Wednesday, 28 August 2013

Spike and Stripe

A few weeks ago, just before the heavens opened and the wrath of some god poured scorn on our West Country summer, I happened to make the long awaited pilgrimage to Bristol.
I say "pilgrimage" because ever since my foundation year this city has loomed large in my conciousness as a place where urban contemporary art flourishes and that conceptual ideas are explored seriously. I used to read the Fine Art course description in the UWE prospectus and it seemed to be even more serious than Goldsmiths, considered and thoughtful reflections and applications of fine art, and my tutor at Croydon had graduated from there, and he was full of conceptual thought, although he was also full of BS. It sounded to me like an area worth visiting, as I had already visited it psychologically. It had everything I want, urbanity, water, creativity, and of course music. Little boats bobbing up and down in the middle of a city. My idea of heaven.

I did my research and decided what I wanted to visit specifically. I decided for my first trip I would go to Spike Island, as it looked like an interesting setup and reminded me a bit of the Pheonix in Brighton, another collection of artists and spaces. The area itself, on arrival, also reminded me of Hackney Wick: sluggish water, vibrant graffiti, concrete and brick and wildflowers mingling tantalising together.
The show didn't dominate the white space, as large artworks usually tend to do. It almost blended in with the planes, looking almost like a giant doodle, lines blending with lines on a big page, like somebody drawing crosshatched patterns with a set of coloured biros in a modular office cell whilst on the phone to someone tedious. Its a daydreaming kind of work, the nautical ropes and pulleys adding to that dreamlike feeling, in the open space it could just sail away like a yacht on an overcast winters day, on white mirror like water with a huge open blank pale sky. Sail away like a mind not quite on the job.
Yet in all this threadlike tranparency there was a physicality in the work, the heavy frames and the balancing weights, as you walked around them, they hung solidly and almost obstructivley, providing a view in but also obscuring it. The moire pattern was effective in the main where the 2d boxes intersected, this was rendered with mechanical precision. By contrast, the crafted pieces of the work had not quite an accurate construction. Some of the lines of rope in the frames were disturbingly uneven, if this had been a doodle on a page this would be where the pen's fluid ran suddenly thick, or if a graph in a school project, the ruler had been badly placed. It did remind me of when I had to draw bar graphs at school, in graph paper books, with fineliners. I was never very neat.
Looking at the placing of these double-thick lines I couldn't decide whether this was deliberate or a circumstance of construction. However, it was a overall a pleasing effect, the way the lines overlapped as your body and eyes moved about the space, a great game of pereception and proprioception, one that I had tried to do with the coloured gel in my MA projects, but with limited success. What I lacked was clearly ambition, something that this work had in abundance. Ambition, but with quiet confidence.