disruptive narratives

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Subjectivities of displacement, fractured narratives

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  • Disrupted Narratives

    The drive to re-define the concepts of belonging, potential, roots and desire is the inspiration behind the Disrupted Narratives exhibition.

    The never ending metamorphosis of reality and perception and modern anxieties about the reliability and validity of personal memory force us to question the idea of identity as an anchor that links the narratives of past, present and future. Six artists: Fiona Carson, Katie Gilman, Ann Haycock, Carole Luby, Sue Mancholas, and Yewande Okuleye use painting, performance, installation, film and drawing to take us with them on a journey of discovery.

    In the search for meaning, through the investigation of form, space and place, six women try to conquer the disruptions in the communication between us, our hopes and others. The twists and turns of this quest throw up unexpected revelations: one artist found a long lost relative; another is interrogating Facebook as a site to explore forgotten memories.

    A must - see.

    AVA Gallery, University of East London.

    Private View 28th April 2009.

    Exhibition 26th April- 4 May 2010

  • Fiona Carson: Curator

    My work in this exhibition is from the series Sixty by Degrees. The series title refers

    both to age, and the temperature at which wool felts in a washing machine. This

    group of works refers to different kinds of everyday ritual activity; washing clothes,

    going for walks in the local woods and parks with friends, and knitting. These

    feminine domestic activities underpin another iconography that opposes nature to

    culture and refers to an animistic engagement with nature in the form of birds,

    insects and sea creatures. Hence the titles Butterfly Fetish, Oceanic Fetish, Cowled

    Figure, Owlet. Placing these constructions back into a landscape environment that

    they were inspired by, changes them, as they are affected by place, time and

    seasonal change. Important to the process is the intuitive shaping of the material and

    an aspiration to create objects that are ambiguous presences in the landscape. In

    Snowbound, they are grouped together as if they were at an ancient shamanistic

    site, referencing ancestor worship, proxies for a lost sense of continuity and place.

    Statement

    I like to tear up, reconstruct, weave, plait, knot, sew, pour and draw. Found, recycled

    and donated materials can introduce an element of chance or limitation, stimulating

    the unconscious. Forms emerge which reference the natural world, the body, family

    dynamics, the unconscious. The work inhabits the spaces between textiles, sculpture

    and painting. The visual and tactile senses are dominant but sometimes displaced

    into unusual materials or subverted by confrontation or warding off as in fetishes and

    talisman. Look but dont touch. Touch but dont look.

  • Katie Gilman

    Katie Gilman was born in Tasmania, Australia and moved to England with her family

    as a baby.

    Her work involves an investigation of form, space and place; a search for meaning

    and understanding articulated through placement, repetition and process which is

    deeply rooted in her physical and emotional experience of the world as an adopted

    person. She is driven by the urge to ritualistically define and explore the formal

    qualities of materials, objects and spaces in a quest to understand her own place in

    the world.

    This work was originally made for Deptford X 2008. Drawing on the history of rope making in Deptford the artist arduously produced rope by hand from rolls of sleek, shiny black bin bags which were plaited together repeatedly to form chunky, twisted ropes and coiled and wrapped into a large circular form which was sited on a roundabout in Deptford during the festival. The title of the work 10,597 denoted the distance in miles between Deptford and Tasmania - the birthplace of the artist and final destination of convict boats that sailed from Deptford in the early to mid nineteenth century. For the Disrupted Narratives exhibition the work is transported approximately four miles along the Thames to the UEL Docklands campus and re-presented in this new context. Re-titled 10,593 to mark this onward journey the work continues the artists exploration of connections between site (London Docklands) and her place of birth. In this case the significance of East India Docks (a short distance from the gallery) revealed itself during research as Abel Tasman the first European to have sight of Tasmania in 1642 named the island Van Diemens Land in honour of the Governor of the Dutch East India Company. Katie Gilman graduated with a BA in Fine Art from the University of East London in

    2006. Since graduation she has taken part in numerous exhibitions including: Re-

    member (Ada St Gallery, Bethnal Green July 2006), Open wide and say art (Trinity

    Buoy Wharf, Docklands, September 2006), Deptford X Showcase 2006 (APT Gallery

    Nov 2006), Deadweight, public art work commissioned by Deptford X 2007, Climate

    of Change (Union Street, SE1, November 2007), Random Drift (Et Cetera Gallery,

    Hackney June 2008), and 10,597, a public art work commissioned by Deptford X

    2008.

    http://www.myspace.com/katieagilman

  • Katie Gilman 10597

  • Katie Gilman Deadweight

  • Ann Haycock

    Ann Haycock graduated from UEL in 2006 with a BA (Hons) in Fine Art. She is at

    present undertaking an MA in Fine Art at University College Falmouth where she is

    researching everyday items such as clothes and seeds. For the exhibition Disrupted

    Narrative Haycock is showing two pieces of work, Mound and bite/spit.

    For the installation Mound, Haycock has transported from Cornwall, her collection of

    second hand clothes along with forty packets of cress seeds. She is interested in

    disturbing our sense of the norm, so instead of soil, the seeds will be planted in

    amongst the clothes. During the exhibition, Disruptive Narrative, Haycock will invite

    staff and students to water the heap of clothes thereby enabling the seeds to

    germinate and grow into a harvest of edible cress. The artist sees Mound as an

    interface between people and their reactions to the natural world. Through the care

    of an inanimate object, made from old clothes which have an unknown history, new

    life will spring forth, and in so doing, encourage a fresh exchange of ideas.

    About a month ago the artist was seen sitting quietly in the corner of the seminar

    room at University College Falmouth wearing clothes which were covered in cress

    seedlings. This was the beginning of a performance and film titled bite/spit. Instead

    of joining in the debate she started to eat the cress when a positive remark was

    made by one of the MA staff or students with regards to her work. Negative

    comments however drew a very different response from the artist, one of biting the

    cress and spitting it out. The artists disruptive, clownish behaviour allowed her to

    enter into the discussion even though she was not using a spoken language.

    Ann Haycock is interested in exploring various channels of communication and

    combining them with actions and reactions. She says that during daily life these

    activities often go unnoticed, but when singled out, they take on new and interesting

    meanings.

    www.annhaycock.co.uk

  • Carole Luby

    With three years of making live work since leaving UEL in Carlisle, Newcastle,

    London, Israel and Turkey under her belt, Carole Luby has an on-going dialogue

    with her body within the physicality of time.

    For disrupted narratives at UEL the body comes alive and finds a temporary place

    in landscape. The journey, the persistent searching and longing; repetition and the

    unfulfilled desire for contact is still situated within the body depicting moments in time

    that represent change and transitions between memory and reality.

    My practice attempts to unravel accepted or familiar concepts about inner and outer

    worlds. Thus the work is a temporal site of rehearsal or potential where infinite

    solutions might yet be within my grasp whilst making an allowance for unforeseen

    events to change or challenge the nature of the work. You might call it a kind of

    alchemical process where my tentative and improvisational activity might emerge as

    an actualised artwork. Or, perversely it may demystify the practice by revealing the

    mess and uncertainty which precedes and is a part of the work itself.

    Home sick

    http://25stratfordgrove.wordpress.com/

    http://nurseluby.blogspot.com/

  • Sue Manchoulas

    Sue Manchoulas art seeks to engage with space and sight and sound, to navigate

    between art and music. Starting with a disjointed personal history, Sue seeks to

    recreate a sense of a disrupted narration from unrelated materials, including a 10

    metre long graphic score, percussionist, Caz Wolfson, playing directly onto the paper

    manuscript, personal images and the building itself.

    From her personal history; Sue was Australian born to a Chinese father and

    Australian mother, and adopted into an Australian family when 7 years old; the artist

    is attempting to create a cohesive story. Her work for Disrupted Narratives will be a

    performance piece, in which a narrative conversation emerges between, building,

    manuscript and percussionist. Ignoring the disruptions between the materials, and

    treating each material with equal narrative impor