NEW WORK: An Additive Mixture #2

In this site-specific installation work, specially conceived for Synthesis, West has systematically arranged numerous multicoloured fluorescent stick-lights as a direct response to details in the space within Victoria Warehouse. The title of work is taken from Josef Albers text ‘Interaction of Colour’, where it is explained that a direct mixture of projected light demonstrates an additive mixture where the sum of all colours in light is white. An Additive Mixture #2 is a development from recent work where West is responding to works-on-paper and translating them into three-dimensions. The relationship between the different hues is apparent through West’s attraction and understanding of colour theory.

An Additive Mixture #2 

Installation (T5 stick-lights, extension cables) 

Dimensions Variable 

2013

Image Credit: Victoria Warehouse Hotel

Image Credit: Victoria Warehouse Hotel

Image Credit: Victoria Warehouse Hotel

 

 

New Work: Consumed & Consumed #2

Consumed is a collection of found and recycled objects, gathered and stripped of any identifiable labelling. These consumerist objects are displayed within three large perspex cases. Underneath each of the vitrines, powerful light boxes emit primary colours that soak the plastics and radiate vibrant hues that bleed together on nearby walls. Lowering our gaze inside the light boxes, the ethereal reflections further distorts our visual perceptions of the objects and singular case. In elevating these mundane objects by directly appropriating museological display methods, such as the vitrine and systems of ordering/classifying objects, West asks us to consider the inherent beauty that emerges in these gatherings. 

- Jack Welsh, 2013

Consumed
Installation (Fluorescent bulbs, wood, acrylic, foil, objects)
100cm (W) x 100cm (D) x 75cm (H) [x 3]
2013

Consumed was commissioned for Barnaby Festival, Macclesfield. The work responded site-specifically to an empty shopping unit in the Grosvenor Shopping Centre.

Image Credit: Stephen Iles

Image Credit: Stephen Iles

Image Credit: Stephen Iles

Consumed #2

Installation (Fluorescent bulbs, wood, acrylic, foil, objects)
100cm (W) x 100cm (D) x 225cm (H)
2013

As part of West's continuing studio practice, the reinterpretation of materials and past works is paramount to the development of new ideas. In Consumed #2 West has adapted and reconfigured an installation responding site-specifically and spatially to Victoria Warehouse of the exhibition Synthesis, part of Manchester Science Festival. Exploring colour theory, sensory impact and intensity of light saturation, West intrigues and captivates viewers by utilizing everyday items and turning them into new sculptural forms.

Image Credit: Paul Devereux

Image Credit: John Lynch

Liz West in Victoria Warehouse 'Synthesis' Exhibition

 

SYNTHESIS

GROUP EXHIBITION AS PART OF MANCHESTER SCIENCE FESTIVAL

25 OCTOBER - 10 NOVEMBER 2013

Liz West is taking part in Synthesis, a group exhibition at Victoria Warehouse as part of Manchester Science Festival. West will be making two new site-specific light-works for the exhibition, adapting and reconfiguring recent installations in response to the space.

Synthesis is a thought-provoking fusion of art and science, conceived and curated by Forefront Collective. This spectacular exhibition is a futuristic experience of installations, paintings, sculptures and visual cinematic experiences, and features prominent international artists.

Victoria Warehouse Hotel | Trafford Wharf Rd | Stretford | Manchester | M17 1AB

Preview: 6-9pm Thursday 24th October

Opening times; 10am - 6pm 25th October - 10th November

Free Entry

www.manchestersciencefestival.com

www.liz-west.com

Synthesis exhibition install

Curator of Synthesis, Tracie Shaylor had visited and seen recent work at Bury Light Night and immediately wanted me in the show. The in-depth colour theory that I employ in all my light works ties in neatly with the exhibition being part of Manchester Science Festival.

I am most excited by site-specific work. If I was to be part of this exhibition I wanted my ideas to be responsive to the space. With that in mind last Thursday I was given a tour of the ground floor exhibition space at Manchester's Victoria Warehouse. I had been keen to get into the space for some time and didn't want to waste this opportunity.

Upon entering the exhibition space I was blown away by the possibilities for new work, my mind started racing. Tracie had ear-marked two particular spaces for my work, upon inspection they are not the easiest to work with, but these are the spaces I am excited by the most. I like a challenge.
One of the spaces was in front of a vast window looking on to the main road past the Warehouse. A light-work would defiantly attract passers-by and act as an advertisement for the show. I aim to rework the recent commission I made for Macclesfield's Barnaby Festival by stacking the light boxes on top of each other instead of presenting them side-by-side. Configured this way it would lend itself to the space and illuminate the nearby white walls.

The second space is within the main exhibition hall. A set of blue railings guard a drop down to the floor below; this was the space I had to respond to! In this site-specific installation conceived specially for Synthesis, I will systematically arrange numerous multicoloured fluorescent stick-lights. The title of work is taken from Josef Albers text ‘Interaction of Colour’, where it is explained that a direct mixture of projected light demonstrates an additive mixture where the sum of all colours in light is white. I am super excited about it and as with most of my installations, you have to see them in the flesh to fully appreciate.

I can't wait to install these works and perhaps see you at the preview on Thursday evening?

Drawing in On Brown & Violet Grounds

The relationship between the sculptor and the act of drawing is a highly personal affair. Technical drawings are, predominately, confined to a studio notebook - never to be exhibited but indispensible in the struggle of translating ideas into concrete outcomes. As creative endeavour itself, drawing forges a path to artistic truth, as this quote from sculptor Barbara Hepworth on the critical need for drawing explains: ‘...I search for forms and rhythms and curvatures for my own satisfaction...but it is in a general sense - that is - out of the drawings springs a general influence.’ 4 The ‘general influence’ that Hepworth suggests elucidates the power of drawing to sculptural practice: each mark influences, informs and nourishes the artistic process. However drawing shouldn’t be confined to paper based activity. During the creation of her work - whether drawing on paper or arranging the order of fluorescent sticklights on a concrete floor - West uses each element as an exploratory tool; experimenting with colour and space until the work is harmonious with its surroundings.  

- Jack Welsh, 2013

Restricted Juxtaposition #1, #2 & #3 

Paint pen and spray paint on graph paper 

29.5 x 42 cm 

2013   

Image Credit: Stephen Iles

Reversed Grounds (below left) 

Paint pen on photocopy 

29.5 x 21 cm 

2013   

Boundaries between the mixture (below right) 

Spray paint on graph paper 

42 x 29.5 cm 

2013 

Image Credit: Stephen Iles

An Additive Mixture at Bury Light Night

An Additive Mixture 

Light Installation (T5 fluorescent stick-lights) 

Dimensions variable 

2013   

In this site-specific installation work, specially conceived for Bury Light Night, West has systematically arranged numerous multicoloured fluorescent stick-lights in an empty retail unit. The title of work is taken from Josef Albers text ‘Interaction of Colour’, where it is explained that a direct mixture of projected light demonstrates an additive mixture where the sum of all colours in light is white.   

An Additive Mixture is a sculptural interpretation of a recent work-on-paper where West has considerately positioned and orchestrated the lights as a direct response to details in the space. The relationship between the different hues is apparent through West’s attraction and understanding of colour theory.

 

New Work: Dispersion of White

Dispersion of White 
Installation (T5 fluorescent sticklights, acrylic, paint tins)
Variable dimensions, this image shows 150cm (W) x 140cm (D) x 30cm (H)
2013 

A sizeable sheet of Perspex has been laid over an assortment of fluorescent sticklights. Your eyes begin to assess the situation. Unsurprisingly, the vivacious sheet of Perspex transfixes them; red, blue and yellow all fluidly bleed into each other without any clear delineation. The robust form of the sticklights project out from underneath the Perspex, like a glimpse at the inner workings of a complex industrial machine. You notice that four circular discs hold up the sheet; they are humble paint pots. Dispersion of White opens up a dialogue between the work and the practice of painting. The subtle introduction of the paint pot is a loaded gesture. Is the surface of the Perspex a comment on painterly sensibility?
- Jack Welsh, 2013

Image Credit: Stephen Iles

Image Credit: Stephen Iles

Image Credit: Stephen Iles

New Work: Vanishing Boundaries

Vanishing Boundaries 
Installation (T9 circular fluorescent bulbs, mirror, extension cables)
Variable dimensions, this image shows 500cm (W) x 500cm (D) x 10cm (H) approx.
2013 

Vanishing Boundaries signifies a connection between West's long-standing artistic interests (including methodically gathering objects) and new sculptural experiments. Comprising of an array of reflective discs protruding above floor level, the installation emits intense bursts of light from underneath the discs; the concrete floor is transformed into a field of colour, connected by the trailing electrical wires. The hues of each light gently diminish creating, as the title of the work hints, soft colour mixes. Notably, the reflective discs also deny us full exposure to the source of light: a method that West has employed in previous installations. 

- Jack Welsh, 2013

Image Credit: Stephen Iles

Image Credit: Stephen Iles

Image Credit: Stephen Iles

Image Credit: Stephen Iles

New Work: Tempo

Tempo  
Installation (T5 fluorescent sticklights, extension cables)
Variable dimensions, this image shows 250cm approx. diameter x 40cm (H)
2013

The fluorescent sticklight, a key material in West's new installations, is perhaps one of the most effective visual spatial devices. Aside from its obvious exuberant colours, its most striking feature is its stripped back materiality. West has modified each sticklight with a particular colour. This colour palette is reminiscent of the neon lights that were so prominent in the 1960s coinciding with the emergence of installation art. Through methodically mixing each tube in relationship to each other, West cultivates our perceptions, drawing on Albers practice based theory that colour can only be truly understood in relation to other colours and, crucially, our own knowledge of the colour spectrum. The raw exuberance of the sticklights becomes a catalyst to trigger a response: the viewer is needed to activate the work.  

- Jack Welsh, 2013

 

Image Credit: Stephen Iles

Image Credit: Stephen Iles

Image Credit: Stephen Iles

Image Credit: Stephen Iles

Liz West Documentary Film

To coincide with my solo presentation On Brown & Violet Grounds at Piccadilly Place and Rogue Open Studios I commissioned Jamie Hyde to produce a documentary film about my practice and new work to be shown at both venues.

End of show blues... and reds, and yellows...

I have switched the lights off for the last time in 'On Brown and Violet Grounds' at Piccadilly Place. I feel a sense of satisfaction that I have never felt before when the end of a show comes. Normally I feel a great deal of sadness connected to the fact it is the inevitable end of something good. Maybe this feeling is not apparent because I know the work will be seen again (be it is a different guise or elsewhere), that the people I wanted to see the show came an saw it and that the feedback I had was excellent.

The question is: was having no preview/opening night the right thing to do? Yes, absolutely. I clocked an amazing number of visitors (plus all those who saw the show whilst passing on the footbridge across to Piccadilly Station). The fact I didn't have a preview meant that people came in their own time and stayed longer. They stayed to watch the 10min video, look at the work and have a chat. I had 8 show days to indulge in this feedback rather than an intense 3 hour preview where everyone is there, the artists can't get round to speak to everyone and very few people actually look at the work. I saved £150 because I didn't have to hire the on-site security and more money on booze - instead I poured the funding into the new work.

More galleries/pop-up shows should perhaps take note of this model. People were astonished that I was having no private view - like it was artistic suicide - the general comment being "when will visitors come then?". Well - they did come, in their hundreds, to look at the work and not to smooze! Job done.

I was delighted with the comments visitors left and the conversations I had. Thank you to everyone who made the effort to come say hi and see the new work. 

Over the next few weeks I will be uploading images of the new work taken by myself and photographer Stephen Iles, who has made some beautiful medium format images of the show. Watch this space...