Here are couple of images from my Emerging Pathways Exhibition at Bodelwydden Castle. I Documented all the sign of small village Tremeirchion on the side of the Clwydian Range
i had a clear view of how I wanted the work to look by filling the wall as you walk into the space capturing the shear volume of the signs in the area
I think I captured all the signs there was just under 40 which coming up with the idea even I was shocked about
I think the tow signs i’ve shown here are the news and oldest that i found. The above sign Pre date the standardisation of British Road Signs by the Worboys Committee of 1963.
For just under two years now I have been working with the group Ffoto Alternative and planning their biggest exhibition to date at Bodelwyddan Castle. The work was to document the 25th anniversary of the castle. Also alongside our work we was lucky to be paired with the National Portrait Gallery who brought a selection of work up from 1988 this featured photos of The Stone Roses, Run DMC, Steven Hawkins to name a few. A great honour to be alongside such images of icons. The work that I put into the show was seen first on google maps. I noticed that there was an old drive way to the castle. Back in February I went to document the trees. This would then be placed in a filling cabinet in the exhibition. that you would walk through with your hands. The first image was pixellated the last image in-front of the castle was clear to give a sense of distance. I like the fact the filing cabinet was closed so only the keen-eyed viewer would even know it was there.
This is a poem about me. I went to my first Liverpool F.C game in 1987 and my first Widnes R.L.F.C game in 1983. So aged 3 and 7 them memories etch into your brain. A right of passage what ever you go onto. Know one can take your teams away from you. I was lucky enough to spend time in a recent exhibition in Oriel Mostyn in Llandudno. I the presence of a Box used by artist Gareth Griffiths to take his son’s to match at Anfield. The power of ‘The Box’ moved me…
Thanks for sharing it with us Gareth!
Not my White box.
Someone else’s vantage point,
chips hold stories,
celebration, sadness, glory.
On that afternoon,
like a full stop,
alone it stood,
together, raised scarfs taught.
Your words made me feel 9
The feeling surrounds me lots of looking up.
The raised rim on a plastic flask mug.
The floor touching my feet through worn souls.
The Safety and smells of cut grass before me.
Winter cold rattles my mittens.
Floodlight halo’s dot my eyes.
Barbwire fences brown glass spikes.
Thousands packed in tight.
Now I’m back and still no connection?
Just know I’ve been there.
A time so much simpler?
Black and white Red or blue…
I manged to get into my old junior school before it was knocked down. In the short film there is footage from the production we did of ‘Joseph and his amazing Technicolor dream coat’. Looking back this was a massive effort from the community. While musicals not been something im interested in this feet still makes me smile. Please enjoy The last days of school
So in the last few weeks I have been lucky enough to see two Keith Arnatt exhibitions. One at Oriel Mostyn…
and the other at Tate Britain.
As you can imagine both at different ends of the spectrum on scale, yet punching at the same weight. The North end of Arnatt’s work is some 10 to 12 images of post-market and typically British rubbish in the Mostyn. The South (Tate Britain) represents a retrospective of Keith Arnatt’s work, not only this but it is placed in the context of the History of British Art show that the gallery is running.
The above statement taken from the Tate Britain highlights our constant obsession to document everything on a phone rather than enjoy the moment for yourself. I recently saw on T.V someone on the West Holts Stage at Glastonbury with Nile Rodgers with is face stuck in his i-pad filming. What would Keith have done? Enjoy the moment look around, that is why we are fitted with memories!
I was introduced to Arnatt at an early age in my creative journey. It was like the fear going to High School then finding out your older second cousin went there to protect and everything would be ok. I think I am like Arnatt, inspired by the Mundane, feelings of ‘the big tourist attraction is on the right, what happens if I take a picture to the left?’ The scale of both shows is inconsequential, they both deliver a Heinrich Manoeuvre to the senses.
Arnatt’s place in the Tate is along with Richard Long is a tip of the hat to arts based photographers, from Arnatt’s images of dogs, decaying food produce or post it notes. His process was a struggle but the continued commitment to art gave it foundation and strength. The boxes work in Oriel Mostyn is refined in scale but still solid in impact, touched again with Arnatts melancholic chic. For me the sadness created by the boxes is metaphorical in maybe what he was trying to the say. What are we like?
Keith Arnatt; the thinking mans photo documentarist…
I went out to Sicily to photograph. While i was there I soon realised that must start film and using time-lapse to further my experience. This video was shot free hand. The poem was written while I was there. The sounds in the background are the tuna steaks we bought cooking on the Barbecue The ambient sound is from the supermarket we went to