Regular readers will know what I think of artists’ statements written in International Art English aka Bovine Doo Doo. I was concerned then when I was at the Bolton University Fine Arts Degree Show on Thursday evening because I actually understood many of the statements – particularly those related to the works I liked. I was worried that this may prove to be a disadvantage in the Real World of Art.
For example, Karen Markham wanted to look at “the world of the homeless within the streets of Manchester, seeing where they go, and what spaces they inhabit, but far from recording who they were and what they looked like, I wanted to create a narrative by emitting [sic] them completely from view. I wanted to try and see the plight of the ‘homeless’ through my own eyes, and through the lens of a camera. I wanted to look into those spaces, to create a picture of their ‘domestic’, where they eat, where they sleep, where they go.”
The main part of Karen’s work on show was a series of graphite drawings called ‘I can see you’ made from ground level. To emphasise the ‘homeless’ point of view, she had mounted the drawings at the top of the wall so you had to look up at the them.
Generally I do not like drawings and paintings copied from photographs. My opinion is that rarely is anything added that is not already in the original photograph. Alison Timmins’s two paintings were that rare exception. Christopher Jefferies was a suspect in the murder of Joanna Yeates in Bristol. One of the two large paintings, Accused, was a copy of the original newspaper photograph; the second, Vindicated, was a copy of the first painting.
Christopher Jefferies in the Daily Mirror
‘Accused’ by Alison Timmins
‘Vindicated’ by Alison Timmins
Here is Alison’s Artist Statement next to her work. (The two paintings were on opposite sides of her section which emphasised the dichotomy.)
(To be continued.)