New Art Highlights

20 - 26 August 2018

New Art Highlights of the week includes Victoria Lucas, Cat Bagg, Martin Heron and Jamie Hudson

The Let Down, 2018 by Victoria Lucas

Victoria Lucas, The Let Down

Single Channel Video 1/5. 11 Mins.

See Victoria's profile on Axisweb >

Hummadruz, 2018 by Cat Bagg

Cat Bagg 

Hummadruz was an international group exhibition exploring the overarching and infinite rhythms of nature, folklore and the occult and how they have become a lived system embodied by both artists and communities. It included works by Ithell Colquhoun, Mary Beth Edelson, Byzantia Harlow, Amy Lawrence, Susan MacWilliam, Niamh O’Malley, Silke Otto-Knapp, Beth Emily Richards, Monica Sjöö, Jill Smith, Lucy Stein, Linda Stupart, Gitte Villesen, Anne-Marie Watson. As well as Artefacts loaned by The Museum of Witchcraft and Magic and private collections. 

See Cat's profile on Axisweb >

The Biggleswade Hoard, 2018 by Martin Heron

Martin Heron 

First install of a series of treasure chests located around Kings Reach in Biggleswade. The project was commissioned by HAPPEN through Bedfordshire Rural Communities Charity (BRCC).

Each chest contains elements, objects and links to Biggleswade's past and present day heritage. Brussels Sprouts, Tractors, Bicycle parts, Coenwulf Coins and a Community Chest with objects made by local residents during initial community consultation phase have been placed around the new development of Kings Reach. Also as part of the project a number of Coenwulf Coins have been located on or next to public footpaths around the area.

Further information on the project:

See Martin's profile on Axisweb >

Proof, 2018 by Jamie Hudson

Jamie Hudson

When traversing the Hackney canal path, constantly busy with cyclists and pedestrians obstructing each other, boating exercises and brunching, it's difficult to ignore the plethora of discarded materials underfoot. Littering is a particular rejection of responsibility; apathetic and selfish, unpunished.

Polyethylene Terephthalate bottles will never biodegrade but our ideas will.

These remnants of consumer culture will long outlive the frames and gestures they occupy in 'Proof'. The permanence of thoughtlessness is manifested as a series of archival tiles - scientific samples of the human condition and material lifespan. Contained by conventional box-frames, local debris is concretised in both its preservation in jesmonite and the rhetoric of its arrangement.

If, in the Anthropocene, depolluting the walkway is a form of activism, then canonising the fragments is limp and passive. Looking at climate change realistically should incite guilt and distribute accountability, but reflecting the communal destruction of our most precious urban spaces through planned sculpture is pissing into the wind.

Wooden frame, jesmonite, found material.

See Jamie's profile on Axisweb >


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