THE (ACCIDENTAL) MARKS MADE WHILE MAKING ART – The accidental marks made while making art are always intriguing, the floors of artist’s studios, their boots or dresses or shirts, the outside wall that a canvas might have been propped against while being painted on. The photographs of studio floors, paint covered boots, colour-encrusted easels, old paint brushes, painting tables, painting marks, all those beautiful marks artists (accidentally) make while making art. We didn’t want photos or images of the actual art the artists make, we wanted the accidental marks made as a result of making art, we wanted that stain on the studio floor, the photos of old brushes, the marks left once the performance is over. These are the images selected from the submissions submitted via an open call as well as gathered by us on our fractured phones while exploring artist studios.
THE (ACCIDENTAL) MARKS MADE WHILE MAKING ART: A show curated by Sean Worrall for Cultivate, November 2017. – A fourth cultivated on-line art show, following on from the Red, Black and Blue on-line shows/experiments.
The show is best observed on a full size computer monitor rather than an annoyingly tiny phone (please). Further information on the artists and the images can be found at the foot of the page on the other side of the images…
Please click on an image to enlarge or to run the slide show.
EXHIBITION NOTES AND ARTIST LINKS
1: The (Accidental) Marks Made While Making Art – Cultivate, November 2017
2 – 6: ANDREW HORNETT – Andrew Hornett’s studio floor. “Andrew Hornett is a versatile practicing artist with a penchant for gathering and creating from the urban detritus caused by society’s continuous trudge… He builds emotionally stirring works elevating discarded materials that would otherwise be destined to be ignored, unnoticed, unappreciated…unloved… My studio is primarily a large walk-in Lego box…constantly changing as bits and pieces are dragged around into new positions… Aside from being an historical record of my practice over the years, the marks, scratches, stains, and the images seen here always play a great role inspiring and dictating the layout and form of work still to come…
7 – 8: BEN FENTON – “Ben originally comes from Dungeness in Kent, he spent time living in Greatstone, Rye and Winchelsea Beach growing up before moving to London where he attended Goldsmiths College. With the majority of his childhood spent by the Kent and Sussex coastline, and being the son of a local fisherman, he has always had a deep love of the sea and the coast that meets it. His aim in his current paintings is to convey the empty, bleak beauty of these areas and their oddly angular shingled shapes against the expanse of sea and sky” .The photos depict some of the tools and rags he uses to, not only apply, but also remove, the paint in his works
9: BETH BARLOW – “This table was new once. After being a base for oil painting sticking, glueing and jewellery making its much more me”
10: BEVERLEY ISAACS – “probably too late to submit an image, however here’s a shot of my studio floor”
11 – 14: SEAN WORRALL – The outside wall and floor of Cultivate, Vyner Street, the marks where I would paint outside the gallery (and some My Dog Sighs water drops he left there when her took part in a show in the space)
15 – 17: DEBORAH WEIR – “I am a mixed media artist so have photos of 3 very different pieces. There is the backside of the tapestry I took off the loom in September – ends still obviously yet to be undealt with. Piles of household plastics eventually worked their way into a hanging sculpture which has been displayed in two shows in 2017. The third photo is of a canvas surface I used for testing paint and print screens, random fabric snippets and a bit of metal. For the piece with the dangling plastic, Laurie Bucher collaborated. For the Tapestry (for which I submitted the back), my assistant, Jessica Brunnenmeyer, did quite a bit of the weaving”
18: DAVID ARMES – “I am an artist working with letterpress printing, language and geography. My work is frequently site-specific and considers how sense of place can be represented, with specific source material including automatic writing, accidental conversations and oral history. In all my work I use hand-set metal and wood type and overlap the elemental rules of letterpress with more expressive approaches, incorporating elements of art, craft, industry and graphic design. This image is a print of the ink traces left on a glass surface after the majority of the ink has been scraped away at the end of the working day”.
19: DIANA BURCH – “The ‘Mind over Matter’ Residency explored a range of materials as a broad interpretation of drawing and how they could be manipulated continuously from 2 to 3 dimensions. PVA forms were used as moving stencils to create images with acrylic spray paint. The cellophane protection I used recorded the layering and removing the forms in an intriguing narrative of processes, revealing more about my own presence than the work itself. The transparent plastic also reflected light and created shadows under the spotlights, suggesting a 3 dimensional form. I showed the two pieces in tandem as “Works On and Off Paper’”.
20 – 26: DONNA POINGDESTRE – “Donna Poingdestre is a Portsmouth-based painter and mixed media artist, specializing in abstract acrylic portraits and collages. Known for producing detailed work on a broad variety of surfaces and her strong sense of emotion, movement and colour portrayed in her pieces, Donna is a member of the Fire Monkeys art collective and an active participant in gallery events at Play Dead studios. She enjoys street art festivals, long windy walks with her border collie, and creating art of all forms in everyday life”.
27 – 29: DONNA RICHARDSON – “These three images are photographs of the table tops at Exeter Phoenix Centre Art Studio. Taken while I was attending a cyanotype workshop last Saturday. I was immediately struck by their beauty and fascinated by the many hands over many years that have created this unique artwork. My photographs offer a narrative, although often ambiguous, a glimpse of a story, shifting on the edge of articulation. There is often something obstructing a clear view in my images, creating an uneasy sense of being too close, or not being able to get close enough. It is rare to see an unobstructed view or a viable trajectory; there is always an absence. In presentation my work is regularly displayed behind acrylic glass. A shiny surface, giving the images a slipperiness, an almost over exaggeration of the wateriness of many of the images, but perhaps the encasing behind a glossy surface offers a layer to hide behind, offering a barrier to the outside world. A place to be fortified within, looking into an almost-concealed world” –
30 – 34: DORA WILLIAMS – “I am a painter searching for abstraction especially abstracting the human forms. My working processes include entropy in mark making and some of my work might have this sort of underpainting. I have attached photos of the studio floor, the table and the board on which I work”.
35 – 38: ELENA VALSECCHI – “I paint because in painting I find my truth. I speak about the human being, in his solitidine and complexity. The origin of a painting is always the other, well known or just glimpsed, experienced or just touched, and the emotions, thoughts and fantasies arising from this meeting. Each of my works is basically an introspection, a new discovery about the human and myself. Each image corresponds to a state of mind and to a reflection. There is no fixed and definite form: the search is endless and ever changing, as well as the human being”.
.39 – 43: EMMA DONALDSON – “I have wanted to be a Dadaist since I saw Barry Humpries with a wellington boot full of custard. With this in mind I wrote a surreal play in Spanish entitled “La Vida Local”. This is completely unintelligible to anyone particularly the Spanish. I would define myself as a “Textural Abstract Artist”.
44 – 45: EMMA O’SHAUGHNESSY – “The photos are of my palette, which have built up layers upon layers of acrylic paint over the last 4 years”. “Emma O Shaughnessy works mainly with acrylic, creating figurative and still life paintings. She is best known for her self portraits that explore themes of self-awareness and concealed yet consuming emotion. Emma is currently based is West Cork, Ireland.”
46: EMMA SYWYJ – “The paint was found on a wall in a small town in the countryside in China in the Jiangsu province. My own art work aims to capture and show life at it’s most vibrant & exciting. The photographs I take encourage people to see the intricacies, beauty and beyond the everyday. My artwork is often centered around environment and cultural identity. I celebrate culture in all its varied forms all over the world. I have photographed Europe and Asia capturing countries and cultures as I see and experience them. My work encourages viewers to feel awe and joy in the travellers quest and the rewards that experiencing other cultures can bring whilst developing my own cultural identity through photography”.
47 – 52: EMMA HARVEY – “Emma Harvey’s work explores themes of sexuality and the place of women in contemporary society within a culture that overally sexualises women. Emma creates very personal responses to gender and female sexuality and her own understanding of body, femininity, and self”.
53 – 55: FFION PRITCHARD – “A series of photographs showing the paint splattered piece of cling film that projects my desk”
56 – 57: FIONA STANBURY – “When I was three I went to live in Lagos for a year and this influenced how I feel and see colour and its place in my work. Further influences are my 14 years living in Cyprus and my love of Chinese ink painting. My three trips to China affirmed my need to explore brush strokes and calligraphy, and I work between rice paper using ink and canvas using oil and acrylic. I often work in series and will work from ink paintings onto canvas, taking clues from the marks made by ink with calligraphy brushes into imagery that then evolves as a separate entity on canvases”.
58: CIAN O’NEIL – “A photo I took of Cian O’NeIl’s Studio, Mother Studios, Hackney Wick in 2015”. “Cian O’Neill is a painter, writer and graduate of Chelsea College of Arts School of Painting. Previous to Chelsea College, he studied at Central Saint Martins. He was selected for Futuremap, the University of the Arts New Graduates Show and short-listed for both the Catlin Arts Prize and the East London Painting Prize. O’Neill’s work is influenced by, amongst others, Max Ernst, Rembrandt van Rijn, Willem van Aelst, Francisco Zurbarán, Francisco Goya, Diego Velázquez, Matthias Grünewald, Jean Ingres, Michelangelo da Caravaggio and Michelangelo Buonarroti”.
59: A photo of an accidental mark made at Dencity, Hackney WickEd (2015)
60 – 61: HELEN ACKLAM – “Helen Acklam is an abstract painter currently living in Bristol and very much obsessed with the stuff of paint. She received a MA Degree, Fine Art from the University of Brighton (2012-14) and has focused full time on painting since then, participating in collaborations and group exhibitions in London, Sussex and Bristol”.
62 – 64: HELLO THE MUSHROOM – “Hello the Mushroom is a London-based artist whose work can be found in many forms on the streets and in galleries. Her work is mostly based on collage and reworked found imagery. It takes a humorous approach to female sexuality, body image and beauty standards as well as reflecting her recovery from a life-threatening form of cancer. Her work often features skulls representing the transience of life while challenging us to re-evaluate our life’s purpose and priorities”. “These are photos of the markings made during the execution of a recent mural. My instagram account (where you can find a wide variety of my work) is here.
65: A photo of a studio in Hackney Wick, now if only I could remember who’s studio I was in. (2017)
66 – 68: A photo of a studio in Hackney Wick, now if only I could remember who’s studio I was in 2017)
69: ERIN LAWLOR – A photo of Erin Lawlor’s studio in Hackney Wick, (2017) –
70 – 74: JANET MARIE BRADLEY – “The most exciting art is found in unexpected places or created unintentionally. Somehow intentional imagery often creates kitsch regardless of quality, skill or talent. These images were taken from the print table at Camberwell College University of the Arts London”.
75 – 79: JENNIFER ASHWORTH – “Currently a Fine Arts undergraduate, exploring the medium of paint as a means of expression. Considering different ways colour can manipulate mood and emotion and how this can be utilised in a positive way. The images shown are some of the few paint shirts and pallettes I have used throughout my previous paintings. They show the intense, busy technique of painting I work with”.
80: JOANNA GEORGIADES – “This is my old studio floor back when I splashed paint around making abstracts. I liked it more than I did my paintings and tried unsuccessfully to recreate it on canvas a few times!”
81 – 82: JOANNA O’NEILL – “I am an artist working predominantly with textiles. I use a range of media including acrylics, oil sticks and dyes directly onto cloth and paper before adding stitch. These images are taken from the cotton cloth I use to protect my work table, and include run-over of rollering, screenprinting, stencilling and block printing as well as removing excess paint from brushes”.
83 – 88: JOHN LEE BIRD – “John Lee Bird’s work is defined by his distinctive use of line; influenced by pop art and 1950’s instruction and medical manuals yet entirely more detailed and personable. He uses diagrammatic line to make intensely human studies; whether the object be a portrait or a more abstract vision of matters of the human condition”
89: JULIE BRIXEY-WILLIAMS – “Marks made by painting wooden piece later used in a wall-based sculpture. I liked the unintentional balance and variety of brushstrokes”. “Julie Brixey-Williams is cross-disciplinary artist and member of The Royal British Society of Sculptors, whose work sits in the space between sculpture and performance exploring the body’s dialogue with architecture and site, through performative intervention, calligraphic gesture and material inscription. Often choosing to work collaboratively, she layers and constructs, lost in the gap between disciplines with a strategy to misapply methodologies and hierarchies as a source of new material forms. She is particularly inspired by the spatial compositions and formalities of Chinese and Japanese calligraphic painting.”.
90: AMANDA COX – “What you are looking at here is a kiln shelf after 3 years of use, the multiple layers of blistered surface caused by extremes of heat, contraction and expansion. I’m a forty-something contemporary artist with a multitude of styles, a headful of dreams, and I straddle the uneasy line between Fine Art Painting and Ceramics. My speciality when it comes to clay and all the paraphernalia and processes is the outcome of accidental and dysfunctional pottery, often mimicking super-evolved organs or prehistoric organisms” – blog
91: KRISTY CAMPBELL – “Artist and Writer based in Norwich, This practice aims to convey a visual language that demonstrates the fluid ambiguity of meaning, hence of reading; through discourse, design, and changing contexts. This study of semiotics challenges linguistic traditions, methods of curation, and medium, but more intensively it confronts the connotation forced and attached to particular words. Deconstruction and Deconstructivism theory fuel this. They intend to tilt, to fragment, and to stylize forming a dysfunctional and seemingly misguided structure, making way for an accessible alternative freedom within language”.
92 – 94 – LAURA SCULL – “Through mark making built up layers of surface texture I am interested in how the traces of experiences are made in the subconscious which over time become present within what material we choose” – .
95: SEAN WORRALL – – “the marks left after painting this paint in front of an audience outside Cultivate, Vyner Street in 2013.
96 – 100: LISA V. ROBINSON – “Lisa V Robinson is a contemporary painter based in Westgate Studios, Wakefield. Her paintings are underpinned by an interest in mark making, colour and form. Rather than reverting to abstraction as a method of visualising these interests, she has developed a painting style which fuses both abstract and representational elements. She looks to the outside world for ideas for composition and mark making, such as: interiors, architecture and films. These images are deconstructed and placed on the canvas as abstracted components. The reference material is used until a certain point, and then the remainder of the painting is finished intuitively”.
101- 104: LOU GILMORE-GEORGE – “As an artist it would be fair to say that my work takes over my life, yet I wouldn’t have it any other way. Intrigued and inspired by my surroundings my work is at times random, and emotional. Bursting with colour and boldness its sculptural and poetic form can take on many a diverse range. I love that something a little bit different, that something quirky because surely that creation of something that has touched your mind and soul cannot be recreated by someone else in the same way”.
105 – 108: LUKE M. WALKER – “My practice in the studio often involves layering, masking, spraying, spattering, interspersed with moments of quiet reflection and consolidation. The first acts accompanied by a soundtrack of House, Punk or New Wave that give way to more contemplative soundtracks. The traces of these activities left on the walls and floors act as a record of these activities and my presence in both the studio and the work”.
109 – 113: LULU MacDONALD – “Lulu MacDonald’s art work is a criminal dissection between layers of moments within the studio space and a personal history which turns out not to be personal at all, but a banal and oddly objective exploration into the process of idea making and the points of realising sculpture. Aware of the flatness her sculptures ultimately will encompass, as a projection or as an image on a screen or on a page, Lulu’s work exists then with the foresight it can be not just a really flat sculpture but also a very multi-dimensional image” –
114 – 119: CALUM F. KERR – “The photos detail marks that were made during the conducting of the performance ‘Cachalot Beckoning (Thames Mouth)’ for the Inspiral London/Kent Festival on 14th October 2017. For three hours the ghostly white whale returned to Gravesend after nearly 300 years, for on 30 August 1718, a forty foot whale was caught just below the town causing ‘much excitement’. In 2017 the Whale communicated with townsfolk using clicking echolocation, the marks were picked up along the promenade, on the beach at Bawley Bay, skirting the River Thames. Calum F. Kerr is an artist whose work often involves performance, sculpture and sound. His artwork relates to place through inhabiting characters such as J. D. Swann (ornithological investigator), Brian Guest (founder of the Society for the Preservation of Admirable Rubble), and a White Sperm Whale. He has exhibited and performed at numerous exhibitions in the UK and in Bulgaria, France, Germany, The Netherlands, Portugal, Spain and the USA. In 2016/17 he received an Arts Council England International Development award for research and travel to Japan for his project ‘Calum’s Road to Aonodomon'” – Film of a previous appearance of the White Whale
120.- 122: AINSLEYPHILLIPS – “Phillips is a trumpet player, composer and artist. Ainsley is an artist working in video and sound. They work collaboratively to produce video and performance work that brings art and music together. For the last twenty years they have been collaborating together, making darkly humorous songs and videos, producing objects to form costumes for performance to camera, playfully seeking to meld art and music both as practices and as approaches to making. Influenced by many years working in care environments, the work embraces a love of vulnerable, intimate connection with strangers, and the painful, dark humour found in adversity. Images of John Phillips post performance”.
123 – 126: A ROSEMARY WATSON – “My practice includes drawing painting printmaking photography artists books and video encompassing chance intuition and spontaneity and is concerned with notions of memory exploring my personal response to and forming a record of the constantly shifting and multi-layered nature of memory which blend and blur over time into a personalised version of history Image 1 – a pile of 300 g white satin Somerset paper strips trimmed from blind embossed prints. Images 2/ 3 / 4 – the remains of the process of etching zinc plates in a copper sulphate solution, washing and finally stripping them in soda crystals (now dried out)”.
127 – 130: BARBARA BRYN KLARE – “These images are cyanotype chemicals on paper towels and cotton rags left over from creating cyanotypes. My work sits between emotional and physical repair and its companions, degradation and decay. I rescue and champion the humble and frayed, finding a tentative beauty in things fragile, handmade or in need of care, while finding a complementary energy in their deconstruction”.
131 -134: ALICIA PAZ – Four photographs take at the recent Chisenhale Studios open weekend.
135 – 142: KEVIN DUNBAR – Several photographs take at the recent Chisenhale Studios open weekend.
143: KEVIN HARRISON – A photograph take at the recent Chisenhale Studios open weekend.
144 – 147: LEE MAELZER – Several photographs take at the recent Chisenhale Studios open weekend.
148 – 155: DI LIVEY – Several photographs take at the recent Chisenhale Studios open weekend
156: NIGEL O’NEILL – Nigel O’Neill’s studio floor, Chisenhale Studios (2017) –
157 – 159: SEAN DAWSON – Three photographs take at the recent Chisenhale Studios open weekend
160 – 162: LEE TURNER – Three photographs take at the recent Chisenhale Studios open weekend
163 – 165 – PAUL INSECT – The accidental marks left after a Paul Insect piece weathers (Bethnal Green, 2017)
166: WAYNE SLEETH – “A British painter based in France, exhibiting regularly in Europe and the UK, l changed direction mid-career in my approach to painting, for the last three years avoiding the modernist clutter of paintbrushes and palettes, and working my canvases with spraypaints and markers, revisiting traditional inspirations such as Monet’s work in a more ‘urban’ vein. Working on the floor in my studio in the east of France, the marks accumulate, echo, reflect something of what remains of the finished piece”.
167: STEPHANIE DOUET – “I live and work in the Norfolk countryside, making installations and paintings about the British in India in the 19th century. Using painted photos, wall-drawings, collage and painting, I’m working on a series of over-painted photos, besotted by the beauty of the images but always uneasy at my place in relation to these dead people. I produce imaginative portraits that echoes the sepia and hand-tinted tones of early photography. The object featured in the photograph here is a china palette I’m part way through cleaning. I like its flower shape and the fact that it is a really well-made, useful simple object. It is sitting on a piece of board that I’m sanding and over-painting for what seems like the hundredth time”.
168 – 170: JAMIE BOYD: Photographs of Jamie Boyd’s studio, Martello Street Studios, Hackney, 2017.
171 – 178 – PETER KENNARD – A series of photographs of Peter Kennard’s studio space, Martello Street Studios, Hackney, 2017.
179: KIMBERLEY BENNETT – A photo of Kimberley Bennett’s studio floor, Martello Street Studios, Hackney, 2017.
180: DOYLE AND MALLINSON – A photograph of Doyle and Mallinson’s studio wall, Martello Street Studios, Hackney, 2017.
181 – 183: TREVOR WOOD – Three photographs of Trevor Wood’s studio, Martello Street Studios, Hackney, 2017.
184 – 187: WALID SIDI – Photographs of Walid Sidi’s studio, Martello Street Studios, Hackney, 2017.
188 – 191: ZOE BENBOW – Photographs of Zoe Benbow’s studio, Martello Street Studios, Hackney, 2017.
192 – 195: MARTIN HALL – “Martin Hill is an artist based in Dundee, Scotland, predominantly specialising in expressive oil painting. He studied at Duncan of Jordanstone, and based on the success of his degree show he was selected for a multitude of ‘Best Of’ graduate exhibitions, including the Royal Scottish Academy’s ‘New Contemporaries’. He was also awarded the 2009 Barns-Graham Travel Award, and was invited to participate in the RSA Annual Exhibition in 2010. Regularly exhibiting across the country, he has enjoyed several successful solo shows. He also has work in the private collections of the University of Dundee and the Royal Scottish Academy. (Images show close up photographs of the easel I use in my studio, and the incidental/accidental marks that it obtains during the painting process).
196 – 202: MATTHEW G. BEALL – ” I am an American vision driven abstract painter and fine art photographer living in southern Germany. Being an artist means being visual. Being visual means not only looking at things but seeing things. I’m an artist. Born and raised in southern California my evolution as an artist is deeply ingrained in this experience as well as the influences of all that I see around me. This series is about the tools I use in my work and the marks made on them that are unintentional yet are essential in making my art”.
203 – 206: MINGYI WANG – “Mingyi was born in Jilin, China, she now lives and works in the UK, she graduated at the Chongqing university, China and also studied at the Glasgow School of Art. In 2017 she was artist in residence at the Hangar, Lisbon and also Dumfires House here in the UK. Mingyi’s work includes painting, monoprint, installation and drawing, her work aims to visualize the feeling of claustrophobia, a horrifying world of despair. The artist believes claustrophobia is not just a fear of being trapped in a closed space, it is also a loneliness within us since birth”.
207 – 213: MY DOG SIGHS – My Dog Sighs’s style is characterised by the combination of melancholic and often naive portraiture with the use of found materials including abandoned food cans. After 10 years of giving his art away for free as part of the now infamous Free Art Friday project, My Dog Sighs has this year finally found himself strapped in to a well-deserved meteoric rise. With an incredible international following in Israel, Japan and of course the UK, five sold out shows under his belt, and a strong following of staunchly loyal fans on social media; My Dog Sighs is fast becoming an important figure on the contemporary art scene. “My Dog Sighs’ work forms a narrative based on counterpointed poignancy that resonate with those that have the opportunity to find them. Moments of loss and then being found echo the materials used. Tin cans, once the receptacle of our sustenance, all too quickly rejected, thrown away, abandoned by a materialistic society keen to gorge on the new”
214: SEAN WORRALL – “My working boots, the worn out Cultivate Gallery floor, once freshly painted, work from all the feet of the people who came ot see the shows down Vyner Street before they knocked the building down”
215 – 219: PACKERART – PackerArt is the name Kirsty Packer works under, “I currently work as an art technician. I have seen the art rooms as a way for my own continued practice development. Often I have photographed the marks left by students. What you will see in the photo’s are sometimes how sinks have been left, marks of pots, brushes, palettes including finger marks on aprons”.
220 – 224: PAT SOUTHWOOD – “You are looking at the bottom of a bucket of glaze. The orange light is my Halogen heater, shining through the bottom of the bucket after I had cleaned it out. The glaze the bucket contained is made from reclaimed silt from the Norfolk Broads”
225 – 226: PEGGY COZZI – “My process incorporates the improvisational and accidental , the images here are incidental “painting” marks left on the studio wall after I had been working on a piece , applying paint through a syringe”.
227 – 234: PHILL HOPKINS – I have an outside working space, which I’m not supposed to use. I try to cover my tracks but looking closely there are tiny spots of my paint. I have one main painting wall where I put things to dry and sometimes use spray paint there too. This also has a shelf underneath. I tend to make all my work on the wooden floor. This surface is covered in the remains or history of works past. I love looking at these boards, mindfully digging through each mark and remembering a certain piece or a time of year. I draw a lot of my lap. I use a lap-table thing from Ikea and I use a folio of Jannis Kounellis drawings to rest my paper or notebook on”. “Phill Hopkins was born in Bristol in 1961 and has been an artist based in Leeds since graduating from Goldsmiths College, London in 1985. His work resides in various public and private collections including, but not limited to, The Leeds Collection, The Imperial War Museum, London, Nanjing Baijia Lake International Culture Investment Group, China, Middlesbrough Institute of Modern Art and The Hungarian Museum of Photography”.
235: QUIET BRITISH ACCENT – Quiet British Accent (QbA) are an art duo, Sharon and Jason Gale. Working together since 2011 they use a variety of sign-writing and sewing techniques to explore their love of lettering, language and pop culture. Quiet British Accent are known for their #pennydrops – fake expansions of their QbA acronym, hand painted on pre-decimal pennies, left on the street for people to find.This is QbA’s main paint palette, splattered with their favourite red and blue enamel sign writing paint”.
236 – 238 – RACHEL FERRIMAN –“These images are of a plank I use on my easel to prop my paintings on”.
239 ROBERT P. RYAN – “Haunted memories and unknown figures; Robert P. Ryan’s work explores themes of identity, absence and disconnection. Working primarily in oils, he employs a traditional painting technique which slowly builds up layers of transparent glazes, to accomplish a greater sense of depth and light. A graduate from the Limerick School of Art and Design, he is now based in West Cork, Ireland. This is a photograph of the easel I’ve been using for the past fourteen years” –
240: RON ATHEY – A photo I took after a Ron Athey performance in Bristol in 2009
241 – 244: SALLY JONES – “Sal Jones lives and works in London producing contemporary figurative oil paintings, with an emphasis on emotional conflict and expression. These are photos of the studio partition wall that I hang canvases on whilst working on them . The marks are oil paint residue from the activity of painting. You can make out some of the different sizes of canvas I have worked on by the negative spaces left. On one you can see the level on the wall where the painting palette (an old cupboard door) rests up against the wall”.
245 SARAH WÖLKER – “I see myself experiMental sculpting with all my environment- so if everything is sculpture is anything real? Am I the sculpture? Analog World is expanding by digitisation. Waves are getting visible- proper time is a living clock which will gyrate to momentum. No chance for silent experience to remember how that may be”.
246 – 249: STEPHEN IRVING – “I am a multi-media artist, combining both traditional and digital processes. Painting, video work, sculpture, light and sound all play a major role in the work I am currently producing. I am interested in how we interpret not only art, but also the world around us as a whole. I want my work to interact with the viewer, and for the observer, in turn, to react back to it. To question their preconceptions and in many cases question what is the art, and what is merely a vessel from which the artwork is created”.
250: JULIE CAVES – “Julie Caves is an British-American artist based in London and Margate, her paintings are a result of her interest in surface, colour, ambiguity, oppositions, and the act of seeing. Sometimes she builds up many layers of thin veils of colour and other times she paints directly. She sometimes manipulates object and ground. She also thinks painting is a kind of magic”.
251 – 253: Three photographs taken at Space Studios, Hackney (2016)
254 – 257: SEAN WORRALL – The outside wall and floor of Cultivate, Vyner Street, Hackney, East London, the marks left after painting outside the gallery”
258: And one day some spilled lots of paints om the cobbles of Vyner Street, Hackney, East London, while they were painting outside Degree Art ahead of a show there.
259 – 262: SUMIKO EADON – “I am an artist based in the East Midlands.. My main practice has been printmaking, The submitted accidental marks were made during various printmaking processes”.
263 – 266: SEAN WORRALL – Accidental marks made on the sketchbooks I always have with me.
267 – 271: TAYO JONES – “My primary work revolves around film, food, animation and horror. I strive to create art that peaks the curiosity of the viewer, and keep them guessing. I also want to express the enjoyment and excitement of painting and fine art as a whole. Primarily, my preferred medium is painting with acrylics, but I have also added drawing, photography, stencil printing and collage into my portfolio of work. I prefer to use bright and vivid colours in my work or at-least make it distinct enough to catch the eye of the viewer. Sometimes, I like to collect the dried pieces of paint and stack them all together, as a way to record all of the development that I have gone into my paintings”
272 – 273: VINAY HATHI – Marks left when repetitively handling the case of an electronic devise to create. “I’m a packaging graphic designer by trade, trying to work as an artist in London. Briefs I take on have to give me freedom to express myself. Most new clients are starting up and have little or no budget, but importantly are open to my ideas. Satisfaction comes from seeing people interact in a positive way with work in a retail environment (in shops, my gallery). I’m always looking at the everyday in a new light, seeing how I can communicate my thoughts visually”:
2 thoughts on “Cultivate Presents The Accidental Marks Made While Making Art, an online exhibition”
Great concept…amazing visuals…
Really enjoyable – thanks for curating this – keep wondering what the various processes lead to – lots to check out!!