best vacation spots: cabinet shrine

Tampilkan postingan dengan label cabinet shrine. Tampilkan semua postingan

Selasa, 16 Juni 2015

10.27

SNH ARTIST RESIDENCY | TREE CHURCH FILM

by Travelling around the world, in treechurch

image marco scerri

the artist studio process of collecting and making is a 3D extension of the sketchbook process and this is where the real intuitive connections are made. this brilliant short film by Catherine Weir gives an overview of the whole residency and the collecting that went on in the name of research. a snapshot in time of the most excellent year spent with members of staff at Battleby, particularly Jim Carruthers who became a huge part of my process.

as well as the adhocist recycled structure I was also working with texts and with new printmaking techniques – all the prints were made on site with spray paint and bootlace fungus on found materials in my spray shed. working very fast and completely intuitively I produced the aurora prints which are far looser than I normally work when I draw or screen print. initially I set myself one strict condition, that the work must be created within the natural boundaries of battleby with the creative tools at hand. It changed the work and my process and was a great experiment for me personally completely altering my approach and the control I normally have in my working process.

its hard to believe a year has gone by since this life affirming residency produced tree church but having just returned from a research trip to the forests of finland it makes me realise how strongly biophilia still has me in its grip and quite how much this residency changed me as an artist.

image marco scerri

Mike Inglis - Artist in residence at SNH Battleby Conference Centre from cthrn wr on Vimeo.

Tidak ada komentar:

Rabu, 28 Januari 2015

17.03

SNH ARTIST RESIDENCY | TREE CHURCH INSTALLATION

by Travelling around the world, in scottish natural heritage

image marco scerri

image lorne gill SNH

image marco scerri

image mike inglis

The final piece of work that was created for the grounds in Battleby can be thought of as a place as much as a structure. “TREE CHURCH” is composed of an adhocist twin structure and a bell tower. The “Adhocist” structure provides a contemplative holistic space that reinforces our absolute need to create an instinctive bond with other living systems as explored by Edward O Wilson the American scientist and social biologist in his theory of “Biophilia”. It is not intended to be a religious space but questions what a religious space actually is. Tree Church provides a sense of spirituality drawn from a scientific understanding of the world and the shrine inside the building seeks further to examine the beauty that can be found in decay and the understanding born from this cycle of life.

The concept also seeks to re-establish the relationship between the house and the grounds by reinstating the essence of some of the “lost structures” of Battleby, the wooden summerhouse and the Victorian glasshouses. The combined theories of adhocism (see footnote) and biophilia informed the building of the structure, the contents of which further examine the relationship between science and art. The structure emphasizes the opportunity for exploration and fascination in a small tended woodland garden that might also encourage us to explore the untended wildernesses beyond.

A rough Caithness stone floor helps to draw our natural Scottish environment into the structure and remind us of the timeless nature of its origin 400 million years ago. This reinforces the geological timeline contrasting the immediate idea of “old” materials in the recycled wooden window frames with the ancient stone of the floor upon which we stand.

The living roof allows further reflection and connections; the mosses, lichens and fungi tying into the fungus prints and helping to extend with the buildings actual fabric ideas surrounding decay and the cycle of life.

A rowan tree planted in the structure was chosen for a number of reason but in Scotland in particular it was considered a very magical tree offering protection as well as sharpening intuition. It was often planted close to new building to offer the structure protection. When time has its way with the structure it is hoped that all that will remain will be the Kashmiri Rowan planted by Jim Carruthers and myself.

A seperate blog exists that documents my research and experiences there should you wish to know more -

https://bootlaceandlightning.wordpress.com/

image marco scerri

Adhocist theory follows Charles Jencks and Nathan Silver’s 1972 manifesto for a generation that took pleasure in doing things ad hoc, using materials at hand to solve real-world problems. The implications were subversive. turned-off citizens of the 1970s immediately adopted the book as a DIY guide. Adhocism has always been around. (Robinson Crusoe,making a raft and then a shelter from the wreck of his ship). However it is also an undeveloped force within the way we approach almost every activity, from play to architecture to city planning to political revolution. JENCKS SILVER 1972

image mike inglis

Tidak ada komentar:

Jumat, 19 April 2013

09.32

InBetween Artist Residency - the witches shrine

by Travelling around the world, in witches

the panels are all found materials, considered worthless like the outsider women of this shrine.

the shrine was placed in a long abandoned stationers shop which had simply been locked and left when the owners wife died, a very sad and dispossessed presence in the back streets of dumfries perfect for a shrine such as this

reflections and found materials play a big part of this installation

the panels reflect many states of mental anguish, anger, exhaustion and defiance that the woman must have experienced throughout their ordeal

a single model was used to capture these ten women - their individual personalities were accentuated by different patterns in their clothing as well as different very difficult emotional reactions conjured up by the model kathryn milligan

copper leaf, found materials, spray paint and tranfer prints were used to give the shrine both a decorative yet very ordinary feel. the panels often being the backs of old household furniture, cupboards and the like.

all of the individual panels were bound togethor by red twine which was historically used to ward off witches

the witches stones which ground the shrine are made from stone collected from locharbriggs quarry - historically witches gathered at locharbriggs to carry out their ceremonies. bound playing cards are another way of protecting against witchcraft, often inserted into documents. the key comes from st michaels kirk which stood at the time of the witch trials and was party to these atrocities against the women.
the stones were carved for me by an old pal darren campbell, witches stones were hung in barns and cottages to protect "ordinary" people from evil!

the patterns found here run through to the other more holistic shrines reminding us constantly of this terrible time in dumfries and scotland's history

one of the women managed to bribe and buy her freedom but had her cheek branded by a molten hot iron causing smoke to come out of her mouth according to witness records. she was then banished from the district and all her friends and family

the location allowed great interplay with both the building and the street in the reflections

mirrors on either side of the window extended this interplay with the shrine

at night the shrine was lit allowing a series of late night vigils for the women which lasted all winter long

the witches shrines commemorates one of the darkest episodes from dumfries's past. in 1659 ten women were accused of witchcraft by dumfries kirk session. the women were held and tortured to extract a "confession" and during this terrible ordeal one of the women who could stand no more hung herself in her cell. the other 9 women were found guilty and on the 13th of april 1659, probably on the white sands although this is disputed among historians, they were tied to stakes and brutally strangled from behind by soldiers then their bodies were burnt to ashes.

agnes (comenes) cairnes, janet mcgowan, jean tomson, margaret clerk, janet corsane, helen moorhead, janet callon, agnes clark, janet mcnaught and helen harris. all ordinary women guilty of no crime.

there were many similar instances at this time of hysterical witch trials but this stands out by the sheer inhumanity of the collective execution of nine innocent women. one of the women was a known healer, the others were simply outsiders, perhaps unpopular with their neighbours, perhaps a little bit unusual in their beliefs, paganism was still popular as were other alternative belief systems. this is how dumfries treated its outsiders in 1659!

the organic patterns that start in this shrine extend through the outsider art shrine where a more humane system for treating outsiders began and into the clothing of todays custodian outsiders who protect dumfries. the patterns drawn from the engravings and carvings of flowers from the churches of dumfries remain the link between all the shrines and echo through the layers of history in my project as a constant warning about how we perceive and treat each other.

Tidak ada komentar:

Jumat, 16 Oktober 2009

07.21

shadows fade solo show glasgow arches

by Travelling around the world, in shadows fade

shadows fade opened at the arches and i'm pretty pleased with the results so far. this body of work is only half way through so lots of work still ahead before i'll feel completely satisfied and then time to show it all in more of a purpose built installation as originally envisioned. check the following link for a recent interview on juxtapoz magazine that gives an overview of where im at www.juxtapoz.com/Richard+Scarry/12145-mike-inglis-the-man-behind-spaceboy

Tidak ada komentar:

07.12

shadows fade solo show glasgow arches

by Travelling around the world, in typography

"For his new Arches show, Inglis goes back to his original printmaking and street paste-ups. Shadows Fade – titled after a headstone inscription in Inglis’ Scottish seaside town – focuses on death, grief and spiritualism.
Inglis digs into his own family history and draws inspiration from his spiritualist great aunt and bereaved grandmother who witnessed the accidental death of her five-year-old daughter. Exploring the artist’s own frustrations with spiritualism and the fragile metaphysical landscape people inhabit as they try to cope with loss, Inglis’ human-scale paste-ups present the little girl happily running with a Native American headdress or staring at a dog’s skeleton above the family’s 1930 china cabinet. Spectators might remember the installation from this summer’s Rough Cut Nation, whose poster was also adorned by Inglis’ spaceboy." Adeline Amar at the Skinny

Tidak ada komentar:

best vacation spots

Selasa, 16 Juni 2015

SNH ARTIST RESIDENCY | TREE CHURCH FILM

Rabu, 28 Januari 2015

SNH ARTIST RESIDENCY | TREE CHURCH INSTALLATION

Jumat, 19 April 2013

InBetween Artist Residency - the witches shrine

Jumat, 16 Oktober 2009

shadows fade solo show glasgow arches

shadows fade solo show glasgow arches

Author Details