Enamel colour swatches nearly ready for Amiens Project. These 2 metre strips are being made at AJ Wells, vitreous enamellers on the Isle of White. All the colours chosen have been matched to colours found in the Hortillonage, the floating gardens of Amiens. These will be installed in the next couple of weeks after being fixed to oak sculptures and installed in the Gardens. This is a public engagement project where the public choose the names of the colours via text and a website. http://www.jardinschromatiques.fr – the results will go to form a colour chart for the gardens. The opening of Amiens festival is 14th June.
Mearz and Paul produced a dictionary of colours in 1930 – A second edition was produced 20 years later. ~It was used mainly by mycologists to measure colour changes in fungi and other mycological studies. It has also been used in measuring colour in genetics, horticulture and botany.
The name has intrigued me ever since I read it, as it really stands out against the other, less evocative names found in the colour dictionary – I first thought it meant Puff of Wind in English but that’s ‘Coup de Vent’ in French, I believe. The colour dictionaries of the 30’s and 40’s were partly created for the textile industry . So I thought it had perhaps something to do with textiles. When I looked into Pouf ‘history’ certainly many textile and fashion descriptions came up : headdress, hairstyle, gathered up skirt or dress into a round puffy shape, It wasn’t until I realised that Mearz and Paul’s colour dictionary was mainly used by mycologists that I realised it must be for some sort of a pink puffball fungi – so i searched and found these below!
But it turns out its not a fungi at all, It’s a Slime Mould (?)
Lycogala epidendrum, commonly known as wolf’s milk, groening’s slime is a cosmopolitan species of plasmodial slime mould which is often mistaken for a fungus.
Its Cosmopolitan Slime…..Not a Puff of wind at all.
Just completed the central mosaic for the main square of Southern Housing’s latest development in the East of Brighton. Collaborating with Jane Fordham the mosaic is 3 metres in diameter and a black, white and grey abstract design. Surrounding the mosaic are 8 re-claimed Victorian Lampposts fitted with colour changing LED’s- the residents will be able to control the colours of the lights via an app downloadable to their smart phones. The changing lights will also illuminate the mosaic and its neutral tones will be chromatically altered by the coloured lights.
I have another project in Amiens again this year – This time to work specifically with the Hortillonage or floating gardens – I and the other selected artists and Garden designers (French and English) all met up a few weekends ago – where we discussed our projects and visited the sites. There are some really interesting projects being developed.
I will continue with the colour Library , first exhibited at Fabrica – this will be the first time it has been done in another language and will be done using a series of enamel colour swatches installed onto wooden sculptures (otherwise known as posts) and based on the colour in and around the gardens. It will also be the first time where the public will be able to interact with the project using smart phones and social media.
12.30pm tonight ! 7 metre high tide today and the top section of Vega by Hove Lagoon will light up.
Last week we finished documenting the Bloomsbury wall paintings at Berwick Church. We spent 3 weeks documenting every crack, flake, mould spot, salt blister, and bat dropping (or maybe woodpecker, they have made a dozen holes/nests in the spire, a common problem apparently!) . I don’t think I have ever looked at an artwork (or anything) for that length of time or under that amount of scrutiny.
We used close up photos of the paintings overlaid with acetate sheets and standing in front of the paintings themselves (viewed through magnifying optivisors) we drew on the acetate with coloured markers, . Each marker denoted a deterioration or deposit on the paint layer. Below is a couple of images we did of the Chancel painting, Quentin Bell’s ‘Wise and foolish Virgins’
Remove the photo from behind – result- a very informative and functional plan/map but also a rather beautiful but purposeful “wise and foolish” ‘abstract’ drawing too.
The show started last week and is a group show I am in with 5 other artists at the Sidney Cooper Gallery in Canterbury. We have been collaborating with the University of Kent Bio science dept for nearly a year and a half on this project and is based on the 30th anniversary of the PCR machine. The machine is basically a little oven and is used to amplify segments of DNA. Because significant amounts of a sample of DNA are necessary for molecular and genetic analyses, studies of isolated pieces of DNA are nearly impossible without PCR amplification. Often heralded as one of the most important scientific advances in molecular biology, PCR revolutionized the study of DNA to such an extent that its creator, Kary B. Mullis, was awarded the Nobel Prize for Chemistry in 1993. Apparently he was a good surfer as well.
Actually its just under 3 weeks. A small team of us have just started a project on the Bloomsbury wall paintings at St. Michael of all Angels at Berwick. Painted by Duncan Grant, Vanessa Bell and Quentin Bell during WWII, onto plasterboard (which had only been manufactured since 1930). Not the most stable of substrates. plasterboard is very absorbent and the constant changing interior environment seems to have played a big factor in their deterioration. There has also been previous restorations and structural changes during their relatively short lifetime. We will be documenting the previous interventions and deterioration over the next three weeks to better understand how the deterioration is developing and why it is happening in some areas and not others. And hopefully in the near future a treatment program can be implemented to prevent further loss.
Just finished these four ‘Church Kneelers’ or prayer mats for a show at the Sidney Cooper Gallery in Canterbury. Actually they were made by my Mum and her friends (experts in Tapestries, thankyou so much !). The show is a culmination of nearly two years collaborating with the Bio science dept at Kent University. The exhibition is based around the PCR (Polymerase Chain Reaction) machine developed 30 years ago.
PCR is a process of copying DNA, amplifying specific sequences of As, Cs, Gs and Ts – the chemical alphabet that makes up the genetic code ( the names on the church kneelers). It does so by making millions of identical copies of the original ‘template’ sequence. It allows the detection and analysis of vanishingly small quantities of DNA, and in combination with a vast array of add-on technologies it is a central part of biomedical research. Applications are endless – forensic detection, disease diagnosis, food safety testing, therapeutic protein production, biotechnology, to name only a few.
The title ‘Angela The Curious Goat’ is a way students remember the 4 Amino Acids that make up our DNA.
Researching into Laboratory practise in the Bioscience dept I came across many rituals that scientists use in working with a PCR machine (they can be very temperamental).
As you can see from my previous post I spend a lot of time in Churches, restoring wall paintings and I often look at the kneelers at lunch and tea breaks and think of the thought and time that goes into making, and using them. So I felt this was perhaps an interesting way to represent how both science and religion rely on rituals and habits in their daily activities.
I have also made a series of paintings for the show which I will post up soon . I would like visitors to the show to use the kneelers to look at the paintings but I don’t think the Gallery is going to go for it.. shame.