.


Ceci

Ceci Lombardi

Work in progress, 2007
I decided to be a bit self-centred and put some images of me working.
I've been working on a new drawing/painting/staining... that is going a bit way from the tea stains.
I put some images of details of the new work so please send me some feedback.
At the moment I'm really suffering a crisis with my work.

My works have been more and more developing in the format of single-celled organisms.

the work is becoming a process between painting and drawing, abstraction and rationalizing figuration.

I feel this new work is more focused on the creation of a balanced composition, and also I am
going away from the direct and innate approach of working around the stains without controlling them by actually being more control and aware of the possibilities of drawing within the process of stain making.
I am bit confused with my own ideas so basically I will not say more and let you analyze them and send me some feedback. thank you!

Eleanor Levett

Technology, detail from 'The Key', 2006

I'm now running my own page for anyone who wants to know more about my work. It will have images, statements and details about up-coming shows.

I hope you'll take a look - any feedback is very welcome!

Marco Palmieri


Deluge
Watercolour and Gouche on paper

Here's a new baby painting I just finished. Very simple, but there's something I quite like about it. Just like the other one, its a little print that I got from some charity shop, and slowly changed it to something else. There is something quite enjoyable about defacing other peoples' work I must say. Gets quite addictive. The next painting I will do will be the cherry on the cake... It's going to be called Michael's Cottage.

Once again, the lightning bolt reappears. It reminds me of Barnett Newman's paintings, and his Zips. I did a lot of reasearch on him during my dissertation, and even though the work is completely different from mine, there is something which just keeps reminding me of him.

The lightning bolt is the central subject of this image. This exhausted symbol (a symbol used for tattoos, motorbikes, rockers, horror films) initiates the minimal narrative of this work.

However, I think the use of 'colourful' colours contrasts with the catastrophe narrative and balances out. Don't know really. Like to know what all of yoy think.

B&B Show

To all

The B&B Show has been set for the 20th April.

At the moment the collective is working on the invitations, newsletter and meetings with the artists to
discuss arrangements of the space, works exhibited and other ideas.

This Sunday we will meet Ben, Eleanor and Hannah to discuss the progress of their work and other elements
concerning the show.

We ask you to keep posting ideas that can be relevant to the show, such as a title and ways of advertising.

Some ideas that are floating at the moment (may or may not happen):

-arrange a coach from ucca to folkestone in order to bring some students and tutors to the show
-arrangements for the private view such as music outside since the space is small and most people will be outdoors
-invites:we are thinking that rather than having just a selected image of one of the artist's work, to create some sort of collage, emblem, symbol that will represent the concept of the work as well as the identity of the collective


anyway..we are just trying to inform you all of what sort of plans we are making and what are the general concerns.


hope this is all clear. post some thoughts!!!!

thank you

ceci