So, Jack and Rosie’s wedding happened, then the show at Down Stairs opened. And so, just when I felt I might have some time to re-learn how to lose myself in making some work I went on tour. A couple of weeks later still am on tour. Living out a smaller bag than the one I presently live out of when “at home” at Great Brampton House. I mostly like it. It’s largely of my own making. But it does make it hard to settle to anything. Now and yesterday I’ve been in the studio in London. I’ve eaten too many Lidl own brand Jaffa Cakes. I can’t concentrate. I get distracted by emails about press releases that need rewriting. Or lose myself in figuring out who to follow on behalf of the gallery on Twitter in an effort to bump up our followers beyond whatever nominal amount we currently have. So instead I thought I’d sift through some of the photos I’ve taken on road and make sense or nonsense of them. Usual shit, different day.
I went to Leeds. I recently promised myself not to take any more photos of desire lines. But this one was a cracker.
I had, have, work in a show there organised by Black Dogs. The show is called Next to Nothing: On the price of nothing and the value of everything. Killing time before the show opened I wandered the city centre. I was pretty taken aback by this display of everyday basic items in Sainsbury’s being promoted to the intake of fresher students knowing that they’d all probably be dumped or broken by the end of their first year. Brought overly earnest thoughts of biodegradable bamboo kettles and sandwich toasters. I don’t know if that’s possible technically. Certainly not at the price points that shit was for sale.
I sent Black Dogs some of my Lack posters. This is what they did with them.
There was a load of stuff in the show. The deconstruction of an Ettore Sottsass like Memphis light and an amphitheatre model on wheels and a chain tickled me. I don’t know who they were by.
CHANGE. collect change.
Living hope church.
Saw Mario Mertz at Henry Moore Institute and Damian Hurst artists room at the Museum. Amazing tiles in the Museum cafe. Best thing in there.
Then I went to Plymouth on a train.
This is a photo of Wolfgang Tillmans’ work in the British Art Show 7: In the days of the comet.
This is A Circle, curated by Come to Ours, as part of the fringe events going on around BAS7.
I couldn’t get into Plymouth Arts Centre because there was a performance going on by someone who’s name I forget even though someone had a ticket with my name on. So I went for a pint at the pub down the road but got distracted on the way by this sign. I didn’t like the show. Liked the vinyl on wood though.
Bridgette Aston’s The Cattedown Caves Experience model and publication, and publication Plan in collaboration with Kitty Wingate. Good work!
This Keith Wilson was all I saw of BAS7 when it was in London. It was much better last time, but that’s not Keith’s fault.
Since I last photographed this car park in Plymouth they’ve painted the columns bright colours. It’s not terrible but not that great. I guess you need to see it from the inside to see if it works.
Then I came back to London.
Sweeping developer’s power point presentations across the capital, this jaggy straight line thing in glass. First seen in Kings Cross, maybe Idea Store, then Blue Fin Building, now everywhere. Nice!
View from the lift at Horniman Museum Aquarium.
Then I was in the studio not knowing what to do.