page 2 - note from the editor page 3 - ‘The chin strokers’ page 4 - Reviews of three works from Lancaster Uni’s BA Show page 6 - Interview with contemporary artist Karen Guthrie page 7 - Article - A Cabinet full of Dale Street... page 10 - Interview with author Jenny Downham page 11 - The Storey
Red Dress 1979 Linder Sterling
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page 12 - Volcanoes and contemporary art
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Welcome to the Storey Gallery Magazine; ‘This is Not Applicable’. This one-off publication includes drawings, interviews, reports and much more about some amazing artists, authors and shows. I hope you all enjoy reading this as much as I enjoyed compiling it with everyone involved. A special thanks to everyone at the Storey Gallery.
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Editor Ellis Quinn
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Illustrations by Ben Ashworth
5 Chaotic and clamorous, calm and quiet: Julie Firth can express this through her own works of art. Inspired by her own inconvenience, Firth has shown us what these two different worlds can
be like, in a visual and auditory way. Her visual form of art is expressed by two long bits of wire, patterned in zigzags, one as it is and the other is covered in what looks like cotton wool. It has a softer kind of texture, rather than smooth and metallic and looks like it’s protected from all sound. Hanging off the wires are little labels you would usually find showing prices in a shop. Instead of prices, written on them are little messages saying
things like “door closing” or “people talking” on the metallic wire, but on the woolly wire there are things written like “was that a noise?” or “?”. I think they explain what she goes through when she can’t hear what’s going on. The wires run parallel to each other, showing how different they are and that they will never come together. This structure makes it easier to compare how different they are from each other, like two different worlds. These ‘3D translations’ help other people to understand her through visual art. At the ends of the wire is a mechanism that twangs the wire like a guitar, one makes a clean noise, the other makes a flat noise.
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The auditory part of the final piece of work is a piece of music that you listen to on headphones. It’s quite a sad song which I thought went well with the subject of it. After a while the sound suddenly becomes reduced, and it’s harder for you to listen to it. This interested me because it was different to all the other many paintings and drawings and sculptures I had seen; this artist was examining closely what happens in someone’s body. I thought Firth expressed her personal feelings about the two different worlds she can experience at the flick of a simple switch. Her two different perspectives caught my interest when I too had heard that muted sensation. I was moved very much by this work of art.
Inspired by just her friends’ jewellery, Hannah Baker’s work is definitely something different. Her paintings are given the names of her friends: Amelia Eleanor and so on.
The background suggests that it’s not anywhere! It’s in a place with no being, in no state anywhere. It makes you wonder the story behind this necklace, what the wearer looks like, and who they are and how they are related to the artist.
She paints single bracelets or necklaces on a background of strong and sometimes quite vibrant colour. What’s different is that she doesn’t just place the object in the middle of the space; for instance, it could
Baker believes that jewellery can define somebody by accenting or emphasising their own character. Jewellery can be worn just to accessorise for looks, but others wear something day in and day out because it
can almost be a part of them: they are never seen without it!
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She paints the jewellery with lots of detail, it looks so real that it’s almost touchable, if it was allowed I would want to try pick it up off the painting! It is done in 3D with every single detail coloured carefully and confidently. The strong solid background emphasises the delicacy of the jewellery. The artist’s purpose is to highlight the preciousness of the objects. You can see the significance of wearing an everyday object, she turns jewellery into something much more significant, and you can think: “What does my jewellery say about me?”
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be flying off to the side. It looks as if it’s in motion or has been moving, despite not being worn by anyone or having anything done to it. These interesting paintings leave anyone observing them to try to imagine why Baker has done this. Why hasn’t she painted anyone wearing it? Why has she painted just a necklace? It must mean something to her...
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EVA KANE talks to artist KAREN GUTHRIE about making films & opening a zoo for ginger animals.....
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You recently completed a feature-length film focusing on the culture of Britain’s re-enactment societies, what gave you that idea? I’m very interested, as a professional artist, in people who don’t call themselves artists but who are very creative, and when I first went to a historical reenactment and saw all these people dressed in incredible 16th century clothes and
doing things in 16th century ways, I just thought that these were some of the most creative people I’d ever seen. I was really impressed and I wanted to understand what it was about them that made them want to spend their summer holidays in this Tudor re-enactment world, and put all their love, money and all their time into it..so, as an artist I was just curious as to why they do that because for me, being creative is kind of a job as well as a way of life so I joined a re-enactment in order to find out what it was that made them do that and then I became a re-enactor myself and then I made a film about living in that world. How did it feel to win the Northern Arts Prize for your very first feature length film, Bata-ville? It was very good! We were judged on an exhibition we put together, of work that included that film. I don’t do a lot of exhibitions in galleries anymore, I concentrate more on film, so to be judged on an exhibition when you don’t do them very often is very flattering, and to find that people are excited by your work is always great, especially when it comes with a cheque!
When you’re doing a piece of work, do you closely follow a plan or do you sort of see how it turns out? Sometimes it depends on how much money is involved in the project, because with something like a film it’s quite an expensive thing to do, so people have trusted you with quite big amounts of money, and you need to organize yourself quite well in order to live up to that really. You can’t say ‘Oh, I’m just going to tell you what I’m going to do next year and I’ll just spend your money in the meantime,’ you have to be more organized, it’s more like a small business. But if i’m doing a little project, like I’m doing a small one at the moment, down in Somerset, it’s got quite a small budget and it’s quite short, I can be more spontaneous and intuitive and I quite often don’t plan those ones very well, but if you want the end product of your work to be really professional there’s always a point where you have to get organized, but it doesn’t come naturally to me. Given all the time and money in the world that you could possibly want, is there anything you’d like to attempt that you can’t at the moment? I have some sort of fantasy projects that I keep in my mind, one of them is to have a zoo that is dedicated just to native animals of Britain, that are also ginger. It would be the ginger petting zoo, and it would be next to my house. It would be based on
A lot of your work is in collaboration with Nina Pope, how did you two meet? We met at art school when I was about eighteen, and she was a little bit older. We both did a class called ‘Print-making’ which was etching and wood-cutting, quite a traditional art form, and we met over the acid bath (where you put your plates when you’re finished etching) and we didn’t really get on that well, we each thought the other one was a bit strange, a bit peculiar, we came from different backgrounds, but after a few years we started to get on really well, although it took a while before we started to make work together, we both went to art school
separately after that, to both do Masters and we came back together after finishing art school to make work together. What are you trying to say, or do through your work? It depends, quite often I get approached to do work, I don’t very often approach a commissioner with an idea. For example with Bata-ville, some people in East Tilbury, an area just outside of London, said to me ‘We’ve got some money here and some ideas, we’d like somebody to do a bit of public art, here’ and I could have said, ‘Well I’ll put a sculpture up on this roundabout’ or I could have said, I’m going to make this film and so I decided to make a piece of work that was in some way about that area outside of London, so in that sense it’s a site-specific piece, but I think I work well within those kinds of constraints, I’m not somebody who finds it easy if somebody says, you can do anything you want, with any amount of money, anywhere you want, but having said that there are several themes that I always return to. For example, I’m very interested in history, and the way that history can be re-interpreted for contemporary audiences. I’m interested in tradition, traditional ideas, and landscape seems to come up all the time in my work, but I often use film or new media to reinterpret those things and I’m really interested in popular culture, folk culture, the stuff that people who don’t call themselves artists do, I like to work with those people.
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A lot of your work is to do with different aspects of British culture; do you have an interest in more foreign culture?
Well, a couple of years ago, I did a residency in Japan and I’ve developed a few projects from that residency, working with some of the villagers in a North-West Japanese rural village, and I’ve been doing exchange projects with them and making a film with them, as well, and I’m quite interested in working with communities that I understand in other parts of the world, but I’m not really interested in being invited to some big culture show where you get off the plane with your bit of work in a suitcase and put it down in front of an audience I don’t know anything about. For me, as an artist, I need to have a deeper level of engagement with the audience, and that’s kind of hard to do overseas unless you spend time there, but I think if you spend a lot of time there, like I did in Japan, then you can really get an insight, and draw parallels with your own life. Interview by Eva Kane Images by Mila Araoz & Ellie Alpin Thanks to Karen Guthrie
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my two cats, but extended to accommodate other animals as well. I generally fantasise about things like building a theme park, I suppose, big experiential things are the sort of things that I’d quite like to do. But, I love making films and I could spend the rest of my life making films and not really doing much else.
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interesting street in the city of
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Walking into Number 72 Dale Street was like entering a mini museum: each room filled with organised collections of bugs, birds and pressed plants with tidy shelves also encasing neat rows of books and
compilations of the most interesting artefacts. The work of Robert Williams and his son, Jack makes what seems, at first glance, like an ordinary street into the most extraordinary, historic and
Lancaster... The study was full of tall glass cabinets proudly displaying various items that had been collected by the two of them. Magnificent collections of books lined each shelf while the desk space was covered with tiles carrying dead insects* neatly pinned down. Every creature was placed down in order of size, species or date, with small labels underneath identifying the item collected as well as the date. Jack was really great to talk to, not only was he enthusiastic after overcoming his shyness; he was also very intelligent and clearly knew what he was talking about. He spoke excitedly about the day when he and his father set out
to Langdale and stumbled upon a little fox while they were there. A year later they returned to the same place and on seeing that the fox had died, they took its skull. After carefully wrapping it up, they took it home to be cleaned thoroughly. Naturally it has been presented beautifully in a glass
case as shown here. The way that Robert and Jack work is very different to how other artists work as their products fall in the fine line separating art and science. The current
project they are working on has been inspired by Gilbert White’s ‘Natural History of Selborne’. This was a compilation of his letters to Thomas Pennant, the leading British zoologist of the day, and the Hon. Daines Barrington, a barrister and another person from the Royal Society. These letters consisted of writings about White’s discoveries on local birds, animals and plants.
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However, unlike White who based his work purely on observation, Robert and Jack’s project is a year long one that involves collecting various artefacts found on Dale Street. These can range from
natural ones such as bugs, insects, bird feathers, bones and plants to things from humans including hair bobbles randomly found on the street, lists that people have dropped, and even a car key or two! This entire collection is to be placed inside a cabinet which is to be manufactured soonfor a thousand pounds no less. The fact that they have a whole year to do this enables them to find things that are only available during particular seasons.
One of the most interesting finds, in my opinion, was the collection of bones from a dead rat. Each part of the rat was distinguishable and most of its bones were unbroken. Another was an entire wasps’ nest which was pretty much intact. The prettier natural artefacts included a small notebook of pressed plants as well as a larger collection of them. The human artefacts were fascinating too, especially items with historical value. Someone had found an old set of saucers with ‘Dale St’ written on the edge and brought the intriguing find to show Robert. This led to speculation about where the plates came from and any history about them. It turned out that some people who had been living in Dale Street almost all their lives knew something about the plates. Even the most ordinary things had some kind of inexplicable charm; for example, the lists that had been found were so normal yet mysterious as they were simply dropped on the street. Lists of names enabled the reader only to guess what it was for! Invitations to a party perhaps? Or maybe a list of people to write Christmas cards to? “Dale Street is fab,” said Robert,
“mainly because lots of students live here, and when they’re completely drunk, they
boots, perhaps a net. The chest of drawers could contain photos and sets of jars containing things like animal bones or plastic bags with bird feathers inside. However, these collections will not be organised into any particular order, but will be in a kind of jumble. “That’s what makes me an artist and not a scientist”, says Robert. One compartment will contain shelves with sets of books on and another will have a laptop of some kind. Once completed it will move to different houses along Dale Street: almost like having the entire street inside your house! The aim of this project is not just about filling a cabinet full of stuff from Dale Street, but also to get people communicating and to start dialogues, a perfect example
of this being the plates that were found and discussed. We can already see that this is set to be a great success due to the number of people contributing and the thriving process of getting everything together. The ideas are brilliant, the content is fantastic, and all in all, Robert and Jack Williams make the absolutely perfect pair to collect and compile such an unusual, interesting and exciting artwork. *All insects, animals or creatures of any kind have died naturally By Gowri Nair
drop things, which is great for us!”
It’s going to be separated into compartments, each housing a separate set of objects. One section will have things that Robert and Jack used when on their expeditions to collect things: coats and
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The cabinet itself will look something like the drawing above.
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D – What sort of music did Ludus make and what sort of thing were you trying to portray? L _So the music. When I was a young woman and I had done lots of collage and I thought well I would like to work in a sound collage and I would like to work with music. I thought I could apply the same principles of collage to music as I did to my work. so rather than doing straight forward pop or new wave or punk or all of those things which were around but I found really boring at the time, I thought I would mix all sorts of styles together so it was an absolute mix. And some times a three or five minute piece, there would be sometimes four different styles all mixed together. You could have quite a sweet pop verse that could change to a chorus which was quite abstract or using some jazz chords. So the music changed a lot, it was changing quite rapidly. Within Britian at that time it was a very fertile and experimental period, so it was a great time to work in the music industry.
The boundaries were very down for a while so audiences were really encouraging, they really really listened to what you did. And the message I was trying to get across in Ludus was, erm I suppose the same as with most of the work I do I suppose I love images and at the same time the power they have is quite over-powering and scary. I am always fascinated by advertising, and what we now call the media in general, so I am always fascinated by all the stuff we are fed and all the visual stuff and the texts we are fed. In Ludus I sing, I am the one who is asking the questions and it was about enquiry wanting to question everything that was around me. D_ In Nov 1982 L_ I remember it well. Oh yes I do know what you are going to ask yes, go on... D_ Your band played a gig at the Hacienda club in Manchester. You wore a dress made of meat and gave out bloodied tampons. Can you explain the idea? L_ We all know now about Ian Curtis and there have been lots of films about Factory Records. 24 Hour party people, control and there are, I think, three films being made about Joy Division right now. If we rewind to 1982 the Hac had been open for about a year. A great deal of money had been spent on the design of the Hacienda it was very
beautiful and very cool, cool in the sense that the design was very minimal. We were asked to play there, and I used to get really angry at the Hacienda because they has spent all this money on this beautiful space and they started to show pornography every night – not really in an ironic way just in a really lazy way – so I used to think you have spent all this money on this exquisite space don’t pollute it don’t be lazy. At the same time England had just
strange place, it was like going to buy a bag of apples or a mars bar. You know it was the most de-sexualized experience. So yes I showed my d**do and I screamed a lot and it went down in history and that’s great. That was my protest at the Hacienda I suppose. And yes they were giving out bloody tampons because it was very clean and it was very male, white, heterosexual, middle class and I wanted to make a protest and a little stain on that. D _ Why do you feel so strongly about feminism?
culture at the time, a bit dire. So I was a young woman and I was vegetarian and I felt really strongly about not eating meat so at the Hacienda I wore a dress of meat because I thought people were really unconscious around those issues. It is a little better now but in ’82 in Manchester they weren’t. So I had a very beautiful dress of meat and I sang my songs and then on the very last song just like the group who won Eurovision, I thought I am going to take of my skirt but I had a very very large black d**do under my skirt that I bought from Manchester’s only sex shop – there was only one in Manchester at that time – and they used to boast in the window that it was a family run business. So it was a sex shop but it was very benign, it was a very
L_ Well because I grew up, now almost half a century ago and I suppose the expectations for women then were pretty dire. It was a time when men would get paid more than women for every job. Contraception and abortion rights, I mean it was a little bit like being in the dark ages, so there was a real struggle going on so that women could have equal opportunities. You know it was a bad, bad, bad, bad time. I know on the surface things seem to have changed but I don’t know truly how much. So for me when I read the first feminist books that came from America I thought they were really exciting, I thought this is fantastic. I was very interested to see how the tabloid press attacked feminists and ridiculed them and I was really interested that everyone would always say eeew these horrible feminists these horrible ‘women’s libers’ and it is almost like the media did win you know
because people now still go ew I’m not a feminist. Because I am not sure what the image is but it is quite repulsive around feminism. I never had any problems with the word at all and thought it was a really glamorous label. And all the feminist stuff I read they were so articulate and so funny and basically intelligent that I thought wow I want to be one of those. Interview with artist Linder Sterlig by Divolka Ganesh. Images courtesy of Linder and Modern Art. Below by Katie Pickles.
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won the Eurovision Song contest, the highlight of the song was these two young woman tore off their long skirts to reveal these mini skirts. That was the state of
15 - At what age did you want to become an author?
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I’ve always written, even as a small child I’d write stories or poems for my family. That interest kept up all through school. At university I studied creative writing as one of my subsidiary courses. I guess I started writing with real commitment once my second child was born and I gave up acting. Writing became my only creative outlet and I started a novel. Prior to that, I’d only written short stories and poems. At this stage I joined a writing group and began to enter competitions. I won the London Writer’s competition in 2003 and it was then that I began to take myself more seriously and attempted to find an agent.
- Jacqueline Wilson said she’d liked to have wrtien your book. Which book by another author would you have liked to have written?
The Dark Materials Trilogy by Phillip Pullman, or, if
I’m only allowed one book, The Poisonwood Bible by Barbara Kingsolver. - If you were a 14 year old girl, what question would you ask an author?
A question I get asked a lot and I think is a really good one to ask an
author is, ‘Do you ever get scared by the blank page and if so, what do you do?’ - My Mum’s first single was Gary Numan, Are Friends Electric. What was yours? My sister gave me her copy of Sad Sweet Dreamer by Sweet Sensation when I got my record player. The first single I bought myself was The Photos, I’m so Attractive.
- If you were going to get involved with the arts what would you love to do?
I’ve always been involved with the arts and it’s a pretty wide arena! If I wasn’t writing, I’d go back to acting. I used to be really into drawing and nearly went to art school, so maybe I’d get back into that too, though just as a hobby.
Am David) and Robert C.O’Brien (Z for Zachariah). - Where and when do you like writing? I sit at the back of the house where it’s very quiet and away from the road. I go out with my notebook if I need distraction or stimuli and write in a cafe or in the park or anywhere else I can think of. I write every day when my chidlren are at school and sometimes at weekends if they’re busy or out of the house for some reason.
- Where are your favourite places to read? In bed. On holiday. - If you won 1 million pounds what would you spend it on?
The only thing I’d want for myself is a house, because we’ve lived in the same little flat for years and I’ve always wanted a garden. I’d spend the rest on funding a theatre company or setting up some writing development scheme.
- Who were your favourite authors?
- Your book has 3 different covers, which is your favourite?
I assume you mean when I was growing up? I had a fantastic teacher who used to hand me books in the corridor – D.H.Lawrence, Gunter Grass, Jane Austen. He introduced me to poets – Dylan Thomas, John Donne, Keats, R.S.Thomas, Auden. He also spoke to the librarian and I was allowed to take out books that were clearly marked as being for older children. On my first visit, I chose Harper Lee’s ‘To Kill a Mockingbird’ and D.H.Lawrence’s ‘The Rainbow,’ both of which have a very special place in my heart. I also loved Ann Holm (I
Out of the three UK covers, I prefer the dandelion. But my favourite cover of all is the American cover, which is photographic and shows a young girl. She has the most naked look on her face, and is almost exactly as I imagine Tess to look - not self-indulgent or angry - just there, looking out.
E_ When you started the Storey Gallery what did you want to achieve? The Storey Institute which houses the Storey Gallery is currently being refurbished as a centre for creative industries. Storey Gallery and an organisation called LitFest intend to return to the building early next year. Eva Kane went to interview John Angus the director of Storey Gallery to find out a little more about what he does and what it is like to be a
J_ I wanted to create a contemporary gallery for Lancaster. There was a lot of arts activity but not visual art, and to see contemporary art if you lived up here you had to go to big
Gallery Director. E_ What exactly does your job involve? J_ I am responsible for everything that happens in the Gallery. The most important bit is to decide what the artistic programme should be, but in order to do that we have to have enough money to be able to deliver it. That means we have to apply to all sorts of places just to get the money in. In the first place that’s that Arts Council and the local councils, but we then make applications to all sorts of other organisations. As we are a registered
urban centres. There wasn’t even that much happening in Manchester at the time, this was the early 80’s. So you had to go off to London and I thought that was crazy. We all ought to be
able to see contemporary art where we live, and we wanted to provide that for people here. Also I think it is very easy to complain that nothing happens where you live, people go around saying ‘its really boring here, nothing happens’ when actually it is up to all of us to make things happen.
E _ What are your plans for when you move back into the building after it has been refurbished? J_ I hope that we will be able to continue some of the work we have been doing whilst we have been out of the building.Working with students like yourselves in more detail than we had
ever been able to before, but also running talks programmes and doing projects in market square. Most importantly it is the kind of commissions that we have been doing with artists, where rather than saying we want you to produce an exhibition which has got to go in the gallery, we were able to say to them, go off and research this area of work and if you produce an outcome at the end of it that’s great, but not deciding in advance what it would be. I am keen that when we move back in, we work more in that way, so we commission artists to do projects which are open ended. I find in that way you produce much more interesting work.
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charity and company limited by guarantee we have to respond to the various requirements of those organisations and we have a board of trustees who I have to report to on a regular basis. Officially they are my employers. Then I need to make sure we have the staff and the resources to deliver the artistic programme that we have decided that we want to do. So there are quite a lot of aspects to the job..
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When did you first become interested in geology? I trained as a stone carver from the age of 15 and became interested in geology as a result. I went to an art based secondary school (high school in my country!) where if you opted to study sculpture at an advanced level, you either chose stone carving or wood carving. As I loved stone, the choice was simple. Were you interested in geology before you work with art? One of my favorite places when growing up was the ‘gems and minerals’ section of the Museum of Natural History in New York. We played hide and seek there, and it always felt like a magical place.
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What gave you the idea to start working with rock and the natural environment? It was a natural progression from my early work stone carving. I used a very transluscent sort of alabaster which had a lot of veining in it. When you help it up to the light it went hot pink, and reminded me of when you see the sun shining through the back of your ear and it goes a similar color. This was the start of finding correlations between the ‘veins in us and the veins in stone’ – I was 18 at the time. Were you inspired by any other artists? Yes, of course. I loved stone carving from ancient Egypt, and as I was introduced to contemporary art, found Robert Smith-
son, Roni Horn, Ann Hamilton, Gordon Matta Clark and Louise Bourgeois very inspiring. They all worked in relation to landscape or stone in ways I had not encountered before – or undertook a really engaged process when developing work which seemed very exciting. Your work is quite unusual. What response do you think people have to your work? I think people relate to my work in different ways. I often use different media within one project to allow people to connect to whatever aspect they feel the most drawn to – whether it’s drawing, photography, writing, sound, sculptural elements, etc. As each project revolves around a story, and most people enjoy hearing a good story no matter what the circumstance that provides a way in to what I do. Some people find modern art hard to understand, how do you think teenagers reading the magazine will respond to your work? I would hope that they connect to some aspect of the work. An underlying concern in the work is about trying to make sense of yourself in the world – the big things and the small and how we fit in. A lot of what teenagers are dealing with that themselves in a daily life context, I just happen to work with geology to explore that feeling in a more broad spectrum of experience.
Who do you think that your work is aimed at? Anyone. You travel around a lot. Where is your favourite place? I love Iceland. Saying that, looking into the crater of an erupting volcano at Stromboli was pretty magnificent, as was the staring at the aurora borealis from the deck of a moving ship in Greenland. Where would you like to go next? The Hawaiian Volcano Observatory. What in your opinion is the best place to display your work? It depends on the project, I have shown work in natural history museums, traditional ‘white box’ gallery spaces, cafes, boats, flats and outside. You learn something different about the work depending where you site it. Do you think that there is a message about the environment in your work?
There is an environmental message implicit in my work, as it constantly underlines how we are part of the environment, and can choose to deal with in in very specific ways that protect and respect that relationship.
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What piece of work are you most satisfied with and why? I always return to an early piece of work called ‘Boiling Milk Solfataras’. It was the first piece that really articulated this relationship between daily life and the natural world in a very direct way, whilst at the same time functioning as a strong visual message.
Interview by Antonia Miejiuk Illustration by Jess Gould
Towards Halperin Land. Ilana Halperin Image courtesy of the artist and Doggerfisher
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Would you like to develop your work further? Yes, I would like to keep learning and developing in directions that I cannot even anticipate now. When I began stone carving as a teenager, I would never have dreamt that it would lead me to the places I have had the opportunity to work or to the people I have had the privilege to speak with along the way.
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Towards Halperin Land. Ilana Halperin Image courtesy of the artist and Doggerfisher
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French berries and onions for the more authentic artist look
EVENT: STOREY GALLERY”S TALKS ON ART
ONLY £200 PER SET
DaTe and DEscRiption: 15july 7:30pm - Littoral talk about the Merz Barn & Kurt Schwitters. VeNUe and COSt: THE Dukes, Moor Lane, Lanc tickets cost 2 squids. contact Suzy@storeygallery for details.
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EVENT: SHOWTIME 2008 DaTe and DEscRiption: 12July 2:30pm or 7:30pm - Locally based children’s dance school presents a variety of entertainment. VeNUe and COSt: Lancaster Grand Theatre. Tickets cost 6 squids.
EVENT: DUKES BOOGIE DaTe and DEscRiption: 18July 7(ish) - some music and some dancing VeNUe and COSt: DT3 tickets 2 squids (ish)
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Share with your friends. Contact 07892 458 885 and ask for JED!! hurry get your pig skin canvas here!!! Its the best, and if you dont like your painting you can put it in the oven and make some crackling!!! 100 x 100 - £40 70 x 50 - £11.28 100 x 300 - £65 80 x 64 - £09.38 www.everybitofthepig.oink
IT IS KIND OF HARMLESS, AND NOT REALLY THAT HOT. COMES WITH HEAT RES GLOVES AND WELDING MASK.
Thanks to everyone involved in the project : Tommie Introna - Artistic Director Ellis Quinn - Magazine Editor Rowan Chick - Designer Eva Kane - Writer and interviewer Antonia Miejluk - Interviewer Divolka Ganesh - Film presenter and interviewer Daisy Whalley - Camera operator and post production Gouri Nair - Writer Anna Wiley - Writer Jess Gould - Illustrator Ben Ashworth - Illustrator Trisha Ghosh - Illustrator Maisie Stokes - Illustrator Katie Pickles - Photographer Mila Araoz - Photographer Joss Woodend - Photographer Eleanor Alpin - Blog and documentary photographer Storey Gallery would also like to thank Ripley St Thomas, Central Lancaster High and the Boys and Girls Grammar Schools for their involvement. In particular thank you to Victoria O’Farrell, Jo Liley, Clare Pickles, Helen Hunter, James Hallsworth and Camilla Campbell for their support. A huge, huge thank you to everyone at DT3 especially Guy who gave up so much of his time and finally thanks to all of the artists who helped the students have a fabulous time.