A series of erasures on found imagery from ‘British Image 2’, featuring works by Ian Berry and Chris Killip.

In a process of drawing on by rubbing out addition and subtraction collapse together.

The works were included in Midpointness, curated by Steve Dutton and Andrew Bracey, hosted by Airspace Gallery, Stoke-on-Trent.

 

 

The exhibition Tempus Fugit was organised by students on the MA Contemporary Curatorial Practice at the University of Lincoln in partnership with SYSON gallery in Nottingham.

The term refers to the notion of time escaping and being irretrievable. The curators invited artists to explore their own perceptions of time and the value they put upon it. They asked if it was possible for an artist to sell their time in the pursuit or creation of art. Artists were invited to send a piece of mail art or a series of instructions for the curators to follow.

The ‘Contract’ drawings employed self-imposed rules; each piece would require roughly one hour of mark making and be valued in line with the National Living Wage. The hand-sized circles would be formed by working clockwise in lines that migrate inwards towards the centre, the lines could curve but each subsequent line would need to adjust to the previous one until the circle was complete.

The title referenced the contractual nature of the undertaking – six zeros/zero hours – and also the forms that the drawings alluded to – contracted muscle, tension, drawing inwards. All the works shown were sold for £6.50 each.

The Broadcaster project consists of two permanent notice boards located outside converted Chapels in villages in rural Lincolnshire; Waddington and Wellingore. Each notice board is a venue for exhibitions curated by the Postmethodists. The aim is to develop and disseminate contemporary art in the everyday.

The work commissioned for the Broadcaster project explored the notion of ideasthesia, a phenomenon whereby the meanings of a stimulus are sensed. Here the concepts of Tongue Tied and Tip of the Tongue are tasted and felt like blockages to communication, dough-like knots and metallic tangles in the space between sensation and language.

The work in the boards was featured between December 2014 and March 2015.

 

 

 

The Rub, 2014 – mixed media assemblage and video (copper, steel, wood, wool and kapok fibres, glass fibre, wire wool, linen, tights, concrete, eggshells, plaster, latex, rice paper, seaweed, wax, mica, Perspex, PVC, acetate, synthetic and natural fibre string, rope and yarns.

Single-channel video (30min looped) on portable CRT monitor with DVD player). Dimensions approx. 300cm x 100cm x 140cm

rub from kate buckley on Vimeo.

 

 

The Dug Collective began in 2011 as a collaboration with Joana Cifre-Cerda and Ross Oliver. We worked together on a range of multidisciplinary installations and residencies in Lincoln, London and Palma. The approach was fundamentally experimental, engaging with the abject and overlooked aspects of the environment and psyche.

huaca from D u g on Vimeo.

For Opem2 at The Collection, Lincoln we developed work based on the piece ‘Cuckoon’, shown at How Soon Is Now at Stokes Warehouse in 2012. ‘Huaca’ was developed as a site-specific piece for The Collection, utilising space that is usually hidden from view to the visiting public,  it draws on the sense of the venue’s archaeological heritage, digging beneath the surface, uncovering fragments of our past so as to shed light on the present.

‘Huaca’ is the Peruvian term for all that is sacred and also refers to one who has the ability to locate buried, sacred treasure. The notion of a sanctified activity, object or place tends to be at odds with contemporary culture; practices set apart from everyday reality may be viewed with suspicion, however the need for an individual to embark on periods of withdrawal and reflection is universal and requires no script to guide it.

The work was developed in residency at The Collection in Autumn 2012 and was on display for three months with a programme of performances taking place during that time.