simon fleming

Tulca, Gregory Sholette and a weekend of openings

2011-11-04T01:42:00.000-07:00

Tulca Festival of Visual Arts opens tonight, and 126 has their opening tomorrow.

4th November - 20th November, 2011

Opening reception: Saturday 5th November, 6pm

126, Artist run gallery in association with Tulca 2011 is delighted to present new work by artist and writer Gregory Sholette for “After the Fall”. A critical international figure in the area of collectivity and artist-led activity and politics, Sholette has been collaborating with the 126 Gallery and its membership over the last number of months to re-visit the concept of the Imaginary Archive.

Synopsis: Imagine yourself uncovering a cache of materials and documents that record a past whose future never arrived? Imaginary Archive Galway (IAG) is just such a repository: printed materials, objects, and narratives that imagine an alternative history, which nevertheless sheds a surprisingly strong light on concrete realities. New York based artist Gregory Sholette invited participants from Galway, New Zealand, Europe, and the United States to produce this “what if” collection of archival materials addressing topics from forgotten Irish inventors and fantastic nation-branding campaigns, to uncharted offshore islands and mysterious pirate radio broadcasts. On display at 126 Gallery, IAG consists of under-represented, unknown, invisible, or merely hoped-for "historical" materials that point to multiple ways of interpreting the past, the present, and the future. For more information click here.

I have a piece in the 126 show.

Artspace 25 Exhibition at Galway Arts Centre

2011-07-27T13:32:00.000-07:00

Artspace Studios Galway is exhibiting at the Galway Arts Centre to commenorate 25 years.
July 29 - Aug 27

My installation for the Artspace 25 exhibition.

I want to get off now!! June 10th - 28th, 2011

2011-06-23T09:17:00.000-07:00

Some pics from the show at Monster Truck Gallery in Dublin.

S Fleming, Closed till further notice (w/ Dropped Ice creams) 2011

S. Fleming, Dropped Ice Creams are tragic II, 2011

S. Fleming, Bunting study, 2011

S. Fleming & J. Cunningham, Rollar coaster installation, 2011

J. Cunningham, wall display

S. Fleming, Loose bolts + roller coasters don't mix, 2011

S. Fleming, Give to Attendant, 2011

S. Fleming, Two cocks (one of two pieces) 2011

J. Cunningham, Parachute Drop 2011

J. Cunningham, Souvenirs 2011

S. Fleming, Big Wheels keep on turning, 2011

S. Fleming, Dropped ice creams are tragic, 2011

Death Metal at the Venice Biennial and the Peoples History at the Galway Arts Centre

2011-06-01T03:59:00.000-07:00

Vancouver artist Steven Shearer will be representing Canada at the Venice Biennial this year. He brings his metal influenced, painting based practise to the (somewhat small and coincidently Italian designed) Canadian pavilion. Shearer works with text, sound, found imagery, ball point pens as well as formal painting to create dynamic multi media shows....which I have only ever read about, having never seen any of his rare Canadian exhibitions. Anyway here is a sampling of his work.

Steven Shearer, Swinging Lumpen, 2002

Shearer, Hairy, 2003

Shearer, Geometric Mechanotherapy cell for Harmonic Alingment
of Movements and Relations, 2007-08

Shearer (I couldn't find a title for this one)

Simon Fleming, Its Different but the Same Like, 2011

Over here (Ireland) I will be showing along side of Ceara Conway & Roisin Coyle
at the Galway Arts Centre. Opening is Friday June 3rd at 6:00pm

Upcoming exhibitions

2011-05-11T01:51:00.000-07:00

Using fundit.ie to help with some of the production and transport costs of our upcoming show in Dublin. Great site and incredibly supportive.

I want to get off now! is a collaborative project between artist Jennifer Cunningham and myself at Monster Truck Gallery opening June 10th. you can read about us here. Also in June with an opening date of June 3rd is the exhibit The Peoples History of Galway. A three person show on at the Galway Art Centre. I will be showing along side Roisin Coyle & Ceara Conway

So if you are in either Galway or Dublin during June stop by.

Cecilia Danell review on Shower of Kunst

2011-03-28T12:27:00.000-07:00

Show review of Cecilia Danell's exhibit on the Shower of Kunst site. Check it out here

Exhibition at Axis Contemporary in Calgary

2011-02-24T02:49:00.000-08:00

Culture Night in Galway

2010-09-27T08:26:00.000-07:00

Some pics from Culture Night in Galway.
Starting off at 126, which is currently showing a graduate show titled, Who dares this pair of boots displace?
(from the 126 site; a show by six recent graduates from Galway & Mayo Institute of Technology and Limerick School of Art and Design. The new works, responding to the theme displaced, include drawing, sculpture and video. Considering their recent transition this exhibition provides a platform for new processes, dialogue and interaction.)
also at 126 was an information table and Aideen Barry for the proposed Féach Contemporary Visual Arts Centre.

Images from 126

ADAPT acquired a vacant space and converted it to a an exhibition. This bit was taken from their facebook page; Adapt Galway is a coalition of visual arts organisations. These groups are working together to create a united vision for the visual arts in Galway.

Some pics from the ADAPT show

ENGAGE Studios

Victoria Smith's studio

ARTSPACE Studios

Lisa Sweeny

Robin Jones

ArtSpace had a wee afterparty /wake to morn the loss of a significant number of studio spaces due to funding cuts.

Shower of Kunst

2010-04-09T04:12:00.000-07:00

Wrote a piece on cycling and the issues of the dominant car culture in Galway over on the Shower of Kunst site. You can check it here

Site update

2010-03-28T04:22:00.001-07:00

Nearing completion of my new site.

Roberta Smith and Painting

2010-03-27T09:42:00.000-07:00

FEW modern myths about art have been as persistent or as annoying as the so-called death of painting...
Interesting article in the New York Times by Roberta Smith. She argues, and rightly so, that the habit of ranking and/or declaring any medium in art is dead is passé. Check it out here

126 + Nina Amazing at the RHA, closing week

2010-02-19T09:03:00.000-08:00

Opening reception @ RHA. Work shown N. Amazing. Photo: S.Fleming

So this is the last week to catch the 126 members show at the RHA in Dublin and Nina Amazing's piece in that show. Video Killed the Radio Star closes February 27th.

A couple pieces in progress.

126 @ the RHA, Nevan Lahart + Ailbhe Ní Bhriain

2010-01-17T04:19:00.000-08:00

126 held their annual member's show this year titled Video Killed the Radio Star, at the Royal Hibernian Academy in Dublin. A little different this year was the fact that it was themed and juried. Challenging members to address the themes of paradigm shifts, and changes in culture, science + society. The exhibit was a solid reflection of the strength and quality of art being produced by those that make up the 126 membership. I was unable to get any usable photos of the show, but Shower of Kunst has a great photo review of the exhibit.
Also at the RHA is Nevan Lahart's A Lively Start to a Dead End. One can always expect an off-the-wall show from Lahart and this one doesnt dissapoint. Although I would say that the show does struggle a bit in the massive space. Check out more of Lahart's great work here.

On a final note saw a great show that runs till the 27th of this month. Ailbhe Ní Bhriain has taken over the Galway Arts Centre with numerous videos and photographs.
Bhriain creates beautifully complex and detailed video work. Her pieces are dreamy, quiet landscapes punctuated with familiar Irish iconography. The mood of the works is often sentimental and nostalgic. In a few, one will find the placement of theatre or cinema chairs in the videos, I found myself asking if these are implying an awareness of the cliche, the displayed marketability, the common commercial appeal of these Irish-isms? Engaging work.

Painters Toronto

2010-01-11T14:43:00.000-08:00

Painters Toronto, actually Painters Ontario now, is quickly becoming a very thorough resource site. Check the site here for an ever expanding list of Canadian Galleries, Artist run spaces, Organisations and Artists.

Armin Rohr

2009-12-24T03:24:00.000-08:00

Ohne Titel („Alex & Anita“), 2009

Ohne Titel („Sandi”), 1997

Ohne Titel („Hans-Georg”), 2009

Really like Armin Rohr's work. You can check out more here + here.
Anyway, hope the season treats everyone well, see you all in the new year.

Michael Johansson + some cold water swimmers

2009-12-21T03:07:00.000-08:00

Michael Johansson, Green Piece, 2009

Michael Johansson, TOYS'R'US-Dinghy, 2006

Came across the wonderful work of Michael Johansson you can see more of his work here.

Also, in the spirit of recent posts by Art Fag City and James Wagner I thought I would post whats on view in Galway, that is worth checking out. Mind you Galway is a bit small so the list is short.
Actually there is really only one show worth popping into over the holidays. The Galway Arts Centre with Anita Murphy's exhibit Bathers: 365. A quiet celebration of some cold water swimmers. Brave souls that frequent the waters off of Blackrock in Galway. I will put some images up soon. The show is on till the 16th of January.

Vancouver Olympics + Freedom of Expression not getting along

2009-12-11T01:55:00.001-08:00

So it appears that the People's Charter of Rights and Freedoms is all fine and dandy just not during the Vancouver Olympics. Vancouver city ordered the removal of a small mural by artist Jesse Corcoran from the front window of The Crying Room Projects Gallery. You can read the complete story here

Tulca and Germaine Koh. Galway to Berlin.

2009-12-02T05:57:00.000-08:00

Wrote a piece on this years Tulca festival for the Shower of Kunst site you can read it here. So I am in Canada for a quick visit. Unplanned but enjoying it non-the less. I had an opportunity to visit the Kitchener-Waterloo Art Gallery and their feature exhibit Building Berlin, guest curated by Germaine Koh. A brave exhibition by KWAG and a little challenge for the citizens of Berlin* should always be welcome. The show is complex in both concept (urbanity) and media and as a result asks a lot of the visitor, but the return is worth the investment. Daniela Brahm's installation along with Norwegian artist Lars Ramberg's Ich verstehe nur Bahnhof were the visually commanding stand-out works for me. Overall the show is most certainly worth the trip out to Kitchener-Waterloo, it runs till January 23, 2010. As an added bonus you can download the catalogue from KWAG's site.
*Kitchener's original name was Berlin. It was changed during world war one.

Daniela Brahm, Proclamation Wall & Proclamation Posters, 2006-2009.
Image courtesy the artists and the Kitchener-Waterloo Art Gallery.
Photo: Robert McNair.

Installation shot of Building Berlin (Taken from Ramberg's website)
Works from l to r are Daniela Brahm Proclamation Wall & Proclamation posters,
Lars Ramberg, Ich verstehe nur Bahnhof, Pia Fuchs, The Pan-National Flag,
Daniele Seiple Tear Down This Fence

Installation image of Building Berlin. Works from L to R:
Karin Sander, German National Womaen's Soccer Team 1:7,7, 2005.
Rui Calcada Bastos, Love Map, 2003 and Events - Life in a Bush of Ghosts,
2008. Images courtesy the artists and the Kitchener-Waterloo Art Gallery.
Photo Robert McNair.

Lar's Ramberg Ich verstehe nur Bahnhof (Taken from Ramberg's website)

While in Toronto I did the long march down Queen st. and stopped by as many galleries as I could. I was only there for the afternoon so there were a lot I didn't get to see. A few shows that stood out were Kevin Yates minatures, at Susan Hobbs. Some great paintings by Krisjanis Kaktins-Gorsline at Katharine Mulherin Contemporary Art Projects. You can see more work by this wonderful painter here, and the controversial Jock Sturges, with his Colour prints show at the Stephen Bulger Gallery.

Kevin Yeates, exhibition shot.

Kevin Yeats, Pearl Street 2008

Krisjanis Kaktins-Gorsline, The Name and the Gape

AA Bronson receives Order of Canada

2009-11-15T07:38:00.001-08:00

Picked up from VOCA
General Idea co-founder AA Bronson receives Order of Canada.

AA Bronson and Governor General Michaëlle Jean.
photo John W MacDonald

Well done.

A visit with Michael Geraghty and a long overdue reply to Artist Lee Welch

2009-10-31T08:40:00.000-07:00

Just came across an image of this fantastic piece by An Te Liu from a project in Toronto. The Leona Drive project was a very temporary group project that took place this past October.

An Te Liu Title Deed 2009 / photo A. Sulikowsk

I received an email from Artist Lee Welch in response to my review of his show at the Galway Arts Centre the other day. You can read my review here, and here is Mr Welch's letter.

Hi Simon, I hope all is well. Just wanted to drop a few lines in regards to At the still point of the turning world. I am not sure what you felt like you were missing? Hitchcock is fairly main stream, no? You might have seen some of his movies. He dealt with suspense and psychological thrillers. This would be the first clue as to where things are going from there. Perec maybe you might not have read or heard about him. If not you should pick up one of his books really great stuff. Jorge Louis Borges will at this stage I feel like I am repeating myself here. All exhibitions have press releases, some artists have books about them. The fact the the more you know about any subject the better your understanding of it will become. So if we take Physics for example we may look at examples of it on a daily basis but if you do not know what to look for then you might not see it? To have a better understanding of Physics you read, study and experience it. I believe this applies to most subjects. You as the viewer expect certain things from an artwork and me as an artist expect certain things from my viewer. I think this is a fair exchange. It is like a conversation. So if I am speaking and my interlocutor is not participating then this is not an engaging conversation. Right? -- Best wishes, ––––––––––––––– Lee Welch

I was happy to hear from Mr. Welch even if he was a little disappointed in what I wrote. I still stand by what I wrote though. I believe that Mr Welch expects a lot from his viewers but what does the viewer get for this high expectation? As one of my colleagues put it, there just wasn't that a-ha moment. And for those who haven't read, studied and experienced contemporary and/or conceptual art, what can they expect? Those viewers who walk into the gallery off the street, the general population, not the students, artists or writers on art, but just regular people. I suspect Mr Welch doesn't care all that much for what the un-read masses get or don't get from his work. Don't get me wrong though, I do not want artists to dumb down or compromise their work for the sake of mass inclusion. Maybe that's unfair to ask of artists, to be all accessible. I am the first to admit a distaste for art that doesn't challenge or engage. So then, what am I asking? Obviously each show impacts the viewer relative to the context one views it in. In the end, I found Mr. Welch's show too vague, lacking substance and failed to provide that "ok, yeh I get it" moment.

On a completely unrelated topic, I had wonderful opportunity to explore Ireland a little more with the recent visit of my wife's parents. We looked for the location of an old family bit of land where a house had stood. The trip was something of an adventure. We ventured out to Killucan which is just west of Dublin. We were looking for a place called Lowtown house. Mind you this house no longer exist it was torn down during the 50's. So we proceeded to ask people around the area. One person lead to another. Until we were directed to the Brothers Geraghty. (Michael Geraghty is pictured below) I am mentioning it only because of the impact it has had on me. Sitting in Mr. Geraghty's home listening to him recount minute historical details of the area and the people made me keenly area of how little I know about my own back story. Some one needs to make a film about this guy.

Michael Geraghty, Historian and story teller/ photo S. Fleming

Thanks Shannon.

A few words on Reverse Pedagogy

2009-09-29T13:34:00.001-07:00

I had the opportunity to talk briefly (by cell/mobile... I only mention this as I am terrible at taking notes while one is speaking and the notes I jotted down while Paul was answering my questions are atrocious) with Paul Butler last week about the Reverse Pedagogy (3rd installment) residency up at Model Satellite, in Sligo. Paul was also previous to Sligo just up in Derry at Context Gallery hosting his International Collage Party. Paul has teamed up with Ireland's Mark Garry to head this project, but Paul stated that--

"our job is to pick the people, create the environment and then we step aside and we participate equally along side everybody else."

How did this project come about?

"It started in the Banff art centre responding to the term Reverse Pedagogy. I wanted to create an environment were the students were the teachers. In traditional art schools the students end up in studios by them selves. I wanted a more sort of holistic approach to art-making where everything was done together. Artists working together, bringing each individual talent to the group."

What will Canadians bring to the Irish table?

"Through diversity comes opportunity. It's not necessarily Canadians bringing anything specifically Canadian but artists from different art backgrounds coming together. Possibly in discussion it could be argued two cultures responding to their surroundings, comparing respective art models."

Are there any restrictions?

"No not really, except maybe time"

There was more to this interview but as I mentioned earlier my note taking was not the most comprehensive. Model Arts on the other hand probably keeps great notes and does publish a blog on events at the Castle street space and Niland Gallery and you can check out a youtube interview posted there.

Mark Garry, Being Here Image via www.field.io/

Went to London for some curry, Koons and Peyton

2009-09-16T01:50:00.000-07:00

So Nina and I went off to London for the weekend to visit friends. First time in London and it was an excellent visit. Stopped by the Tate not to see the Futurism or Per Kirkeby exhibit ( I didn't want to pay, although I would have liked to see the Kirkeby show) so we took a gander at the collection displays. Highlights were Gerhard Richter's large abstracts and Joseph Bueys large sculptural works. These two pieces were impressive to say the least. Not sure if they worked so well together in the same room though.

Joseph Bueys, The Pack. 1969 (photo: Tate Modern)

Joseph Beuys installing "The Pack" in the Moderna
Museet, Stockholm, 1971. (photo: Lothar Wolleh)

Joseph Bueys, Lightning with Stag in its Glare.
Guggenheim Museum Bilbao
(photo: Erika Barahona-Ede )

Next stop was the Serpentine Gallery. Actually it wasn't the next stop, I'm jumping around here. Anyway we stopped into the Serpentine to catch Jeff Koons show. A master of the spectacle and the show didn't fail. A discussion between friends and I arose after I mentioned that Koons generally didn't paint his own paintings and those that did never received recognition for their contribution. ( aka hired help or more professionally titled, assistants) A common enough practice in many fields other than art but when it comes to artists, credibility seems to come into question. It seems the integrity of the artist who doesnt toil away at his or her own work is lessened when assistants are added. Artists work with ideas and concepts, application and rendering although obviously important are secondary. Regardless, an interesting discussion about accountability. I will have to talk to my team of assistants and see what they think. The Guardian has an interesting article about this very topic here.

Jeff Koons + nameless assistants, photo: Steve Pyke

So to end off we also had the opportunity to see Elizabeth Peyton's show at Whitechapel. Peyton is a good painter just not a great painter and I wonder if it were not for whom she painted and knew, would she be as famous? I have to say that I would be more interested in seeing a show by Canadian artist Constance Maconaghie and her washy and oft times gritty rendering than Peyton's paintings of privilege any day.

C. Maconaghie, Kitchen story 2'x3' Water colour on paper

Some upcoming Canadian painting shows of interest /or shows I wish I could go and see!

2009-09-05T03:43:00.000-07:00

Wil Murray, Baby Ghost From The 1900s Says Beat It With Your Chain, 2009

If you live in the Montreal area, Wil Murray's show at Gallerie PUSH goes up Sept 10th.

Kim Dorland, Lookout 2009

Kim Dorland is showing at Skew in Calgary. OPening Thursday 10th and running till Oct 10th.

Graham Gillmore, Custody and Access Study (Results #2), 2005

And over in Vancouver is Graham Gillmore's Refusalon show at the Monte Clarke Gallery. Sept 10 to Oct 3rd.

Short update and a Knee-Jerk

2009-09-01T10:18:00.001-07:00

So apparently I missed the whole month of August regarding updates here. Shameful if I don't say so myself. I had every intention to write on a number of events, art shows and other random-ness, but the motivation to actually place finger to key failed to appear.

So, anyway, the Galway Arts Festival came and went. When Nina and I moved here last year we had just missed it. So with that I was looking forward to checking it out this time around. I was a little bit disappointed. I think it was generally agreed that the exhibit they put on was rather poor. With the exception of John Brady's very fine large sculptural piece with accompanying paintings and Hockney's prints, it was a wash.
The Galway Arts Centre had an interesting video showcase by Lars Laumann. Sorry I dont have a great link for you but the Galway Arts Centre has a good write up for their exhibition. Again that was a while ago so I wont really go into it, a couple really stand out pieces.

I was fortunate to see the Knee-jerk collective's (they told me they have a website in the works, I'll post a link when its up) show at the thatched cottage, a wonderful little well preserved cottage here in Galway. I ended up bringing some friends by the exhibit as I thought both the venue and the artistic response by the collective was spot on. (Some pics. I will get names and titles up shortly)

I am looking forward to their next project. Ok just had a look around and their next event / exhibit starts this Thursday at Leixlip Library, titled A Novel Landscape.
In their words: 'A Novel Landscape' is a site-specific exhibition in Leixlip Library, Co. Kildare. yep thats all I have on it.
Anyway, I am off to London next weekend! See how many galleries I can fit in without driving those with me mad. Send me suggestions of must see galleries and exhibits.

Berlin

2009-06-27T14:47:00.000-07:00

Can anybody recommend an inexpensive place to stay in Berlin?

Its a long flight from Louisiana to Galway

2009-06-25T06:13:00.000-07:00

"Grass, reeds and Circus freaks" D. Carpenter, A, Revill, A. Regan

So what do you get when you mix equal parts Louisiana Master students and a local Irish art collective? Probably a lot of drinking. But as far as an exhibition goes? Well, you can probably expect a good one, and that is just what you get. The Galway Arts Centre is showing a large group collaborative show of artists from Galway and Louisiana. Titled 003D and curated by Gina Ruane. Unfortunately its a very quick show and ends this weekend. Here is a brief snippet about the show from the GAC.

The two groups were initially brought together by Expanded Draught member Allison Regan who moved to Louisiana in August 08 to start a three year Masters degree in sculpture. The idea for the collaboration was triggered after the collective were forced to figure out a new way of working with the founder member who was now based overseas. Although it is a collaboration of two groups the artists have chosen to work in pairs. Taking the concept of people and ideas being placed and displaced in and out of contexts and environments, each collaborative pairing has applied this as the starting point from which to develop their interpretations.

I am glad I swung by yesterday as I didn't know it was up for such a short period of time. The exhibit is a feast. You are confronted right away by a wall of masks created by David Carpenter, Alwyn Revill and Allison Regan. Its interesting the effect masks have. Phantasmal otherworldly notions creep into the dialogue that one has when standing in front of this tribalistic trophy wall. I am not sure of their "practicality" as mentioned in the artists write up but they do evoke a slight sense of wonder with a hint of intimidation. Masks tell stories, but they also hide and impose. These mask have an end of the world feel to them. Are they from tribes that have risen from the cast off of a failed society or are they tools of the trade from some strange traveling carnival ? What ever they are, they succeed in pulling the viewer down new paths, new narratives.

On the opposite wall we are asked to take a more intimate look at Breege Hynes and Tyler Mackie's collaboration. I liked the idea behind this work. Creating small works and exchanging them only to be erased, covered up or reworked by the other artist. A mix of faith and curiosity is needed for these types of joint ventures. I enjoyed some of the pieces but not all and I'm not sure how the work as a whole holds up. It was a tough spot opposite the visually commanding display of the masks. But the way they mounted the small works was engaging I almost missed hidden pieces mounted to the ceilings of the alcoves. The middle room was the location for an eye catching sculptural display, a strange combination of found material. The write up by the artists explains that they started with a series of themes and collected materials from around Galway in response. I couldn't read the relation of the final piece with the themes but didn't care really. I was drawn into the works structure and physical impact, the relation it had to the room. I wish I had a better shot of the piece. As I am writing this I have just realised that there was a second component to this work, I suspect. A small framed image on the opposite wall. I have to admit that I did not associate the two parts as one. I didn't see the connection or relation. I have to ask if this was a situation due to the layout of the room or a short-coming of the work itself.

The back room found two projects. Kit French and Dave Callan's playful colour paper creations and Lindsey Maestri and Joanne Dolan's "25 Random Facts" collaboration. I found a bit of a disconnect with the combination of reproduced actual items (tape player and cassette tape) with random forms. It was a bit confusing but didn't really detract from the whimsical nature of the work.

Over all a strong show that really should have been up for longer.

Detail from "Drawing partners: Draw, Erase & Draw again" T. Mackie, B. Hynes

Coln O'Brien and Cody Arnall

Detail from "25 Random Facts" L. Maestri, J. Dolan

"SWNT: Sync, Wink, Nod and Tongue" D. Callan, K. French

"SWNT: Sync, Wink, Nod and Tongue" D. Callan, K. French

Of Fathers and Mothers

2009-06-14T07:39:00.000-07:00

Just a quick note. I came across this blog Secret Forts. It is a wonderful, image based blog. What caught my eye though was the photographs collected of artists at work or in their studio. There is something almost mythical about these images. A certain romantic nostalgia found in the old pictures of our art-world mothers and fathers. I find these images fascinating, for me they tug at the imagination. Anyway, I am not going to re-post them here (well maybe 1 or 2). But you should go and check out the blog your self.

Rothko.

Kline.

A Sportsbar and the Search for Utopia

2009-06-12T02:27:00.000-07:00

The Dutch invasion!

Opening night of the Frank Koolen SPORTSBAR exhibit.

126 is currently showing Dutch artist Frank Koolen, guest curated by Maaike Gouwenberg an independent curator also based in the Netherlands. The show is titled SPORTSBAR, a tongue-in-cheek take on sports culture. Primarily that noblest of establishments the sportsbar. Nothing is missed in this installation. From the big screen TV to the almost mandatory parade of garish team jerseys. The show features various mock ups of tables and patrons, trophies to even video pieces of curious sporting events televised on a couple small wall mounted monitors. The show is playful and timely, with the Volvo Ocean Race having just passed through Galway. With the title of the show prominently displayed on the front window of the gallery it has lured unsuspecting passers by into the space thinking it was an actual sportsbar. Once in, smiles start to break on faces and whispers of "what is this" can be heard. The show runs till the 27th of June.

Trophy Penants

Patrons at Koolen's Sportbar

Installation view

Maaike (Curator) & Frank (artist) holding the no smile pose. This was a participatory aspect of the opening night of the show. Polaroids of opening night attendees were taken and then posted on a wall in the gallery. Participants were also told not to smile.

At the Nun's Island Theatre the Galway Arts Centre is presenting "In Search of Utopia" a group exhibition of video artists. Now I have to admit I don't give video enough time. Ironically as I say that I am currently working on showing 2 of Kelly Richardson's video works here at this years Film Fleadh in Galway (at 126). So yes, I confess to not giving video enough time but not to a failing of appreciation. The Nun's Island show is a good example. I admit to a very quick visual evaluation of video work, which by its often time-based requirements of the viewer is exactly the worst possible initial assessment of any video piece. The first piece I stop at is Cao Fei's piece titled "Whose Utopia" (I tried to link to his page but it seems not to be working at the moment) Apparently this work is a part of a larger body of work titled "Utopia Factory"
Initially I wasn't drawn in. It felt like I was watching a promo video for a random factory. Production lines, conveyor belts, employees at work etc. I can hear the readers groans already. To make matters worse after 5 minutes maybe 10 I chose to go and view the other works in the show. I had lost interest. I did come back though. The point of my return was for me more engaging and I cursed myself for leaving. Yes I am my own worst enemy. I left the piece in the end thinking though, about the inclusion of music in video works. I couldn't help but think where is the line between an everyday music video found on television and this work that had a song added to it. Why cant you have music in Video art? Why would you want music? I was surprised by how much the mood of the video changed with its inclusion. This may have also been a little biased, as the viewer was now being directly engaged by the people in the video, where as before the employees were filmed working. I think the inclusion of music in video works is confusing. One starts to read into the lyrics, the tempo or beat, the correlation of song to video etc. There is a change of focus from video to song. Adding a song to a video is almost a cop-out and easy led by the hand-this is what I want to say crutch. But then again I am not a video artist, I dont have the referential background. Maybe some one could argue the case for music/song in art based video. (Note: I am not talking about added sound/s in the video just music)
The piece that I was drawn to was by Ailbhe Ni Bhriain . A stunningly beautiful and melancholy work. I am keen to track down more of her work now that I have seen this one. The video is subtle in its motions and visually rich in earthy tones. Anchored in the foreground by what appears to be a fallen sheep or just the wool itself? A stream like current plays slowly across (or maybe below is the better word) the scenes surface. The piece holds you. I did take a couple photos of the work but they didn't turn out at all or at least not enough to do it justice. Its the nature of the video itself that foiled my camera (or maybe I need a new and better one).

Re-fueling

2009-06-12T01:45:00.000-07:00

Its funny how much artists need refueling. Well I do. I think I have a shallow creative well that needs topping up a lot. I feel like I spend a lot of my time running around with a bucket looking for the water to keep the well full. I always have extended projects, various constructions that I am playing with. Ideas that need feeling out and that I can work on over a longer period of time, leave for a bit then come back to. but its the stuff on canvas and paper and what-not that I burn out on (quite frequently it seems) or over work or too easily get frustrated with. I get to the all too familiar point where I want to trash the whole lot and start over. To compound this problem, I am a rather slow painter and if I kept tossing my unfinished work into the bin I would be left with very little.
So, I find myself occasionally needing to see the work of other artists. This is two fold, firstly and obviously it is the love of art in general. The desire to see the results of the creative process of other artists. To keep abreast of what is going on in your field. Secondly as an artist one needs to immerse one self in the product and results of this practice we have found ourselves in. This immersing, works to inspire and motivate (read: refuel), to help me push through my own pieces. As primarily a painter this entails looking at the work of other painters. Unfortunately Galway is a bit thin on galleries, let alone galleries that show primarily painters. Obviously one can troll the web but we all know looking at art on a computer screen is a poor compromise and almost akin to a visual crime. Something like a black & white reproduction of a colourful painting in a book (well maybe not that bad). So maybe a trip up to Dublin is needed.

Galway Arts Centre and Christ the Redeemer

2009-06-02T01:16:00.000-07:00

A pretty busy couple of weeks for the Galway Art scene. We wrapped up the Fergus Byrne's show titled Dog Skipping Pegasus. I like Byrne's work that he had for this show for both the end product and the method of creation. The final product is visually strong and heavy. All the skipping pieces being weighted from the top by either a black or red/ochre rich pigment. The bottom half of each piece the viewer finds a testament to the action of creating the work. (the artist skips on these pieces. The skipping rope picks up the pigment from one end and transfers it to the end where he is jumping) The show also included a video piece and some smaller works as well a performance on the opening night (which I regretfully missed). I was undecided on the video though. On the one hand I found it a good addition to the show as it gave some insight to the process as well as having an almost mesmerising effect with its rhythmic visual and audio components. The only issue I found with the video was a relational disconnect in the textual aspect of the video.

Skip IV, mixed media on paper,
176 x 98 cm, 2009.

Image taken from the Visual Arts Centre website

On Thursday the 28th Galway had a number of openings. I made it to two of them, the first being the Galway Arts Centre's exhibit The World Shrinks For Those Who Own It. Featuring
Frankfurt based artist Oliver Heinzenberger and Galway's own Jim Ricks.
I will insert the Art Centre's own write up here for the show

The exhibition explores the differences in peoples’ movement; for some travel
is a luxury and recreational, where for others it marks a dangerous and often
illegal crossing of borders in search of a better life elsewhere.

The space is broken up into three rooms so I'll walk you through each. As you enter the first space you come upon a sculptural floor piece. A row of cactus that has done a great job of collecting shopping bags. Meant to be a loose recreation of a common cacti yard-wall found through out the middle east as well as many equatorial locals. I really liked this work on so many levels. It had a wonderful duality to it. On the one hand I thought it was a playful piece, vibrant and interactive with colourful loose bags blowing around the floor with the help of a centrally located fan on the floor. On the other, it acted as a signifier for mass consumerism, western deculturization, and disposable utility. An excellent piece.
On the far wall we have a PLO-like throw-up of a Kalashnikov rifle and red star. Images like these always have a commanding visual impact, and this is no exception.

Picture of the artist Jim Ricks.

The cactus wall. (not the actual title, just a descriptive) Jim Ricks

In the mid room is Oliver Heinzenberger with pieces on either side of the room. The one that stood out for me was a small shelf with 4 photos on it. The photos showed people/tourists standing atop an outdoor staircase with arms out-stretched. The staircase is situated well above the coast line which can be made out in the distance. Anybody familiar with Rio De Janeiro's Christ the Redeemer statue picks up on whats going on here. The strength of these little photos is their ability to convey regional information and narrative through allegory. The spectacle that is tourism and ritual pilgrimage found at this location, the recording of the same event over and over again. That's a lot to convey and the photos relay it in a very clever way.
We move onto the back room. The room has been blackened (painted) and has a number of pieces in it. The strongest piece for me being the post card stand with only one card to select. A replica of a Berlin Wall postcard, soldiers in a jeep driving by a rather indistinct section of wall (by the Potsdamer Platz which is near the Brandenburg gate) and outpost tower in the background.

Post Card Stand: Jim Ricks

Oliver Heinzenberger

Over all I thought the exhibit was really engaging and well worth dropping by the centre to check out. Spend some time with the show, you need to let it convey its stories both weighty and whimsical.

Up next: A Sportsbar and the Search for Utopia

Frank Koolen & the Volvo Ocean Race

2009-05-21T05:59:00.000-07:00

Just a quick Gallery update. 126 is showing work by Dutch artist Frank Koolen

from May 28th to June 27th. Curated by Maaike Gouwenberg (also Dutch) in time for the Volvo Ocean Race's Galway stop over. The exhibit is titled SPORTSBAR. I like the way this blurb sums up his practice, taken from here

My work can be described as an ongoing search for the ideal combination between the beauty of discovery and the happiness of recognition. A moment in which the everyday and the magical seem to collide, creating unexpected logic.

So if you're in town for the race or otherwise drop by.

I was just chatting with a friend about the cosmetic application Galway is putting on for the race due to the temporary international focus that we will gain. Planters, road repairs, new paint, and parking enforcement. I mention parking enforcement because those that know me know about the pet peeve that footpath (sidewalk) parkers are to me.

this was taken from the Galway City Council site:

‘illegally parked vehicles would include, but is not limited to illegal parking in such areas as disabled parking bays, bus bays, clearways, single yellow lines, double yellow lines, median strips, pedestrian crossings, parking on footpaths and adjacent to junctions. In these cases, while the issuing of a parking offence ticket is still appropriate and will occur, clamping will also be applied as the deterrent with tow-away to be applied where there is obstruction. There is no “grace period” for this category of offence

Let me tell you I had a great big smile on my face after reading that. Mind you, I am not so naive as to think that all this pomp and circumstance will remain after the race has moved on, but it will be nice while it is here. Anyway the opening for the Koolen show is on Thursday the 28th at 8pm with the after party down the street at Bar No. 8 A great little lounge(y) bar that's not a pub.

Confounding Art shows and new work

2009-05-21T02:18:00.000-07:00

Well we are into the middle of May over here in Ireland. What does that mean? Well not much really. I had to start the post with something. Had a chance to see the show over at the Galway Arts Centre. They have Lee Welch on two floors. The exhibit is called At the still point of the turning world. Here is a bit from the write up on it.
At the still point of the turning world. offers a constellation of points of reference, provocation and stimulation. Nonetheless, the show is modest in its form, comprising of a small array of carefully selected elements, which have been placed with thoughtful deliberation throughout the gallery space. Materials derived from contemporary phenomena and historic events make up much of this exhibition, including vintage magazine advertisements, rare editions of books and bootleg records. As the title suggests, At the still point of the turning world. offers a quiet and still space for reflection.
It goes on quite a bit. You can read more here. As I was walking through the exhibit I felt I wasn't getting something. The show is very sparse. Books, record sleeves, a magazine ad and so on. If the viewer takes the time to read the write up there is a reference to counterfeit cultural artifacts (relating to certain items in the exhibit),ok fine, but if you don't read the write up how on earth would you pick up on that? How does a person who walks in off the street engage with this show? I felt it was too vague and almost plays to an inclusive art club ego. Who is this for? Not the general public I would argue, or maybe I am not giving the gp enough credit. I admit I was lost trying to access, engage or relate with this exhibit. Any thoughts? I will say that the wall piece was quite good though. Found on the first floor, it plays with one's natural curiosity, but ends up confounding the viewer. Taking up almost all of a small room to the back of the first floor the wall pulls the viewer around to the back where you realise that there is no way to the other side. So you go back to the entrance thinking you missed it back there. Its at this point that you realize there is no access to the other side, no door no entry. Curses! I caught myself smiling at the manipulation. Here are a few rather poor cell/mobile pics of the show.

In the second Floor main room, this had a record player as well as a few pieces on the wall. The record sleeve in this image was a Beatles’ bootleg copy of Indian Rope Trick.

Playing from the record player was Apocalypse Now. Listening to Martin Sheen's spoken diary entries, as he was riding the patrol boat down the river made me want to go out and rent that flick again. I found myself wishing there was a chair or bench so I could sit and listen for longer.

Counterfeit Books
‘pirated’ editions of D.H. Lawrence’s Lady Chatterley’s Lover published in the late 1920’s

So this show is on till the 23rd of May. If you get a chance check it out. Glean your own opinion let me know what you thought.
Here are a couple images of my recent work. The paintings are in progress and a small 3d piece. Its meant to lie on its side. Washed up on shore I suppose, derelict.

Havent titled this little guy yet.

126, Fergus Byrne and Kelly Richardson !!

2009-05-11T09:59:00.000-07:00

The Grand Re-Opening of 126 and the opening reception for Fergus Byrne's Dog Skipping Pegasus exhibition was a resounding success. I unfortunately fell victim once again to Galway's notoriously bad bus system, and as a result I missed the performance part of the night. All together though we had a great turn out and a wonderful first show. Below are some pics from the night. I will put some pics up of Fergus Byrne's work up in the next couple of days.

Stragglers

Off to the after party...

Kelly Richardson's Twilight Avenger

Now we can focus on other projects . Such as the showing of Kelly Richardson's work for this years Galway Film Fleadh. I cant tell you how excited I am to be able to exhibit her work over here. Not to mention my own grossly neglected projects. Anyway that is the update so far.

New Gallery Space for 126

2009-05-07T06:58:00.001-07:00

So I thought I would throw up a pic or two of the new space. We are officially re-opening on Sat 09 2009 with a show of recent work by Fergus Byrne. The place looks amazing. It has come such a long way from when we first saw it. Jim Ricks, Dave Callan, and Alwyn Revill all putting in a tremendous amount of time and effort. Grand re-opening this Sat. see you there.
Early Stages

Walls up

Floors done

This must be the Place

2009-03-30T07:51:00.000-07:00

Well the opening for imoca's inaugural exhibition titled THIS MUST BE THE PLACE (Curated by Paul Murnaghan and Sally Timmons) occurred on Friday 27th. IMOCA asked a number of artist-run organizations to consider the question, how do we think? We ( 126 ) responded with an installation based on the idea of turning the inside outside.
The installation represents the thinking at 126, constructive and subversive. It takes the traditional notion of the gallery space and challenges it...as if everything beyond the confines of the gallery is a work-in-progress.
So here are a few pics of the well attended opening.

The 126 installation.

The Good Hatchery installation

The ART/not art installation.

A good turn out.

126 crew @ the 126 "site"

Trying to keep everything authentic.

Maybe instead of Royal Dutch we should have brought in some of the all to common (for Galway anyway) broken bottle of Buckfast.

So how did the individual organizations respond to the question? The Good Hatchery had a visually commanding presence. I read themes of collection, dispersal and preserving, from their work and think that sums up there modus operandi quite well. I have a soft spot for all things wood so I was rather fond of this piece. Monster Truck recreated the interior of their gallery and held an Art swap. The swap was a great idea reflecting for me at least a community based platform. They had some great pieces in the swap and I regret not participating. Blackletter's contribution was wonderfully simple. A painted chalk board that allowed for open and continual participation from the audience. Which is an appropriate reflection of what Blackletter is. In their own words; Blackletter provides platforms for artists to communicate, exchange, document and publicize. A few of the organizations responses to the question, either didnt address the question at all or did it rather poorly. ART/not art, who answered the question with a question in their statement was one that I had difficulty with. In viewing the piece I could not find the connection or relation of the physical construction to the question posed by the curators. Aesthetically the installation was challenging and interactive. I liked the way the piece commanded the space but beyond that I was left still trying to decipher the link.

Some wee houses

2009-03-23T10:31:00.000-07:00

Some small works to be wheat pasted on 126's Imoca project (This Must be the Place)

2009-03-04T04:03:00.000-08:00

I love getting mail. It stems from the days of ordering punk records and waiting for that all too familiar envelope or package sticking out of the mail box. It was like x-mas. That wonderful feeling came rushing back today as our doorbell rang, and upon opening the door there our Post carrier stood holding a large yellow (ish) envelope. I knew right away what it was. A Canadian Artist and very close and dear friend of mine has sent us a capital B Beautiful piece of hers.
Artist: Shannon L. Phair, Untitled 2009

Thank you Shannon!

Time to move on and other thoughts

2009-03-02T04:16:00.000-08:00

Head Light Big Horn, Oil on Board, 24"x16" ish
Ok I think that should do it for now. Teach me to fiddle with things that are not broken. Anyway, I also added little widget thing at the bottom to show who enjoys dropping by this ol' blog. So if you're so inclined please link up down there. ( Upon further reading it seems the widget thing only takes a gmail or yahoo account. So if you have either then sign in if not I'll look around for something more inclusive I guess) Above is a recent painting. Its a smaller format, but I think it works well. We will see how it goes.
So whats new on the Irish front? I mentioned the studio, when I get my gear in I will throw up some photos. 126 had its last show in the Ballybane location. We had a bit of a closing /farewell party. We also had a ceremonial burning of the old sign. The ride home from that night was a wet one and that forced Nina and I to call it an evening a bit early. We (126) are still looking for a new venue but have a few potential places lined up. I'll post as soon as something solid comes through. So I have the good fortune of seeing a couple really good exhibits recently. Nevan Lahart's Ugly Lovely at the kevin Kavanagh Gallery

Photo courtesy of Kevin Kavanagh Gallery
Wonderful installation on multiple interpretations of a single subject matter. The paintings were mostly on found wood and panel and the installations had a playful engaging nature to them. It brought a smile to my face, as I walked through the works. What is it about art that can at times put a stupid grin on your face? There are times I will come into an exhibition and I can almost feel the pupils of my eyes begin to widen. My lips start to part, my heart beat quickens, it is a full body experience, as I take in the visual before me. It strikes me as similar to a chemically induced reaction. It is also art that can start my head to throb, my anxiety to rise, my patience goes out the window and I want to turn around and run. Its at these times that I slip into my mantra "spend some time with it, spend some time with it" I guess that's what I love, the unexpected, the unknown, the challenge of Art.

The other exhibit was Sinéad Ní Mhaonaigh at the Galway arts Centre. Sinéad's paintings are about the act of painting itself. They are thick and lush. When looking at these pieces your eye cant help but slowly wander around the surface, occasionally tripping on a scraping here or a gouge there. Subject-wise She plays or hints at slight constructions, boat like shapes, buildings, and platforms.

Image courtesy of Galway Arts centre: Untitled, oil on canvas, 2008

So here are some recent pics from 126.

Jim brings about the fall of 126 (the sign that is)

I played at being the paparazzi. I think I've been caught.

Apparently the Irish don't care for the Paparazzi either!

And with that we bid adieu

2009-03-01T13:05:00.000-08:00

Well, this isnt going according to plan. I was trying to re-do the blog a bit and now I have gone and lost all my links. So bare with me for a bit.

New works + Artspace Studios

2009-02-12T07:00:00.000-08:00

I have just recently found out that an application I submitted to Artspace Studios here in Galway has been accepted. I was given a tour of the facilities, and let me tell you I am one excited fellow.

Here are some recent works in progress.

Oil and enamel on board

I was playing with some ideas here will have to see where these go.
(works on paper)

2009-01-19T08:27:00.000-08:00

This is great (swiped from swissmiss ).
I promise, I will get some new artwork
up here soon.

2009-01-18T05:47:00.000-08:00

I cant tell you how good this talk is. Funny and insightful. Take a moment to watch.

2009-01-09T06:02:00.000-08:00

Some small works on paper done at the end of 08.

Title: I told you it wasnt out here. Can we go now?

Title: No, I do not have to tell you why, 2008

Title: Isnt that your shirt? 2008

Title: You do this every time, 2008

Title: You're over reacting, 2008

Another house construction. Titled: Go away, 2009

2008-12-24T02:35:00.000-08:00

Happy Holidays everyone.

Is Art the wrong term?

2008-11-24T06:08:00.000-08:00

I have just come back from the Galway Arts Centre's exhibit of Dan Shipsides & Neil Beggs installation. The installation is said to have used Matthew Barney's "Drawing Restraint 14" as the inspiration for this work. The GAC website states " The piece examines the obstacle as a metaphor and suggests that its presence is intrinsic to the creation of an artwork." After seeing the installation my question is not about whether the obstacle is intrinsic to the creation of an artwork. But whether this installation is Art.

Installation shots: Dan Shipsides & Neal Beggs
Does our language limit us? Are installations such as this wrongly labeled? Is it art? If it isn't, then what is it? Because its in a Gallery is that the determining factor? Should we look for a new term, a new word to describe these constructions, these performances, these events? Has the practises of today outgrown the original term? What is Art? Well, thats a big question, and hard to nail down.
For al intents and purposes Wikipedia will work in a pinch for our description.

"Art is the process or product of deliberately and creatively arranging elements in a way that appeals to the senses or emotions."

or this by britannica online

"the use of skill and imagination in the creation of aesthetic objects, environments, or experiences that can be shared with others"

for me the key word here is aesthetic. Art needs a foundation of aesthetic appeal. Even the Ugly-realism of the 70's is relevant because for me it responding to the desire for the aesthetic in art.
So is this installation, art? or does it fall under a yet to be created term? Why is it art? Is it time to hammer out the parameters of what art is? To stoically say yes, that this over here is art and no, that over there is not. What are we trying to do through art? But then again maybe its the term Art that needs to be changed. Maybe ART is outdated, old, redundant.
Well, I can't answer that. I often find that I am contradicting myself. I fool myself into thinking, Ok, I got it. Here is what is going on, only to find myself confronted by something that confounds me.
But art is most certainly not a static thing, and it becomes boring without those that push its boundaries. I often find myself as an artist defending the works of those in my field. And to be honest, sometimes I have no idea what is going on. I sometimes fail to answer the question, is it art? and if so why? I enjoy challenging work, work that engages the viewer. Work that sometimes demands the viewer take some more time with it. I will often go back to exhibits to have a second or third look. Give the exhibit that extra bit of time. Possibly even to change the context in which I am viewing it. See the work in different experiences. I want the work to affect me, to move me, question my established preconceived notions even. But there are times when I walk into a gallery and think. "Shit, what the hell is this"
The wonderful thing about art is it can cover so much ground. An artwork can be simply a visually appealing and engaging work or at other times more challenging, not relying strictly to an aesthetic response. It can be witty, cerebral, politically charged, socially relevant all of these things or none of them. So does the Shipsides/Beggs show fall into these concepts? Sure, at times. As a whole though I question whether we should be calling it something other than Art?

2008-11-20T07:43:00.000-08:00

Cordil Construction dumping ground next to my complex.

Around the corner from our place

Across the street from our place.
Have to admit I have not been very motivated in the studio recently. I have hit a wall with the most recent paintings. I am excited about them but we are just not seeing eye to eye right now. So instead I will throw up some pics of my still new neighborhood.

2008-10-17T08:21:00.000-07:00

So Ireland is cruising along quite nicely. Well not the economy, I was implying that my own experience in Ireland is progressing nicely. The current state of Ireland seems to be on the same bus the rest of the western world is.
I have converted our spare/guest room into a temporary studio. The above in-progress piece is one of currently 6 paintings I am working on. It is getting a little crowded in there. Before I left everyone predicted that Ireland would be a great source of inspiration for me. I don't doubt that, but I also don't want my work to fall into common Irish-isms. So are my new paintings an aversion to expected Irish cliches? I don't think they look very Irish? or maybe they do? I'm new here so I don't know. I will have to see where they go.
We found a great little (well its not that little, really) pub called The Cottage bar. Well, I guess its more of a bar than a pub as the name states. Its located on the way to Salthill, just west of where we are located. As with most things in Galway, its about a ten minute walk. If you come and visit us we will take you there and you will say "What a great pub, this is!" Trust me.
I just finished reading my friend's blog about our recent election. I was rather disappointed that it was a record low voter turnout this time around. I gather that this means the majority of (non)voters are happy with the current political climate. I'm not. My wife and I voted from over here in Ireland. I dont really know what else to say. I think voting is important. Its a hard won right (privilege?) that seems to be taken too lightly today.
Speaking of Michael Byers blog, I have to say his artwork always inspires me to pick up a pencil or pen. Actually Ryan Price evokes the same response as well. But after a few moments it dawns on me that maybe some things are best left to those who know what they are doing. Those two have some wonderful skills with the pen and paper.
maybe I'll give it another go...

2008-09-25T01:49:00.000-07:00

Just read the Margaret Atwood piece from the Globe & Mail today on the Harper cuts. Its a good read on a frustrating and critical subject, please check it out here

For more information about the cuts, a great site can be found here

Back to Ireland, well actually Scotland. I tracked down a new catalogue release of the artist Joan Eardley. I have enjoyed her work immensely for quite some time now and haven't found a whole lot of information about her. So I was thrilled to find out that the National Gallery of Scotland just had a retrospective of her work and published a new book on her. Her figurative work is gritty and harsh and falls in the vein of social realism, but it also captures some really delicate moments beautifully. Her landscape work is where Eardley starts to play with abstract expressionism and you have to spend some time really looking at the paintings. Unfortunately all I have is the catalogue to look at for now. I will have to get out to the gallery while I'm here.

I just came across Art Review magazine's new (well its new to me) online version of their periodical. here
Its really quite amazing. I will always prefer to physically read a book or magazine but the selection in Galway is, well its horrible actually. I have really been spoilt in Guelph. So to be able to digitally turn the pages of a magazine that I cant get here is the next best thing I suppose.

Went for my first ride yesterday. As a result I must commend the cyclist of Galway for their bravery. I was forced (yes I admit it, out of fear for my life) onto the sidewalk. I abhor cyclists that ride on the sidewalk. It drives me nuts. But in this case due to the narrow-ness of the roads and the large trucks that used this artery out of Galway, I felt it was necessary. Once I was into the country-side I felt quite a bit more safe and the ride turned into an adventure. The back roads (paved ones only this time) are a feast for the eyes. Walled Fields everywhere. I will post some pics shortly (i forgot to bring my camera) I felt that the first ride was a tester :-)
Anyway, thats all for now.
cheers.

2008-09-21T04:13:00.000-07:00

Just saw a clip for the movie/documentary Beautiful Losers. If your unfamiliar with this travelling exhibit check out this website http://www.beautifullosers.com/ or pick up the book (its worth the purchase).
Seeing as I am in Ireland at the moment I don't think I will be able to see it anytime soon. But after seeing the trailer I have to say, definitely go see it if it comes your way.
cheers

2008-09-17T02:30:00.000-07:00

Thought I would put up one of the two commissions I had this summer. I dont usually do them, but in this case they were friends of mine who asked and I had a lot of freedom with the work. The tentative title for this work is 2 boats and some hope, oil and enamel on board 4x3'. I am missing the easy access to great artwork one had in southern Ontario. The great variety of artists found right in Guelph and the close proximity of Toronto. There was always something to take some time with.
So, I went back to the Galway Arts centre to spend some more time with the photo show they have on. I new it needed some more perusing. The main floor work was still a little weak in my opinion but the second
floor work came out stronger on the second visit. The photo show was by Ruby Wallis Titled: Other Madonnas,
( www.rubywallis.com ) An exploration into domestic relationships specifically the mother and her daughter. I found some works to reveal an unforced strength of character, while others seemed desolate and lost and one piece a little too staged. Wallis states an influence of Dutch genre painting. One sees that when you look at how she lighted the subjects. I suspect my previous visit was probably rushed, as the more I looked at these images the more I was drawn into them. The photos are quite beautiful.

On my way to the centre I had to navigate Galway's unique
sidewalks. Some are quite wide and accommodating others well actually most of them are very narrow. What I have also noticed is the relationship between Galway drivers and pedestrians. One of those relationships is sidewalk usage. When one needs to park, sidewalks will do in a pinch.

Its hard enough getting by these guys, but I thought what if you were in a wheel chair? Yep the city is definitely geared towards the auto. Some additions to alleviate the average pedestrians plight might be cross-walks....that work. Fines for those creative parkers. Larger sidewalks? Just some thoughts.
Anyway, as you can see from the car pics we are having an incredibly sunny day today. We had lunch outside and I believe Fish and chips on a patio has been suggested for this evening.
Still looking for a studio space over here. I just mailed off an application to a govt. funded Artspace ( http://www.artspacegalway.com/ ) for a studio. I spoke with them before. It looked great, so we'll cross our fingers.
Thats it for now.
cheers.

2008-09-14T14:53:00.000-07:00

Some random musings;
So we landed safe and sound in Ireland. Getting settled in, Galway is going as planned. Working on some houses. Going to attach them to walls (more pics to follow) I'll elaborate more, soon. Nina and I have been in Galway for about two weeks
now. We need to explore so much more. There are so many small independent stores hidden down side streets and back alleys. Galway is a tourist destination so you overhear a lot of languages and accents, Russian, French and Polish seem to be the rank the highest. We have learned that the main strip (Quay St, High St, and Shop St, which are really all one street) should be avoided on the weekends. It becomes a bit of a zoo.
The car / pedestrian relationship is best summed up as cautious. Approach a street crossing with caution. The roads are small and the side walks are smaller. When crossing a street, look right then left then over your shoulder, right again, then run like hell.
Stopped by G126, an artist run gallery last week. They have a nice program set up but are situated well out of the way. http://www.g126.eu/
The other significant art gallery here is the Galway arts Centre http://www.galwayartscentre.ie/
A nice space found right downtown. They have a photo based show on right now. I didnt think much of it. I didnt think the quality of the images was that good but I will go by again and take some more time with it. We just missed the Galway arts festival by a couple of weeks so Nina and I will catch that next year.
The Cats,
Bringing our cats over from Canada was a chore but well worth the trouble. New adventures now are finding food and litter. Cats don't seem to register too high on the Irish pet scale and that means a rather poor selection of food and ridiculously small bags of litter in most stores. Obviously they dont know our cats and their daily output.

till later,

Artist statement for my last solo show.

2005-04-27T21:18:00.000-07:00

This current body of work is a continuation of previous endeavors, It is the third show based loosely on the search for a sense of place, home and self.
Who am I? Where do I come from? These are questions that have formed the basis for a continuing series of paintings. I had the idea for these particular pieces when I decided to go back into my father’s old slide collection. My father produced these slides and photographic works during the late 1950’s and 1960’s in Trinidad and Tobago as well as Argentina. Trinidad being the place where he met my Mother, and consequently where my sister and I were born.
Going through these slides I have always found something in each of them that I thought would work well in a painting. I also found myself getting lost in these pictures, they had a familiarity to them that I couldn’t place. I felt they belonged to me, they were a part of who I was. But I didn’t know these places, nor did I know these people that populated the images.
My work deals with issues of displacement, the separation of the individual from a cultural and social past, and the attempt to reclaim a history created through oral and photographic traditions. Having been born in Trinidad and raised mostly in Canada, these issues are familiar to me, as they are likely to many Canadians. Although these histories may not be connected to my own past in an experiential way, they are integral in my personal development and history.
Our family left, when I was quite young. For me this has posed an on going dilemma of a historical sense of identity. Born in Trinidad raised in Canada, I found myself always asking who am I? Where have I come from? Through a tradition of oral, pictorial, and culinary story telling, aspects of a West Indian back ground or heritage have always been maintained in my family. A fondness for a place I really don’t remember has been fostered. So I have tried to create a mythology of my own in conjunction with those traditions, those stories, those histories. These paintings tell a story for me, of who I am and where I have come from. They are here to remind me of my heritage. They are constructions of characters and places that together inform me of my own history, and current sense of place.

SIMON FLEMING

2005-04-27T21:07:00.000-07:00

Title: I wanted to tell him what he did was wrong
Oil on canvas
4'x4'
2004

2005-04-27T21:01:00.000-07:00

Title: That afternoon everything changed
Oil on canvas 4'x4'
2004

2005-04-27T15:06:00.000-07:00

"I thought he was a strong man, others just thought he was stubborn"

2005-04-27T15:04:00.000-07:00