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Friday 20 September 2024

Things of the Least - Work in Progress

Studio Shelf
 

'Things of The Least: Lively exhibition-making through the material encounters of under 3's, 2023-2026

Things of the Least will create a series of gallery and live public experiences to stimulate the connection between artefacts and everyday life. The project aims to explore how very young children interact with the physical world, allowing children’s priorities to challenge powerful ideas about what’s valuable, who should see it and how it should be seen...

...The project will be based at Platt Hall, Rusholme, one of Manchester Art Gallery’s sites and will be supported by The Mary Greg Collection which comprises more than 4,000 objects relating to domestic and childhood life from the early 19th century. The collection’s emphasis is on the small, yet significant activities of daily life, which Ruskin refers to as “treasuring the least of the things“. These objects may appear small and modest, yet they provide a sense of belonging...

Project Team: Rachel Holmes (Manchester Metropolitan University), Becky Shaw (Sheffield Hallam University), Katy McCall (Manchester Art Gallery), Liz Mitchell (Manchester Art Gallery), Christina MacRae (Manchester Metropolitan University), Debbie Keary (Sure Start). Artists: Jackie Haynes, Becky Shaw, Naomi Kendrick, Josie Flynn, Josephine Hepplewhite, Charlotte Dawson.

Full project info  https://manchesterartgallery.org/things-of-the-least/

From my Notes...

Metal object (Mary Greg Collection)

Mother of Pearl object (Mary Greg Collection)

Non synthetic clothing (Mary Greg Collection)

Wax object (Mary Greg Collection)


Sketch book, 'Raw Materials' of the Mary Greg Collection

Under 3's ways with objects - Holding

Under 3's ways with objects - Gathering

Under 3's ways with objects - Sorting

 
Under 3's ways with objects - Stiring/emptying   

Sketch Book

Sketch book

'Banquet of Small Things' (#'1) in the Studio

Object for The Banquet of Small Things #'2, wool (felt) covered brass bell


Object for The Banquet of Small Things #'2, vintage lace covered sea glass.

Materials for The Banquet of Small Things #'2, polished river stone, bone folders and wool.

Objects for The Banquet of Small Things #'2, felt, merino wool and lace covered 'buttons'

Object for The Banquet of Small Things #'2, Glass and broken mother of pearl shells in a snow globe.

Objects for The Banquet of Small Things #'2, Silk and felt covered clay 'conkers'.

Objects for The Banquet of Small Things #'2, Wax forms.

Objects for The Banquet of Small Things #'2, Imprinted clay conkers ready for gold leafing.




Testing Time for The Banquet of Small Things #'2.

Thursday 19 September 2024

Nothing Gold Can Stay

When we think about mortality and the process of aging (our own and our families) there is defiance, resistance, the urge to hold on and to preserve, to keep everyone with us somehow. Rather than focusing on the other, acceptance and the place where letting go starts. A year in the making, this triptych of drawings (onto my dads dried gunnera leaves) is an exploration of aging and mortality. See previous posts below for more on this work. 




Red enamel paint on dried Gunnera Leaf, 2022-23, 70 x 50 x 40cm


 



 

Gold Ink on dried Gunnera Lead, 2022-23, 100 x 60 x 30cm

 

 





White and silver ink on dried Gunnera Leaf, 2022-23, 110 x 50 x 20cm

 Photography by Andrew Brooks

 

Wednesday 25 October 2023

Nothing Gold Can Stay - Open Studio - A Reflection

Naomi Kendrick – Open Studio

1-5pm Saturday the 30th of September

 

On the eve of International Older People's Day, artist Naomi Kendrick is opening her studio to show her latest work 'Nothing Gold can Stay', A new series of drawings which evoke thoughts and discussion on life, mortality and how we approach the ageing process. Naomi will be Joined by Patty Doran, a social gerontologist from the Manchester Urban Ageing Research Group at the University of Manchester. Patty’s research focuses on how communities can support our ageing population.

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On a rainy Saturday, Patty and I welcomed people to ‘Nothing Gold Can Stay’ an open studio showing my recent drawings (see previous post). Having noticed the drawings becoming a catalyst for conversation about ageing and mortality, during their making, I wanted this work to be shown in a way that encouraged these conversations further. As part of her research Patty is interested in having these conversations too, particularly on the absence of preparation for and discussion about dying. This was the first event of our collaboration, a testing ground for future ways of exhibiting the drawings and generating discussion.

 

The people that visited us were generous, not only with their time, but in revealing their thoughts and feelings on these sensitive subjects….

 

Visitors came to me in the studio to see the drawings one or two at a time on arrival, they then went to a different room where Patty was waiting with tea, cake and conversation about her research.

 

Some people responded to the drawings with tears and reflections on their parents, or their own ageing. Others filled the same space with compliments and questions about the physicality of the drawings; the materials, tools, process, how I would preserve them… Two people told me straight that they didn’t want to ‘go there’.

 

“Beautiful” “thought provoking” “I like the red one best”.

 

There were many conversations about skin; changing texture, bruising, raised veins in hands, how skin “gives you away” projecting age regardless of how you feel on the inside in any given moment. And of course, the extremes we take to mask it.

 

Someone was captivated by the idea that the more I worked on the drawings, the more time and effort I put in, the more fragile they could become, increasing their chance of destruction. Someone else put it more directly. “I think this is an act of madness, but I think you know that. And I like it”.

 

Tea and cake were welcomed (and devoured) as a “counter to the subject matter”.

 

One person was frustrated with a lack of conversation amongst her peers about their own ageing and deaths (beyond ailments and medication updates). And how the actual words death and dying are never used “even in church”, instead we pass on, are lost or gone.

 

I was told I am too young to think about ageing (I’m 45) but that it is ok as the drawings grew from my feelings about my parents aging. Which I thought was interesting, are we not all aging? is it not something we should all think about, talk about?

 

One of the questions from a visitor that particularly stayed with both Patty and I was where are the right spaces to talk about these things?

 

 

 

This Open Studio Event was part of the New Mills Festival

 


 


Wednesday 24 May 2023

Nothing Gold Can Stay - A Work in Progress


Fragment, gold ink on Gunnera leaf

 

Nothing Gold Can Stay

 

Nature's first green is gold,

Her hardest hue to hold.

Her early leaf's a flower;

But only so an hour.

Then leaf subsides to leaf.

So, Eden sank down to grief,

So, dawn goes down today.

Nothing gold can stay.

 

Robert Frost

 

There comes a time when you realise your parents will die one day. A horrible realisation first known as a child, perhaps at bedtime, soothed with talk of life being long and mum and dad still being young. As an adult is that realisation any less sharp, more comprehensible with the passing of time?

Stood in the garden late summer, visiting my parents. I noticed dad's gunnera leaves dying back, magnificent giant leaves, beginning to crumble. I turned to see dad and was struck by the connection between the changes in his gunnera's tough skin and the skin of his own arm, bruised and papery now, evidence of illnesses and of his own autumn.

Nothing gold can stay. When we think about mortality and the process of aging there is defiance, resistance, the urge to hold on and to preserve, to keep everyone with us somehow. Rather than focusing on the other, the place I can't even glimpse at, where letting go starts.

This triptych of drawings I am working on (ink and enamel paint drawn directly onto dad's gunnera leaves) are an exploration of these thoughts.

 

Gold ink, to denote the precious, to preserve and repair.

Bright red enamel paint, defiant bolts of life, vibrant still.

White and silver ink envelop what is already lost.

 


Work in progress, detail, gold ink on gunnera leaf.


Work in progress, detail, red enamel paint on gunnera leaf.


Work in progress, detail, white and silver ink on gunnera leaf.

I came across Robert Frost's poem 'Nothing Gold Can Stay' a month or so into working on these drawings and it has stayed with me, as I continue to draw.


Tuesday 16 May 2023

Fault Lines

'A fault line in a system or process is an area of it that seems weak and likely to cause problems or failure'

'A break or fracture in the ground that occurs when the earth's tectonic plates move or shift, and are areas where earthquakes are likely to occur.' 

 We all have our fault lines.

The paper surfaces of these drawings are crumpled, creased and delicate. The ink lines I make trace and reveal these points of fragility, the parts that disrupt the smooth skin of the paper. While making these drawings I have felt at times like I am healing the creases, taking care of them with a steady hand and stabilising ink. My intention is not to erase these fault lines but to highlight them, telling their story. 

 



 

Untitled 2022, white ink, white thread, dowl and glue on black tissue paper. This drawing pushes the balance between fragility and strength to its limits, with the drawn marks descending into a disintegrating surface, caught and held, by delicate thread. Exhibited in 'Re-Call' at Air Gallery Manchester 2022.

 

Detail 

 
 

 


 

Untitled 2022 gold ink and pastel on rice paper. Exhibited in 'Sixty Drawings + Ten at The Whitaker Museum in Rossendale 2022.

 

Detail


Detail


Detail
 


Thursday 11 May 2023

'Ukraine' 2022


'Ukraine', ink on tissue paper, 120 x 250cm aprox, 2022

I began ‘Ukraine’ at the start of the invasion and completed it in June 2022, sadly of course the war continues. With each mark made as the horrific news stories rolled in, I was struck by the sense of darkness looming, gathering pace... and with it an increasing awareness of our fragility, as individuals and as communities.


This drawing was created for the exhibition 'Re-Call' which took place at Air Gallery in Manchester in 2022 and it was shown again at 'Drawing (Paper) Show' The Bridewell Studios and Gallery, Liverpool in 2023.

Detail

Detail

Detail

Detail   

                        

Drawing in Progress