Tuesday, 27 July 2010
here's a few images of my first afternoon working on the shed.. i'll be continuing tomorrow. the gallery will be open wednesday 28th-saturday 31st from 12 noon-5pm. there will be a doodle party/private view on friday (30th) from 5:30pm-7:30pm which will involve cake, snacks, a doodle wall and a chance to see what i've drawn on the shed. more info about the doodle party can be found here. hope to see you there!
Today Helen Entwistle a.k.a Memo started transforming the shed into a colourful wonderland of hand drawn characters. Pop into PSL this week to witness her animating it’s walls from top to bottom with an assortment of weird and wonderful fictional creatures.
Helen is a freelance illustrator and screen printer based in Leeds. She makes zines, limited edition prints and a variety of small illustrated products. Her work focuses on kitsch objects that she collects from the 1950s/60s and imaginary characters.
To find out more about Memo’s work visit:
Saturday, 24 July 2010
Created with Admarket's flickrSLiDR.
Unfortunately I was not able to go on them as I was manning the front desk. By all accounts they were enjoyable and engaging. I did do my own mini-sound walk from the bus stop to PSL, listening out for the sounds I usually filter and ignore but got distracted by my thoughts quite quickly. Maybe being in a group is the way to stay focused!
Friday, 23 July 2010
For Week 1 of The Drawing Shed at PSL the shed actually housed sound, not drawing. This came about because Phill Harding - an intriguing artist as well as being one of our gallery assistants - proposed to do some sound walks starting at PSL as part of World Listening Day (Sun 18th June). Further conversation with Phill led to him suggesting he'd like to recreate an earlier piece of work 'house,' in the shed. It sounded (and eventually did sound) like an interesting piece of work so, in-spite of it not being drawing, we said 'yes.'
So I guess this reveals straightaway something about The Drawing Shed; it isn't that proscriptive. It was designed specifically to be PSL's hub at 'No Soul for Sale' at Tate, providing a surface for artists to work on but also inside, space for an information point about PSL. We always intended to bring the shed back to PSL to form part of an exhibition here but - designed on the hoof - it was not exactly clear what it would become. We are still finding out!
There has been some discussion about the project on the 'Culture Vulture' following a review : http://theculturevulture.co.uk/blog/?p=6868. In my opinion the shed worked at Tate as a physical presence in the overwhelming space and noise of the turbine hall and practically as a house for info about PSL. It also showcased the work of artists we already have a relationship with. Now the shed is back in Leeds, we are primarily using it to show work by artists we have not worked with before. I am interested in Eleanor's point that the form of the shed may over-determine responses such that every piece of work created will essentially be the same: "But by providing this medium, a medium that is difficult to escape, do the artworks created in conjunction with it become less about individual expression or relationship to the Shed, and more about simply trying to fight your way out of convention?" We shall see! The artists we have invited to take part in the project have varied practices and have been selected because we think they will turn the shed into a new piece, rather than it being the shed with so and so's work on. Yet I do think it is an important and interesting question when, as an artist, you agree to take part in a pre-formatted project and so much is pre-determined, can it work or end up feeling like a bit of a compromise? I think this is a question relevant to lots of projects/opportunities and hopefully some of the participating artists will reflect on it here. Essentially PSL has quite a strong hand in determining the shape of the project but a fairly loose hand curatorially, determining what each work becomes.
Phill's work has been a great example of a new way to animate the shed (I think the shed definitely became part of Phill's work, not the other way around) but then again it wasn't drawing! On that point I am hoping Phill will do a post with links to some of his influences in terms of his sound art practice. We had an interesting conversation about whether his work had any relationship to drawing and 2 things stand out in my memory from this 1) The idea of ground and foreground detail. Phill's sound piece had a kind of background drone to it (sorry Phill if I am simplifying!) punctuated by points of noise that were more transient and at the foreground perhaps with some similarity to points or lines on a page 2) Phill's strategies for generating the structures of his work include chance procedures, methods also important in drawing. In both sound art and drawing there remain shifting relationships between aesthetics, composition, intention and chance.
I hope that through the project we can be reflective about the nature of and different approaches to contemporary drawing (narrative, pictorial, performative etc) and explore where they are comparable and where they are not....more about that in later posts!
See Phill's sound blog here: www.phillharding.org
Wednesday, 14 July 2010
house by Phill Harding
From 14th to 18th July Phill Harding’s ‘house’(2000-2005) inhabits The Drawing Shed. This immersive, constantly changing sound installation is constructed from simple yet meticulously-staged domestic soundscapes. Recorded in houses devoid of human presence, the material focuses on the usually unnoticed sounds that surround us. Visitors are welcome everyday between 12-5pm to take some time to sit and listen inside the installation.
Phill Harding is a sonic artist based in the Pennine hills of West Yorkshire. Much of his current work involves the use of untreated (raw) location field recordings, with particular emphasis on the places we inhabit and the multiple resonances of architectural space.
Image- ‘house’ (2005) at illuminate festival, Bradford
On Sunday 18th July as part of World Listening Day Harding is leading a series of 3 different sound walks around -Leeds. Walks leave from PSL at 1pm, 2.30pm and 4pm and last for between 30 and 45 minutes.
To book call: 01138160122 or email@example.com
Monday, 5 July 2010
Thursday, 1 July 2010
The Drawing Shed at Tate Modern
Back in May this year we had a fantastic weekend debuting The Drawing Shed at Tate Modern's 10th year anniversary edition of No Soul For Sale: A Festival of Independents in the company of over 93,000 visitors! PSL was one of 70 world-wide not-for-profit organisations taking part in the three day-long extravaganza initiated by Cecilia Alemani, a New York based curator, who invited ‘the most exciting, innovative and respected not-for-profit centres, alternative institutions, artists' collectives and independent enterprises from around the world’ to participate.
We invited a selection of mainly Leeds-based artists from our network to come down and participate, artists who took part in The Drawing Shed at No Soul For Sale were: Nick Cass/ www.nickcass.com, Amelia Crouch/ www.ameliacrouch.com, Ant Macari/ http://www.workplacegallery.co.uk/artists, Hardeep Pandhal/ www.hardeeppandhal.com, Janis Rafailidou/ www.janisrafailidou.co.uk and Amy Stephens/ www.amystephens.co.uk & Rory Macbeth/ www.pilotlondon.org.uk
Images of their work are now up on our flickr page. www.flickr/com/photos/projectspaceleeds