Change In State is an exhibition by The Engine Room. Curated by Artist Jim Pooley.
Change In State is an exhibition by The Engine Room. Curated by Artist Jim Pooley.
We are so delighted that our project The Lost Museum, has received Heritage Lottery Funding for this project that we have been dreaming of for a while. The Engine Room’s aim is to engage The Dee Park Community in Reading to look at the relationship between identity, memory and language that will form the basis of reminder through the creation and building of The Dee Park Lost Museum. The idea is to work inclusively across the community to build a tangible moving Museum that will travel to collect stories and items even more precious. The Lost Museum will give people within the Dee Park community a sense of opportunity that will provide value to how they remember their own heritage and the heritage of their community. The layering of stories form multiple generations through objects and how those objects tie us to specific moments in our lives.
The Engine Room is delighted to have a rolling exhibition every three months at SPACES in Reading. Find out more about SPACES here:https://www.spacesworks.com/reading/greyfriars-road/
The Skeleton Woman
Fear to Tread
My art work is almost entirely intuitive. I begin the process by soaking paper with ink and once dried I observe for any signs of life, I paint what I see in the ink. Despite such random beginnings, the end result is almost always connected to a story I’ve heard; these narratives might be mundane or mythological, often they are an expression of where these two worlds meet.
“Fear to Tread” marks the beginning of my ink splashing journey. Painted in 2013, it is inspired by The Battle of Paschendale where men and horses perished in pools of mud after rain hammered down for days. I was struck by nature’s ability to wash away the importance of war, enemies and allies.
“Baptism” shows a child’s commitment to their faith. Water has long been a symbol for cleansing and purifying. Immersion in water represents a new beginning, a rebirth. Themes of resurrection are present in my painting “Skeleton Woman”. It is the bare bones of a woman who was once exuberant and wild. Inspired by the story told by Clarissa Pinkola Estes, “The Skeleton Woman” tells of how shedding a single tear for someone you love can retrieve their soul.
For me, water has a symbolic connection to emotion, intuition and psychic abilities. Collectively, “Fear to Tread”, “Baptism” and “Skeleton Woman” express the depths of these ideas along with water’s tangible ability to both consume and restore.
“The Skeleton Woman” taken from “Women who run with the Wolves”, Clarissa Pinkola Estes.
Link to my art website – www.changelingrae.co.uk
Etsy store – changelingrae art
Instagram – changelingrae
HI-RES is the title of a new series of works in sculpture and painting that explore visible reality through the analytical lens of 3D computer modelling.
HI-RES delves into relationships between the art object that takes visible reality as its point of reference, and the boundaries of verisimilitude between observable reality, art and science.
Surely it can be said that since the invention of photography, and more specifically since that historic moment when visual artists discovered photography as a reference for looking at reality in a manner that is, shall we say, indirect or alternative, everything changed in the use they began to give to that referential reality.
As my friend, the artist Pipo Hernández Rivero remarks, from that point on artists began to paint not reality, but an intermediary. Of course, this intermediary was none other than photography.
This interesting observation largely gave birth to HI-RES. Considering it closely, it’s true that since that historic moment – and increasingly to the present time – we, artists who seemingly use visible reality as a reference in visual creation, have long ago mostly stopped using that reality and instead look at what photography tells us about that reality; to the extent that just a very small percentage of contemporary artists continue to paint reality in the strictest sense, and “paint from nature” as this was called at one time.
Having reached this point, and with more than a century and a half in the existence of photography, the question could be, what is the technological successor to photography? Or at least, what is the successor in terms of the generation of imagery based on the still capture of reality by technical or technological means? (In a sense, we can say that this is what photography did or does). Therefore, what may be the generative successor to that intermediary?
HI-RES proposes that 3D scanning and 3D models in general constitute the new intermediary to look at.
Just as photography did with the two-dimensional still image and film did with the moving image, the current digital technologies that are used to generate 3D image models are revolutionising the way we look at reality, understand it and relate to it. Whether it is the world of 3D scanning, photogrammetry, 3D design or any of their multiple forms and applications (technical, medico-scientific, recreational…) the 3D digital model shows us a reality beyond reality, a hyper-real reality.
HI-RES is organized into three main groups of paintings and sculptures: Solid, Voxel and Mesh.
They all correspond to different modes of visualization of 3D models in the use of the programs that manage them.
These modes go from the more or less accurate visual register of what we identify as the “real” appearance of the object, as in Solid, to the virtual interpretations that are furthest from this appearance and enter into the terrain of image processing and construction through voxels (cubic pixels) as in Voxel, or polygons as in Mesh.
Through their specific aesthetics, they all reveal a particular manner of capturing and processing visible reality subjected to the scrutiny of the scanner. And so, it is for Mesh and Voxel where this capture and processing clearly reveal the internal “thinking” logic of computer processes developed to generate these 3D models and their existence in a virtual environment, governed by the laws of analysis and processing of this fascinating technology.
With HI-RES I would like to show my complete fascination with the 3D virtual world, its capacity for analysis and plasticity, and I intend to use it as a valid reference for pictorial and sculptural creation, and elevate its visual qualities beyond its obvious technical functionalities.
To view more of Rómulos work visit his website: http://www.romuloceldran.com/
Snap Out Of It
The misuse of mental health terms is more common than most people realize. Using medical language to describe character traits contributes to public misunderstanding and extends the stigma many already experience surrounding mental illness. Many individuals with mental illness do not seek treatment due to stigma. According to National Institute of Mental Health, on average, people with mental illness wait nearly a decade to get treatment after symptoms first appear. This has been caused by the careless use of words that promotes the viewpoint that “these people” are dangerous and to be avoided.
This project illustrates the malicious accusations people diagnosed with mental illness have to put up with each day.
The goal of Snap Out Of It is to educate how the use of misleading terms can harm, and to encourage the reader to choose their diction cautiously and responsibly. Words can have stigma and that carefully choosing one’s words can lead to creating a society that is kind and accepting. It features an article written by Gary Nunn, a journalist who is a regular contributor to “Mind your Language” section on the Guardian. With the same objective as this book, Gary wishes to advocate for those who struggle to advocate for themselves.
Graphic designer and illustrator based in the Bournemouth area.
Made You Look.
Visual perception assists us in interpreting surroundings through processing information within visible light, better known as the sense of sight.
Unreliability of sight is evidenced in that we can see optical errors, like distortion. The brain sees errors as something else in order to make sense of images. Everything we see could be conditioned to be easier to understand.
Made You Look sets out to challenge reality through means of illusion, questioning individual perception, judgment and stereotype. An immersive experience questions the reliability of perception and sight, creating an intimate space for reflection on alternate realities. This varies individually, no one person will have the same experience. If we could process and make sense of it, the world could be this.
Is seeing really believing?
Katie Maria Francis takes a critical view of social, political and cultural issues. Searching for truth of emotion, transparency in human beings and what it is to be human, inspiration is found in capturing the often-overlooked simplicity within the world, and challenging perceptions to get to the heart of issues. Giving more vulnerable groups a voice, perhaps those on the periphery of society, challenging prejudice head on, and often leading to a journey of emotional self-discovery.
A personal project exploring ideas of fate and divination. Over the past year or so there have been some rather significant changes in my life, throughout this period I have felt lost and confused and questioned the decisions I have made. Despite the uncertainty it feels like everything has fallen into place and I couldn’t be happier. I have chosen to interpret the meaning of three tarot cards that I felt were relevant to me over this period of uncertainty.
‘And on returning to the house everything took on new meaning, each object screamed of the emptiness her loss had left. The dirty plate with toast crumbs in the sink, which she had planned to wash on her return, became a holy relic. The sewing box a shrine to the ripped knees and lost buttons of adventures had, and her jewellery an archive of the stories of her past. Even the dust on the windowsills and the patterns on the net curtains became a museum to the beautiful everyday of a life lived.’
Remembering Margaret is a body of work created after the sudden death of the artist’s grandmother-in-law, Margaret-Rose. Moved by the intimacy of sorting through Margaret’s possessions and the magic of the objects to hold the stories of her life, a process of obsessive documentation unfolded.
The resulting series mixes cyanotype print with family photographs, playing with the alchemy of the light, object and memory with deep blues and painterly gestures.
Laura de Moxom
We are loving this collaboration with Salvo Toscano and his beautiful work.