Projects
- Institute of Fictional Exhibitions Art Foundationwww.ifeaf.org Founded in 2016 by Owen Lacey the Institute of Fictional Exhibitions Art Foundation works as a platform for artists to produce fictional exhibitions. Working alongside our team of curators and writers the IFEAF gives artists the tools to make there CVs and portfolios prolific, without the effort of being in an exhibition. WHAT WE DO Do you want a bustling artist CV without actually doing any exhibitions? If so we can help. At the Institute of Fictional Exhibitions Art Foundation
- Valentina Pini - Tonic ImmobilityDeptford X 20 May – 23 June 2017 This project is kindly supported by Swiss Arts Council Pro Helvetia Swiss Cultural Fund UK Patronagefonds für junge Schweizer Künstler, Basel Tonic immobility is a state in which some animals become temporarily paralysed and unresponsive to external stimuli. In most cases, this occurs in response to an extreme threat such as being captured by a perceived predator. ‘Sluggardising’, a verb coined by the writer Robert Walser, defines a state of being active in a state of passivity – alive and well within an inactive, protective husk. Activities such as dreaming, staring at the ceiling, and making the most of the comfort provided by a warm bed, have been misinterpreted and stereotyped as hallmarks of feckless laziness. In fact they can be employed to provoke incidental thinking and develop the foundations of a creative process. This ability to relax, which actually improves our capacity to work, is a dominant paradox of our time: Online relaxation technique videos, youtube insomnia cures, ASMR videos and iPhone applications to help us to reduce our Internet addiction are becoming more and more popular. This is the central theme for Valentine Pini’s forthcoming installation at Deptford X. The long gallery will become an image of this mutable pace for zen: A number of deckchairs will line the space, inviting viewers to sit on their fragile marbled surface. Beside them, like lamps, will stand pillars of plaster – their porous texture giving way to pigment, resembling the thick smoke of incense sticks. Adapted goggles will rest on the deckchairs, blinking a hypnotic stimulation. This is not intended to be a space for zoning out, for passive, escapist aesthetic bewilderment. Rather, like a charging bay, it is imagined as a zone for intense medication, to maximise productivity, for active passivity, peak sluggardising. Pini will explore the nature of the gallery by Blocking out part of the windows. This glass façade is one of the key features of he 22ft vitrine-like space and the primary ways to see the work in the space. By using office curtains Pini will draw attention to the public and private contexts of the space and the privilege to have a space to meditate and cultivate creativity.
- Helena de Pulford - Billy. 223.09.16 - 02.10.16 The Job Centre, Deptford On a hard wooden surface sits a large bear-faced cylinder that simulates the popular lunchbox sandwich ham ‘Billy Bear’, renowned for resembling a cartoon bear when cut through a cross-section. de Pulford has sculpted a similar ham on steroids out of indigestible materials, as if intended for a larger and different kind of lunchbox. This sculpture is not intended for static viewership, slowly sliced into portions by the artist. Accompanying this action is a projection of the sculpture in its current setting, prior to the slicing, creating a gradual dissonance as the sculpture progresses in its process of reduction. The dense material of the sculpture makes the slicing difficult so the customary serrated knife is replaced with a handsaw, a rather more apt instrument for the scale of this ham that reveals an everyday violence. This slicing becomes an approach to making sculpture, borrowing from domestic gestures of preparation and consumption to introduce it into a predominantly male narrative of minimalist sculpture making.
- Chris Alton - Welcome, Trident; International Stars23.03.16 - 24.04.16 Rice + Toye space Soho The following is an excerpt from Michael Ashcroft autobiography, Dirty Politics, Dirty Times, first published in 2005. It refers to a period during the early to mid-1960s: “I also managed a pop group called Trident whom I naturally hoped would become the equivalent in fame and wealth to the Beatles. Trident was a four-man rhythm ’n’ blues band and my managerial role involved driving the group around in a battered green Transit-style van to their often less than packed gigs. Fame always eluded us, and the band eventually broke up, leaving its members and its manager as impoverished as the day it had been formed.” Alton engages in a cartographic process that involves the cross-pollination of both fact and fiction. Working simultaneously with satire and celebration, Alton invokes seemingly incongruous juxtapositions, as a means of visualising the power structures in which we are all embedded – narrating something that is too complex to be immediately comprehendible. For this exhibition Alton has collaborated with writer Rachel Hill to produce a limited edition cassette tape. The tape contains tracks from Ascroft Records' band Trident alongside a text exploring the etymological origins of Trident.
- Holly Hendry - BACKWASH28.01.16 - 13.03.16 Rice + Toye space Soho Somewhere between twitching life and an archaeological exhibit, Holly Hendry’ssculptural installation for THE DOOR presents an image of material breakdown. Sediments are interrupted by moving parts, making a cross-section of lost space and time. The sculpture is timely in this Soho of many layers, continually ever-changing and breaking down to regenerate anew... To coincide with this exhibition Hendry has collaborated with artist and writer Rebecca Jagoe to produce a publication exploring themes of decay and the body. In addition, Hendry will also be producing an online commission, which will be available for download from the Rice + Toye website.
- EMILY MOTTO - 'Postures’17th - 29th June, 2015 Rice + Toye Bermondsey Space Motto plays with domestic and unstable elements to create her sculptures, exploring the tensions and volatilities between materials ranging from mesh, to bread, and playdough. For the installation at Rice + Toye, Motto will continue her material experimentation, creating a series of forms both from and for photographic images. mages of figures found online form her source material, and are then re-sculptured and stitched into organic fabrics, creating corporeal and figure-like forms. By enlarging the images so the pixels become palpable sizes, a surface forms that re-codes and scrambles the viewers’ perception. The publication that will sit alongside this project is a reflection of Motto’s preoccupation with the images her sculptures create. Motto has taken photographs of the sculptures situated in various locations: Motto’s studio, on the streets of Beijing, and, in the coming weeks, at Rice + Toye. The photographs capture the dualities of sculptures’ photographic qualities: the sharpness of the pixels with the blur of other enlarged areas, creating what appears to be a virtual-like or highly edited image.
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Work history
Founder
Freelance
Founded in 2016 the Institute of Fictional Exhibitions Art Foundation works as a platform for artists to produce fictional exhibitions. Working alongside our team of curators and writers the IFEAF gives artists the tools to make there CVs and portfolios prolific, without the effort of being in an exhibition.
www.ifeaf.org
CO Curator
Freelance
Founded in 2014, Rice + Toye is a project space that invites emerging artists to exhibit or experiment with new work. We offer an open and innovative space, enabling artists to test and venture within their practice.
The outcome is an exhibition, performance or public talk, along with a publication produced by Rice + Toye which sits as an interpretive tool to the project.
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Skills
- Marketing PR
- Visual Arts
- Art Direction
- Design
- Final Cut Pro
- Photoshop
- Word
Education
Mixed Media Fine Art
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Mixed Media Fine Art
BTEC National Diploma in Art and Design, NCFE Certificate in Fine Art
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