Just in on the international tom-toms…
Dread & Delight: Fairytales in an Anxious World, a group exhibition curated by Emily Stanley at the Weatherspoon Art Museum. Included in the show is ‘Mother-Lode’, a 9 ft long x 6.5 ft high baroque carriage encrusted in crystallized rock sugar, alongside works by 21 artists including David Hockney, Cindy Sherman, Kiki Smith And John Baldessari. Weatherspoon Art Museum, cnr Spring Garden and Tate Streets, Greensboro, NC. Reception: 5-7pm Saturday, August 25. Exhibition runs till December 9, 2018.
Timothy Horn, Mother-Lode, 2008 Crystallized rock sugar, plywood, steel.
Install of Mother-Lode at the Weatherspoon Art Museum here.
Great company Tim – how marvellous.
STOP PRESS (as in BUT WAIT, THERE”S MORE!!):
Timothy has just posted…
“Extremely grateful to the Powerhouse Museum (MAAS) in Sydney for the recent acquisition of Gorgonia 15. A special thank you to curator Eva Czeris-Ryl for making this happen. This work is part of the exhibition Fantastical Worlds curated by Eva Czernis-Ryl at the Powerhouse, alongside works by Alexander McQueen, Kate Rohde and Timorous Beasties. Exhibition runs till January 2020″
Looks like a road trip to Sydney is in order….
Michael Scarrone from the National Art Glass Gallery at Wagga Wagga has sent the following news….
The 2018 National Emerging Art Glass Prize winner Rose-Mary Faulkner is currently on her art residency in Scotland. Rose-Mary has received an all-expenses-paid trip, two masterclasses and a conference at North Lands Creative Glass facility in Scotland with her work acquired into the National Art Glass Collection, as well as $4000 prize money. North Lands is internationally recognized as the best institute for the study of glass art in Europe.
Lucky Rose-Mary, eh! So, for the interminably curious, Rose-Marys’ journey can be followed via the NEAGP blog link and – for a broader squizz at her practice – go to her website.
Meanwhile for those of you not in the loop, here’s a little background on the winning work…
Rose-Mary Faulkner, Continuum 2017, kiln formed glass and decals
My current work presents a study of my own body from the restricted, subjective line of sight we have of ourselves, aiming to map the female figure through abstracted and layered photographic imagery in order to analyse form and surface. I investigate ways to observe and experience the body, expressed visually through soft dappled imagery, evocative of feeling and sensation. Exploring decals techniques, I transfer photography to glass with water and heat, combining several related images before further manipulating the surface. Continuum presents a mapping of my form – its shape, folds and colours – and its delicacy is enhanced with a skin like surface and sensation.
[Thanks for the headz-up, Mikey. We enjoy following these residency blog feeds. n(Ed)]