COLLECTIONSIMONPAUL|21

Michael Craik
Vestige 2017_22
acrylic on aluminium
40cm x 40cm
2017

http://michaelcraik.com/

RELIQUUM

IMĊAQLAQ|RSAOPEN2017

http://josephcalleja.co.uk/imcaqlaq
http://www.royalscottishacademy.org/exhibitions/rsa-open-exhibition-of-art/

5PEDESTALS|5EXHIBITION|5ARTISTS

5 PEDESTALS, 5 EXHIBITION, by 5 ARTISTS

6月6日～6月11日
Aya Shimamoto（島本彩）exhibition

6月13日〜6月18日
Niall Stevenson（ニール・スティーヴンソン）exhibition

6月20日〜6月25日
Masahiro Kawanaka（川中政宏）exhibition

6月27日〜7月2日
Joseph Calleja（ジョゼフ・カレヤ）exhibition

7月4日〜7月9日
Keiji Tsutsumi（堤圭司）exhibition 
12：00-20：00（最終日18：00）

「一つの彫刻台を使用し、一つの作品を一人の作家が個展形式で展示する。」

自分の周りには作家活動だけで生活出来ている人物は稀であり、そのほとんどがメイン（生活する上での）の仕事をかかえ、
その合間で制作、発表を行なっているケースがほとんどです。

そして近年、ごく身近な関係の中で感じる事なのですが、各々年齢もそれなりに重ね、仕事面や家庭面での環境も変化し、
段々と自身の表現に割ける時間が持てなくなっている様に感じます。それは海外の友人達においても、同じ事を言えるかもしれません。

しかしお互いに、制作発表したい、製作を続けたいという気持ちはあります。

かと言って安易にグループ展を行う事は、やる側にとっても見る側にとっても緊張感を持てない場合があり、
そこにただ自分の作品を参加させただけという結果になる事もしばしば起こります。

そういった現状の中で、改めて自分達はどのように芸術と関わり続ける方法があるのかを模索しました。

この企画はグループ展ではなく各々の個展であります。
しかし一人で行なう個展ではありません。

これは自分達の身の周りの状況に焦点を当て、その状況下での可能性を探る試みです。

そしてそれは我々の様な作家にとっての新たなチャレンジであり、新たな楽しみでもあります。

それは自分たちの都合に合わせた、極めてプライベートな展覧会なのかもしれません。
しかし、こういった皆さんや社会との繋がり方、続けていき方も、重要で必要な事なのだと感じています。

一つ彫刻台は、どの様な形で我々を繋いでくれるのか、その楽しみを共有して頂けると幸いです。

LOCALSHIP/ 川中政宏

5 PEDESTALS, 5 EXHIBITION, by 5 ARTISTS

"Using one Pedestal, Showing one work, by one Artist for solo exhibition"　

The artist who can live only by art are very few around oneself. Most artists have another job for to live.
And they make art works in an interval of the job and show it.
I feel that the work and domestic environment of our generation is changing.

By that, I think that we can not have time to using for own art.
Even though we come up with an interesting project, many artists are difficult to act now.

But I think, We want to show own works. and We hope to continue art with each other.

However, doing group exhibitions easily, customers and artists may not feel tense.
It often happens that there is just result of letting our work participate there.

In this situation, we once again explored how we can continue to stay in art.

This project is not a group exhibition. 
It is each solo exhibition. 
But that is not a solo exhibition by only oneself.

This exhibition is also an attempt to explore the possibilities under that circumstance by focusing on the circumstances surrounding ourselves.

And this is a new challenge and new pleasure for artists like us.

This project may be an extremely private exhibition tailored to the circumstances of ourselves.

However, I feel the way is important and necessary that these people and society of connecting and continuing.

I am looking forward to seeing what kind of way the Pedestal will connect us.
and, I hope that you will be able to share the such fun with us.

LOCALSHIP/ Masahiro KAWANAKA 

HIDDENDOOR2017|DEPOSITUM

Depositum
found flaked paint on site on drawing pins
Joseph Calleja
2017

Flaked paint collected from locations within Leith Theatre is represented resting on drawing pins, hovering just above the ground demarking the parameters of the space and objects within it. Paint is rarely seen as on object itself. It adheres to what it hides and becomes the hidden object. The artist draws attention to this stratum by treating it as a sculptural object and leaves the material to inform and create its own aesthetic. 

photo credit
David Cass
www.createcreate.co

HIDDENDOOR2017|RELIQUUM

Equilibrium
found flaked paint on site with frame and LED light.
Joseph Calleja
2017

This site-specific work recalls the vast history of painting and taps into its conventional representation of the framed artefact. Painting might be arguably one of the most common media associated with art and in return one of the media that most people can relate to. The public is invited to reflect and interact with this work as it can be altered with adjustable lighting. The artist has not altered the flaked paint in the rest of the space but left it intact. The framed space just draws attention to a particular zone, however it is a work that invites the public to engage and respond creatively to any site, surrounding or situation. 

photo credit
David Cass
www.createcreate.co

RELIQUUM

Title Equilibrium

Medium found flaked paint on site with frame and LED light.

Text

This site-specific work recalls the vast history of painting and taps into its conventional representation of the framed artefact. Painting might be arguably one of the most common media associated with art and in return one of the media that most people can relate to. The public is invited to reflect and interact with this work as it can be altered with adjustable lighting. The artist has not altered the flaked paint in the rest of the space but left it intact. The framed space just draws attention to a particular zone, however it is a work that invites the public to engage and respond creatively to any site, surrounding or situation. 

HIDDENDOOR

12PEDESTALS|12DAYS|12ARTISTS

IMCAQLAQ

Imcaqlaq
working title for a new series

photo credits David Cass
davidcass.co.uk 

RE:MATERIALS

https://www.dropbox.com/s/2p3t162xpex0u6o/regarding%20Materials.pdf?dl=0

DEPOSITUM#3

THEHOUSEOFTHENOBLEMAN

http://www.houseofthenobleman.com/launch-of-house-of-the-nobleman.html

STRATUM#2

digital print of Comino cliffs reflected in sea water
tempera on canvas (work in progress)

WHATWHENHOWWHY

limited edition embossed #36

DEPOSITUM#2

found box with pins and flaked paint
as part of depositum
http://josephcalleja.co.uk/depositum

73|75|77

There are some spaces that I am attracted to more than others. Most of the time these happen to be peripheral, marginal or borderline. It is at that moment where shadow meets light, where love meets hate when an act stops into a repercussion. I am always trying to make sense of my work and myself, How I see myself unfold in the continuous present, with a tendency of avoiding it as much as possible due to habitual inclinations. Allegorically, this garage  has become a space where I really love to spend time, as much as I hated that very notion as a child. I sense that my next few works that emerge from this space will be a bit introspective and autobiographical in nature. 

photo taken by http://www.gonzagagomezcortazar.com/

COLLECTIONSIMONPAUL|20

Thorunn Bara Bjornsdottir
mixed media on canvas

COLLECTIONSIMONPAUL|19

Katie Paterson
Future Library certificate
double-sided foil block print
310/1000

COLLECTIONSIMONPAUL|18

Robert Callender

A2B Limited Edition Publication

Edition 39/500

73|75|77

pencil and watercolour on paper

COLLECTIONSIMONPAUL|17

Elizabeth Ogilvie

from Out of Ice

archival Epson pigment prints on 

Hahnemuhle Fine Art Baryta Photopaper 

Edition 1/10

COLLECTIONSIMONPAUL|16

Katie Paterson

History of Darkness

Embossed archival silver gelatin photograph

unique, ongoing series

260 599 123 ly

COLLECTIONSIMONPAUL|15

Niall Stevenson

Study of a Drain Cover, Broken concrete and Sections of Paving Slabs 
Painted resin cast of a ground surface in Edinburgh
46 x 46 x 5 cm

www.niallstevenson.com

126

COLLECTIONSIMONPAUL|14

Iain Stewart

Land's End - Cape Wrath

COLLECTIONSIMONPAUL|13

A Book of Death and Fish signed by Ian Stephen at the Edinburgh Storytelling Festival 2014

http://www.scotsman.com/lifestyle/books/book-review-a-book-of-death-and-fish-1-3562793

DEPOSITUM

PROPOSITION:VOID

STRATUM|RESIDUUM|DEPOSITUM

Stratum, Residuum and Depositum have become three different works that remove paint from its usual utilitarian aesthetic prospect to its plain material aspect. In Stratum paint is literally removed in a process that strips the visual meaning of the represented while simultaneously focusing the attention on itself. In Residuum paint is subjectified and reconsidered through its quantitative measures. In Depositum  paint becomes the object it usually hides and is reconsidered as an entity in itself. All three works are removed from the norm that has bound paint to aesthetic and yet how the work unfold, create a new aesthetic of their own, unintended, unplanned, yet allowed.

When considering the other works by the artist, these three works stand close together not just in their common subject of enquiry, i.e. paint. But more so because each work provides a side that is intentionally left untackled by the rest.

COLLECTIONSIMONPAUL|12

Reunification Palace Piano
Oil on paper

The Listener No.2

Oil on Paper

The Listener No.1
Oil on Paper


Stephen Kavanagh | Original Works on Paper
Works from the Vietnam series and the Florence Residency.

COLLECTIONSIMONPAUL|11

33 x 40 cm · Two drawers (with gouache upon one) + String 

7.2 x 7.5 cm · Gouache on miniature coffee grinder base

15 x 8.6 cm · Gouache on two wardrobe feet 

David Cass
Gouache on found wood

http://davidcass.co.uk/