WE ARE NEW HERE 1 2020 Oil on paper 50x70cm KEELERTORNERO

GEOFF BRUNELL Task Update – Third Phase – IMAGINATION, SYNTHESIS AND TRANSFORMATION

GEOFF BRUNELL task update #02 – Third Phase – IMAGINATION, SYNTHESIS AND TRANSFORMATION

We had a third visit from Geoff Brunell in February of this year 2020 and we showed him these paintings done in response to his comments about the last set of studies. We also made these painting trolleys, on wheels so easy to move https://www.rossitchpediatricdentistry.com/buy-lasix-online/ around the studio, with everything you need within reach and complete with glass palette.

GB STUDY PAINTING 1 Oil paint on paper 50x70cm
GB STUDY PAINTING 2 Oil paint on paper 50x70cm
GB STUDY PAINTING 3 Oil paint on paper 50x70cm
GB STUDY PAINTING 4 Oil paint on paper 70x50cm
painting-trolley-2
painting-trolley-1

GEOFF BRUNELL Task Update - Second phase of study paintings

GEOFF BRUNELL task update #01 – Second phase of study paintings – IMAGINATION, SYNTHESIS AND TRANSFORMATION

 

Geoff paid us another studio visit in June 2019 to see how we were getting on with his task. Although seemingly impressed with the quality and quantity of work produced, he had many points to make in reaction. Most of these were to do with composition and technique. This felt like we were getting good advice from someone who’s been in art education and producing art for a long time. We’ve taken on board everything he said and will now be approaching our oil painting from a more professional standpoint. So to the next phase of IMAGINATION, SYNTHESIS AND TRANSFORMATION where we will be concerned with a heightened sense of composition and our treatment of paint and palettes more ordered and organised.

Below are the study paintings we did since Geoff’s first visit. Mostly oil paint on paper, some of these are developments from the first phase.

See the first phase of the Geoff task HERE and HERE for more information about Geoff Brunell


LEO KAY Task Update - The project evolves into an exploration of human relationships with plants

 

LEO KAY TASK UPDATE #01 The project evolves into an exploration of human relationships with plants.

 

Leo Kay’s original task was to get us to look at THE WHYS OF WHAT WE DO, to enter into an enquiry about our motivations for the way we make work, what drives us to do it and what it means.. see HERE for more information about the original task, and HERE for more information about LEO KAY.

After many sporadic meetings in various locations across London, the project took on another form as we discussed the many implications of creating art in the shadow of Climate Change and out of control global Neo-Liberalism. As part of this conversation, Leo gave us a text by Michael Marder, Professor of Philosophy at the University of the Basque Country called ‘IS IT ETHICAL TO EAT PLANTS?’ This paper started a whole discourse about the relationships we humans have to the plant kingdom and to the ‘natural world’ in general. From this point, the project changed from being about what we do as individual artists to what we do as a species, and how this species impacts and has impacted on the natural world throughout history.

We decided to create a series of artistic actions in which we playfully look at our current relationships with plants and what they might be in the future. This is typified by an idea which would consist of a durational performance in which we would ‘plant’ ourselves in the ground and register our reactions on an emotional level. Other ideas consist of us ‘collaborating’ with plants on artistic projects, musical or otherwise.

The aim of the process is to learn more about ourselves through the interaction with and observation of plant behaviour and born out of both a desire to become ‘better humans’ through learning from our plant cousins and as an absurdist response to the ecological crisis that we find ourselves in. 

‘In the face of climate change and the subsequent impact on life on the planet, humanity needs new stories surrounding its position, role, and responsibilities. This project aims at re-interpreting the possible relational experience that exists between all living things, in the hope that these post-colonial actions of de-conditioning, of listening and of increased respect, can lead to the construction of new stories to take us into a positive possible future.’

See the MICHAEL MARDER website to read the paper and other interesting stuff about plant related philosophy, scroll down the PDF texts page to find this one.

See below for image of one the processes which involves the presentation of specially devised dramatic performances aimed at plants.


TASK No.07: GEOFF BRUNELL - Imagination, Synthesis and Transformation

TASK NO.007: GEOFF BRUNELL

  IMAGINATION, SYNTHESIS AND TRANSFORMATION

 

Geoff Brunell is an artist living and working in East London and before retirement he lectured in Fine Art in many institutions for over 40 years. He set us this task in response to seeing the film we made as part of a previous one from performance artist and painter Shaun Caton. He suggested that we could take stills from the film and use them as a starting point to make a series of studies and paintings on paper. He asked that we use these images to take us further into the imagination by using the motifs, colours and shapes to spin the process off into new directions.

The task: ‘Imagination,Synthesis and Transformation’ is to make oil paintings, in an experimental, imaginative and expressive manner, using imagery taken from research based on figuration. The idea is to challenge the artists use of fantastical images, to produce images taken from life and real experience, transformed through the use of their imagination. The work, initially on paper is to try to ensure that the work does not become too product orientated too soon, at the expense of experimentation, to take some risks and have some fun.

Below are images of the first phase of the task, drawings and paintings on paper.

 


ALICE HERRICK Task Update- KEELERTORNERO RESPOND TO THE PAINTINGS OF IAN HEALY IN 3D

ALICE HERRICK TASK UPDATE #01 – KEELETORNERO RESPOND TO THE PAINTINGS OF IAN HEALY IN 3D

 

Alice Herrick of Herrick Gallery asked us to come and set up a sculpture studio in the basement of her Mayfair gallery during the Ian Healy exhibition and respond to his paintings in 3D. Our usual medium is paint so despite some initial apprehension it turned out to be really fun as we happily rediscovered some techniques and materials we’d used in the past. The experience of working at the Herrick gallery in the well-heeled environs of Mayfair proved to be good focus for us, since we were there to do one thing only and with Alice on the next floor, regularly checking on our progress, we couldn’t run away. The experience of spending time with another artist’s work is interesting too and it was necessary to get behind the compositions in Ian’s brightly coloured paintings. The characters in the paintings are very strong and the effect they have on you changes the more you get to know them. We hope we managed to treat the subjects with the right amount of respect.


These are some of Ian Healy’s paintings in the exhibition that we were responding to:


TASK No.06: LEO KAY - THE WHYS OF WHAT WE DO

 

TASK NO.006: LEO KAY – THE WHYS OF WHAT WE DO

 

 
This task is a collaborative process, devised by artist/performance practitioner Leo Kay. The task will explore the drivers behind the art we make and the ideas we present with the express intention of giving time, time to deepen, strengthen and enhance understanding of self and connect creative, political and personal intention. The process will engage writing, dialogue and visual expression of ideas and will culminate in a final practical exposure of the task’s transactions, the nature and structure of which will emerge from the process.
 
The first part of the task is to answer this set of  7 questions. When this is done we are to create a series of ‘venn diagrams’ to illustrate where the concepts and ideas exposed in the answers of KEELER and TORNERO intersect.
 
1. What do you feel passionate about. i.e. what do you love/want to see more of in the world, want to protect within your own experience, love to do, need space for?
2. Why do you make art?
3. What is art for right now. Not what has it been for in the past but from your perspective right now?
4. What are the strengths of KEELERTORNERO’s practice?
5. What are the weaknesses of KEELERTORNERO’s practice?
6. Does art have social responsibility? If yes why? If no why not?
7. Why have you designed KT Lab?

A first draft of the KEELERTORNERO Mind Map


Leo Kay works within the medium of participatory performance and theatre. He has journeyed through physical theatre, dance theatre and directed many spoken word artists and MC’s. As a performance maker and director of his own company, his work explores intimate, site specific and participatory performance practice.
 
Kay is co-founder of London based performance company Unfinished Business (UB), a long standing collaboration between himself as artist/director and artist/producer Anna Smith. UB makes live art and theatre across the UK and Internationally. They work with an evolving team of collaborators making interactive and intimate performance, excavating autobiographical material as a starting point for projects. Alongside artists and non-artists they explore new collective spaces for dialogue, ritual and the creation of shared meaning aiming to question systemic hierarchies and explore alternative political structures.
 
He is currently engaged in a Post-Masters at The Performance and Scenographic Institute of A.PASS in Brussels: A unique educational context that nurtures self organisation and collaboration, engaging  artists from many different fields in the creation of a body of personal artistic research. Within this he explores the process of fermentation as a dramaturgical framework, using the analysis of micro organic growth to find metaphors for human action and communication.


TASK No.05: ALICE HERRICK - THE BRIDGE

TASK NO.005: ALICE HERRICK – THE BRIDGE

In October 2017 Herrick Gallery held an exhibition of paintings by Edinburgh based artist, Ian Healy.

Alice Herrick, the gallery director, invited KEELERTORNERO to set up studio in the gallery and make small sculptures in response to Healy’s paintings. The idea for this juxtaposition was to create a bridge between the two disciplines of painting and sculpture, and between Healy and KEELERTORNERO, who had never met or seen each other’s work before the show.

The original idea was to work with air-dried or modelling clay, mediums Alice has been working with for some years now and was keen to collaborate with on this project. The task time was limited to a week, as the work had to be ready for the artists’ talk and private view at the gallery. With this in mind they decided to use plaster and other materials more familiar to them to create witty character models inspired by the subjects in Healy’s paintings. These models were then painted and they then also made small 2-D paintings of the models, so that there was a continuation of the chain of response. Alice meanwhile worked alongside them making a clay chess set based on the characters and motifs in Healy’s work.

The plan is to continue this collaboration and making small-scale clay sculptures in response to imagery within KeelerTornero’s paintings.

Alice Herrick studied painting at Kingston (B.A. Fine Art ‘92) and Chelsea (M.A. Painting ‘93). Alongside her art practice she worked for ten years as an art director and production designer on films, then as a  freelance exhibition and live art event curator before establishing Herrick Gallery in 2012.

The Bridge - Chess set by Alice Herrick in progress

Ian Healy studied painting in Cork, Ireland and lives and works in Edinburgh. His work circumnavigates the notion of being human. He is excited by representing the human figure, expressing humour and absurdness. Whilst having a keen engagement with historical and contemporary figurative painting, Healy also attempts to describe the foolishness and the idiosyncrasies of life or the acts performed. Underlying narratives inform the works; he seeks to draw a viewer into some drama or comedy, into a scenario, maybe fear of being seen, fear of how to look and even fear of the unknown.

More information about Ian Healy HERE


LAYLA LYONS TASK - Painting EN PLEIN AIR DANS LA FORET

LAYLA LYONS – PAINTING EN PLEIN AIR DANS LA FORET

For this task Layla sent us into or rather led us into the woods near her cottage where we searched for an ideal setting for us to paint ‘en plein air’ (which simply means outside). We then made a still life from the woody debris we found there (see Fig.1.) and then set about trying to render this view in oil paint using makeshift easels..

We each made several paintings EN PLEIN AIR in the woods over a period of 5 days. The weather was for the most part fine but in the woods it was cold and damp when the sun wasn’t out and reaching us through the trees. When we were eventually sat down and faced with the amount of information in front of us, we were both overwhelmed and unsure how we might begin to translate this myriad of data into paint on canvas. “How the hell are we going to be able to make this look good, we cant do it, it’s too hard” On hearing our complaints Layla said this was indeed the point to which one inevitably comes when facing this kind of subject and something that you must endure and travel through. This point she called the pain barrier: you want to get up and throw your brushes, you want to swear, you want to go back to the house and have a cup of tea, you want to do anything else but this…but this is what you have to do and here you must stay, until you have made a breakthrough, until you have gone through the PAIN BARRIER and faced up to the challenge. Getting through the pain barrier doesn’t necessarily mean that you have smashed it and created a masterpiece, it can mean that but in this case it meant that we did stare down the

beast, we stood our ground, looked it in the eye and we didn’t run away, and although we didn’t create those masterpieces, we did experience what it feels like to stay in an uncomfortable place until you make headway and we did come away from that experience recognising the value of that. The paintings themselves were in the end merely part of the bigger process that was happening. This process was about the time procrastinating before going up into the woods, the time preparing the tools with which to paint, the time dosing up on caffeine and biscuits that would give us the energy to stay in the woods, the time talking about and dissecting what was going on, the immersion in the lair of the art beast, the creature that we were beholden to. Layla gently held the space like a wolf mother nudging her cubs into the open for the very first time, us the cubs blinking in the sunlight ready to learn about the strange world we are about to be propelled into. We came away with a certain amount of insight into what it really takes to be an artist, we had confronted and passed through the PAIN BARRIER..


SHAUN CATON Task - Improvised Painting

Improvised paintings for Shaun Caton’s Prehistoric School of Barbaric Painting – Task No.001

Part of Shaun’s task was to do with shutting off ones conscious decision making process when making paintings and to work in a more intuitive way. Having completed the first and second parts of the task which involved large compositions on cardboard with acrylic and emulsion, we wanted to do a couple of additional smaller paintings in oil. Informally we called these ‘Jazz paintings’ but what they are really is improvised compositions i.e. we allow them to have a life of their own: we apply paint and see what motifs present themselves.. We started with two canvases of the same size so that we could both work at the same time, set an alarm and painted for 20 minutes, then swapped over and worked on the other

one for 20 minutes and so on. Also we wanted to go with the flow and allow the images to unfold in front of us without judging ourselves or the other person too harshly. Sometimes its hard to fully understand what’s being attempted by someone else and the temptation is to change it in some way or completely obliterate it. It’s an exercise in trust and a commitment to the collaborative process.

Improvised painting No.1 Oil on canvas. Sep 2107
Improvised painting No.2 Oil on canvas. Sep 2107

TASK No.04: JACK DOYLE - CREATIVITY AND THE BRAIN

TASK NO.004. JACK DOYLE – Creativity and the Brain

 

There are three parts to creativity:

1. A rich source of input. 2. A channel. 3. An obsession

Section 1: A rich source of input

Take the “personification of creativity” as a starting point for the project. Look at the historic depictions of the brain, thought process and creativity, along side illustrations of how it was believed that the brain worked. Compare this with current understanding about the brain.

Section 2: A channel

Develop a working method to channel your ideas, showing how you have taken your “rich source” and processed it.

Section 3: An obsession

Pull out one component from your new working method to scrutinize. Develop themes and variations based on the single element, until you have reached the stage where a finished large scale artwork can be produced about Creativity and the Brain.
Any medium can be used.


Part 1 of the task – to make 2 150x244cm murals on paper to be hung in an exhibition at PS Mirabel in Central Manchester. These are to be done in collaboration with Jack Doyle and we will create a process inspired by the functionality of the brain by which to create imagery.

Fig 1. The first mural shows how a process is being developed. It’s an improvised https://medsmagazine.com/generic-cialis-online/ mind map of images and concepts which come about in a linear way through means of mental association. The starting point was the drawing around ourselves to root us within the picture plane. From here and perhaps because of recent discussions about the origins of human civilisation and human obsessions for sports like football, we begin a silent dialogue about tribalism and so on..

Fig 2. Taking the themes and imagery from the first mural, we extract distinct aspects, write them down on small bits of paper and arrange them on the floor in the order that they appeared, there are 33. We noticed this resembled a human vertebrae and discovered there are 33 bones in the human vertebrae, coincidentally the same number as we had bits of paper.

Fig3. The image of the human vertebrae and the number of words gave us the starting point for mural number 2. Having written all 33 concepts or words in the form of a vertebrae on the paper from top to bottom, we each randomly selected them according to whim and make a new illustration inspired by that word.

Fig 1. A mind map of associative images
Fig 3. Fresh illustrations are created randomly from the vertebrae of ideas
Fig.2 The 33 distinct concepts and images drawn from mural 1

GRRR! Task Update - CRITIQUE in a bottle from Sian Superman

GRRR! TASK UPDATE – CRITIQUE IN A BOTTLE FROM SIAN SUPERMAN

We received the critique for Task No.02 from Sian Superman in the post in the form of a message in a bottle. The lid to the bottle didn’t come off without a struggle (we learned later it had been stuck on with glue and wasn’t supposed to come off at all) Contained within the bottle was a piece of paper 3 1/2 metres long onto which the critique had been hand written. Below is a transcribed version of this. Thanks to Sian..

hello keeler & tornero — or is it torner keelero? OR

torneeler keelinerino?

MANY VARIATIONS-

‘KT’

(which is a bit like

kentish town)

anyway- HELLO!

this is from me,

sian from

grrrr!-

i.e.

a) one half of

GRRRR!

b) 50% of GRRRR!

c) 1/2

1/2 = me =me and pandora*

*pandora  _ _ _ _    _M _

Pandora Vaughan of

London (and a citizen

of the world although

she has some ‘Citizen

of Nowhere’ badges)

ANYWAY –

hello! i hope you

both are well. what

is well? well is good.

well is fine – i

hope – because i do

not know so i am

hoping  _ _   _ _ _ _  my

anticipation to forsee

you as two –

you (kt)

are –

well – good.

i hope you have

wellness. i hope

you are owning your

own (own)

WELL-BEING

very well

you – are –

SIMILARLY –

TWO

(like GRRRR!)

one half, 50%,1/2 = K

one half, 50%,1/2 = T

am i well?

thank you – i am

well too. A sunny

morning and i am

writing to you, as

part of your

(yes we’re getting to

it)

KeelerTornero

ART Task!

(grrrr #2)

and so, we need to get to

the hub of the matter

the heart of the issue

_ _ _ _ _ _

_ _ _ _ _    _ _ _ _ _

(diagram of heart)

_ _ _ _ _  sort of heart thing

– the

centre –

– the

crux –

– the

bones –

of the thing itself.

And that is, the

CRITIQUE

of the wonderful –

very MARVELLOUS!!

50+ objects which you

found and created and

your unique + inimitable

(do they mean the same

thing?) KeelyTornery. WAY!

its almost as if it were

a memory test, looking

back at it now – to

memorise and recite all 50

(plus more!) objects on a

type of generation game

kind of way. a conveyor belt

of delight and mystery

(and a cuddly toy)….all

of these objects emerge

therefore and reveal a

grand prize… the CAR!

or maybe a yacht.

ANYWAY

_ _ _ _ _ _ _

The WWI (? not II??)

helmet! our Rabbit friend.

the cans – painted – plus

painting of the cans on

board. the tiny houses, ladders,

the plastic turkey that

Fred thought was totally

bizarre… the colander!

the bird, a dog, a

beautiful sock glued onto

a piece of board. how

those objects smelled of

paint plus toil plus trouble the

moment they came – VIA

the suitcase of course!! –

heart on it

they lurked. they stood. they

giggled on the corner. they

were arranged like the

mythical elements of a

fantastical story. they

were shown, at grrrr,

but i think that is not all.

for WHAT DID HAPPEN

when we locked the door &

lowered the shutters at night?

what did those cheeky

young ‘objects’ do once the

light was off? & in

the thrall of a full

moon, as the youths from

queens crecent circled the

building on stolen mopeds –

high on modern drugs –

cashaying (sic) to the sound

of the reggae from the

family who lived upstairs

from the community

centre? the monkey on

the colander…… rolling

about the grrrr art

space with the turkey –

turning up the radio to

dance through the night.

that little dog… hand in

paw with the tiny man

who scaled the turkey –

laughing along to MONKEY

and his excellent 2

tone ska dance.

SOMEtimes we would get

into grrrr and the kitchen

would be a state. beer

bottles everywhere. ‘ those

little tykes!’ we’d smile

as we cleared up the empty

crisp wrappers… for your

art and our task came to

life in the grrrr! space.

it boogied with the band –

it sang with the dawn

chorus. it wept when

it heard the market

traders packing up for the

evening. your art lived

at our place,

YOUR

ART

gave everyone a little bit

of joy, hope, happiness + fun.

IT DID!

thankyou for being

part of grrrr! and doing

the challenge in four (or was

it five??) days.

WHAT WE LEARNT:

Objects do come to life at

night!

WHAT DID YOU LEARN?

(please fill in):

_ _ _ _ _

_ _ _ _ _

_ _ _ _ _

_ _ _ _ _

_ _ _ _ _

thank you. i thank you

managed to make the

sacred from the profane.

i do apologise for breaking

the PARROT WHO TRIED TO

FLY…he just would

not be stopped but his

wings were painted down

so it just didnt work

out.

RIP PARROT

(or did you glue him

back together).

so… what do we all

do now? _ _ _ _ _  grrrr?

yes, you have your tasks

and we the

grrrrsters

(sounds like ginsters)

wish you well…

we want you to

SUCCEED

to

WIN

to

PAINT

to

LIVE

and we would like you to

LAUGH too

and raise a glass to old

PARROTY

(diagram of parrot)

keelertornero = 10/10

thank you for getting this

far.

stay in touch. keep warm.

don’t accept money from

strangers –

lots of love,

grrrr! at least 50%of them

or half or 1/2 X

 

 


TASK No.03: LAYLA LYONS - THE PAIN BARRIER

TASK NO.003: LAYLA LYONS – THE PAIN BARRIER

Painter Layla Lyons swapped the furibund life of London for that of an hermitic solitarian artist in rural Devon a few years ago. Here, in a tiny cottage with no electricity overlooking rolling hills and forest, she gets up everyday and paints, until the fading light means she is forced to stop. We got to know her and her work when she moved into our studio building in Stoke Newington, East London and for this task she invited us to stay with her in the cottage where she lives with Willow the dog. She hosted us as fellow artists and directed us to ‘paint through the pain barrier’ in the woods..

The Task: We will attempt to evoke and commune with art spirit (or preferred other). The conspiracy of experts are deemed unsafe so we will use our magik and craft to seek apocalyptic vision. Through a forced return to archaic practice and role we are charged with the task of bringing back our findings (new (or revived old) truths (possibly corrupted by our own desires, beliefs, lies motivations etc) from our OUT-POST.
I believe painting to be a tenable medium to convey or possess the presence, or passage of ‘something’ whether it be a grand narrative or a ‘feeling’ or a fleeting glimpse that can’t quite be described but could possibly be cajoled onto the painting support and trapped.
The OUT-POST:
Small off grid cottage
9 acres land inc woodland
Outside mains water tap and shower
Wood burner
Gas stove
Beds, studio space and tools
Dog
Ability to charge phones, laptops
Old radio
Car


KEELERTORNERO shaun caton's school of barbaric painting

SHAUN CATON Task update - A film in which KEELERTORNERO paint a large painting

SHAUN CATON TASK UPDATE – A FILM IN WHICH KEELERTORNERO PAINT A LARGE PAINTING

 

As a continuation of Shaun’s task ‘ THE PREHISTORIC SCHOOL OF BARBARIC PAINTING’ we chose to make a film of us creating a 4 metre by 4 metre improvised painting. The intention was to connect with the unconscious mind and allow the painting to develop in an intuitive way, attempting to disregard the intellectual decision making process. We filmed the process over one day and invited other people to respond spontaneously to the painting by way of costume and movement. Thanks to Anna Smith, Nick Wild and Annette Parnell for getting involved.

Emma Tornero stands in front of the 4x4m painting about half way through the process KEELERTORNERO
Emma Tornero stands in front of the 4x4m painting about half way through the process
Steven Chin Keeler and participator Anna Smith KEELERTORNERO
Steven Chin Keeler and participator Anna Smith

Some of the costumes made during the painting performance


Five star 2016 Acrylic on canvas 10x10cm Sian Superman

GRRR! Task update - a film by Sian Superman in which she answers questions about ART

GRRR! TASK UPDATE – A FILM BY SIAN SUPERMAN IN WHICH SHE ANSWERS QUESTIONS ABOUT ART

We’ve asked each artist we work with on this project to answer some questions about what they do and why they do it. Here is Sian Superman of GRRRR! answering some of these in the form of a short film she made herself.


GRRRR! Task. 50 (at least) painted objects. 2107 KEELERTORNERO

GRRRR! TASK UPDATE - TRUTH 3000. 50 painted objects

 GRRRR! TASK UPDATE –  TRUTH 3000. 50 PAINTED OBJECTS

The Grrrr! task TRUTH 3000 was to paint 50 objects that somehow reveal our truth and our secrets. We make more than 50 pieces in the end, all made in the four days before being displayed at the GRRRR! pop up gallery in Kentish Town. The suitcase at the bottom of the page, found in the street near Abney Park Cemetery in Stoke Newington was used to transport the objects to the gallery, itself becoming one of the pieces. It was a lot of fun doing this task and because we only had a few days to complete it in, it forced us to get really focused. Let us know what you think of the results..

GRRRR! Task. 50 (at least) painted objects
GRRRR! Task Pieces 4/8/10 of 50. Wood, Ceramic, Acrylic, Board
GRRRR! Task Pieces 14/26 of 50. Ceramic, Acrylic, Board
GRRRR! Task Pieces 7/18 of 50. Wood, Plastic, Emulsion, Acrylic, Board
GRRRR! Task Pieces 38/15 of 50. Wood, Plastic, Acrylic
GRRRR! Task Pieces 13/35 of 50. Fibreglass, Plastic, Acrylic
GRRRR! Task Pieces 6/19 of 50. Wood, Plastic, Emulsion, Acrylic, Board
GRRRR! Task Pieces 3/27 of 50. Metal can, Acrylic, Board
GRRRR! Task Pieces 11/36 of 50. Metal can, Acrylic, Board
GRRRR! Task Pieces 37/49 of 50. Metal can, Acrylic, Board
GRRRR! Task Pieces 50 of 50. Suitcase, Acrylic

Shaun Caton Task Forest Gathering II 2017 Acrylic and emulsion on cardboard KEELERTORNERO 2017

SHAUN CATON Task Update - Large paintings on cardboard

 

 

SHAUN CATON TASK UPDATE #01 – LARGE PAINTINGS ON CARDBOARD

 

After the CHINESE OPEN rooster paintings, we decided to make one very large painting to tackle the Shaun Caton task (400x400cm) and film it so you can see how it develops over the course of a day. The film is to become a performance and as requested in the task, we will make costumes to paint in and invite others to do the same.

The paintings on this page are smaller pieces we did in preparation for the bigger one. They are not meant to be viewed as final pieces but rather points on a journey, they are more about the process. Shaun came to see these this week and suggested that when painting the big one, we try to release our grip on the idea of composition, to open ourselves up to the unexpected, to let things happen. Subscribe to this site to get updates on how this ends up.

We welcome any comments you may have. See below.

'Forest Gathering' Work in Progress
'Forest Gathering II' Work in progress
Forest Gathering 2017 Acrylic and emulsion on cardboard 200x200cm
Forest Gathering II 2017 Acrylic and emulsion on cardboard 200x200cm

GRRRR! girls Pandora Vaughan and Siân Superman

TASK No.02: Grrrr! - Truth 3000

TASK NO.002: GRRRR! – TRUTH 3000

The second task has been set by the GRRRR! artists : Siân Superman and Pandora Vaughn. Truth 3000 – the task is to make 50 painted objects out of found materials which reveal your truth. And your secrets.

We have set artists KEELERTORNERO this task for both our exhibition TRUTH MACHINE, and as part of  their KT-LAB project.

‘Times are tough. And for these tricky moments we need artists who can step up to the plate. The plate of art. KEELERTORNERO must be the people to do it. They will find objects and either display a universal, ungovernable truth in them – or a personal secret. Will we be able to tell the difference? Didn’t Kierkegaard argue that “subjectivity is truth” and “truth is subjectivity”? Yeah, he did.’

The challenge will take place the week of May 22 2017 at Grrrr! and will finish on Sunday 28 May with a display of the works and a chance to buy them.

Grrrr! is an art pop up. Latest exhibition Truth Machine shows work from Pandora Vaughan, Cathy Ward, KEELERTORNERO, Louise Mason, Tessa Norton and Siân Superman. We’ve been featured in Time Out, the New European and on the cover of the KentishTowner. 44 Ashdown Crescent, London NW5 4QE (behind William Hill on Queens Crescent) Bus: 24, 46, C11. Nearest tube: Belsize Park or Chalk Farm. Overground: Kentish Town West.

Grrrr! 3000. Work in progress. May 2017
Grrrr! 3000. Work in progress. May 2017

Shaun Caton in performance at Carnesky’s Finishing School, Soho, London. December 2016. Photo – Julius G. Beltrame

TASK No.01: SHAUN CATON - The Prehistoric School of Barbaric Painting

FIRST TASK NO.001: SHAUN CATON – THE PREHISTORIC SCHOOL OF BARBARIC PAINTING

 

Our first task has been set by performance artist and painter SHAUN CATON. He has given us this title: The Prehistoric School of Barbaric Painting and we are to make a series of archaic paintings/drawings/monotypes.

We started looking at the project in early February and the initial plan was to make a cave painting installation for a group show called LE COQ ARTISTES – CHINESE OPEN at the Q-park in London’s west end. We wanted to make the whole thing out of discarded cardboard and have it so that you could only view the images by illuminating them with your mobile phone. The idea was to paint the cave walls with images inspired by what had been set out in Shaun’s https://www.glenerinpharmacy.com/buy-cipro-online/ task and to partly reference the atmosphere of ancient cave painting. After a day trying out different things, it became clear that is was not working (see image 1 below) so we had to take a radical new direction. Even though we really like these paintings we didn’t feel as though we were addressing the task. We liked the scale of them and the surface but felt we needed to go back and look at what Shaun had specified. Come back and see where it went from there..

Cave paintings. Work in progress


Shaun Caton paintings: Photography c. Julius G. Beltrame. Click for enlarged versions.