Collaboration with Amber
17th - 23rd November
Ideas
Paint onto the walls, ephemeral
Both looking at process
Need a title and poster
Experiment with lots of different curation variations
Point of using the project spaces is to view works in a bigger, different surrounding, experiment. So try out all pieces before putting up final show.
We decided to make lots of pieces of our own with the intention of exhibiting them in the project space, but we did not have any plans of where to exhibit it or in what order. We wanted to be productive and make lots of work, then be able to curate an exhibition from all of these pieces.
Labelled the walls 1 to 5 to talk about and plan the layout easier
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| Wall 1 |
Wall 1 is a very large space, however as a shape it is long and thin. We felt a collage of 3 pieces would work best to accomodate the length of the piece. Our work is not standard painting, it is sometimes unconventional and questionable, we wanted to comunicate this by curating the space in an unorthodox manner. We decided we would hang together pieces of different shapes and sizes at different heights
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| Wall 2 |
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| Wall 3 |
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| Wall 4 |
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| Wall 5 |
Collaborative wall piece:
We started by pre-mixing various colours of pinks and greens. We gathered numerous tools and brushes of different sizes, laid out some protective sheets to cover the floor and began. We discussed whether to work on one side each then switch, or whether to work simulatenously as one. We decided do a bit of both. We started on our own sides then swapped as we felt necessary. At times we would each get to points where we didn't like what marks we were making so decided to switch and other times we just felt there were areas we needed to put our mark on so would overlap. This was very refreshing approach, as too often an artist can get stuck in their studio, focusing on one piece or getting stuck and not liking what they are making. When I would make marks that I regretted, Amber could come in and use a different tool to put her own touch onto it and vice versa. This is something I will definitely take back to my studio and in future when I get stuck I will try new tools and techniques for a fresh perspective.
My marks are often large and gestrual brush strokes, combined with thick layers of paint, dripped down the surface. Amber works with many tools other than painting brushes for example a squeegee to drag the paint. Her signature technique: flicking the paint at the surface. The contrast of our two painting styles when viewed separately can seem distant and too contrasting. However when working as one, I feel our work has come to life and brought different textures and depth to the work. Amber has inspired me to work with different tools and drag and flick the paint rather than applying with a brush.
Keep the method of mounting consistent. If using nails, stick with nails - simple and effective
He gave us his opinion on the work we had already put up, he also advised us on where to hang some pieces. Helped us nail up the metal piece - up high
Originally I wanted to work onto the wall to use as a background for other pieces, similarly to how I have been using my studio space. However, once we completed our collaborative piece on wall 4, we decided to not place any work over the top as it was so impacting and strong on it's own.
I also wanted to experiement with working right to the edges of the canvas. My work often is centered around the middle of the work, leaving the edges showing the original surface. The surface is a key part of my practice, hence why I do not cover it all when painting, this leaves a trace of the beginning and a hint to the process I took to create the work. For this piece I wanted to forget these ideas and work right to the edge. The surface of this work is the wall and this speaks very loudly for itself without the aid of gaps or bare edges. So I decided to use masking tape to create a set area to work within. Once finished and dried, the tape was removed leaving a clean edge, as you would with board or canvas. The drips down the bottom and the smuding around the edge was intentional to hint towards the process of the work. I feel I could've exaggerated this to make this more clear. The paint managed to seap through some areas of the tape, now even though this was not intentional, I feel it works very well with this piece and adds an extra layer and depth to it.
Once completed, we began to try out different pieces along side it. We eventually decided the mirror piece worked best due to the colours and marks, and the shape of the piece. We like it both on the floor and on the wall and are going to finalise the decision at a later date.
We were really struggling to curate wall 2. We had up Amber's piece on pink fabric with my metal piece. We tried different hanging positions and even tried different pieces instead of the metal one, however I reached a conclusion that Amber was not happy with her fabric piece. It wasn't to do with how we were hanging or curating, she was not satisfied with her work in the first place so was struggling to like it with anything. Amber decided to take the piece down and continue to work on it.
Amber began by layering up the paint, using gestural marks, dripping, and dragging. She then flicked and slatted the paint onto the fabric, before finally scrunching it up into a ball.
When we went back to putting up Amber's piece, Amber decided she didn't want it to be hung straight. She wanted it to be pinned to appear distorted and becoming sculptural. As she was describing this to me I remembered back to an artist I had researched - Angela De La Cruz. I ran to my studio to show Amber her work and she was instantly inspired by this.
I feel this piece works really well in our exhibition. It begins to bring a sculptural element into it which our space was lacking, and compliments wall 5 at the opposite end of the studio well.
13a/Nunns Yard
I emailed Tony George regarding exhibition space at Nunns Yard and Thirteen a, as I think my style of work is better suited to a more contemporary space as opposed to Yallops which we used last year. I work very large scale and know 13a is renowned for being a small space, I don't know if this will be too small. Similarly, Nunns Yard may be too big.
I decided on Nunnsyard as so far I have a lot of work and am working very large scale. I worked out some dates with Tony that suited us both and when confirmed, I carried out a risk assessment. This concluded with very little risk, after much consideration I think I am going to hang the heavier pieces screwing all the way through the work, this will ensure they will not fall and cause hazards. The other hazards are my pieces on mirror, if these were to fall and break they could cause a lot of damage and risk to visitors safety. As I cannot drill through these pieces I intend to secure them with two nails at the bottom and one at the top, I have exhibited a mirror piece in this style before and it held up perfectly. My pieces on metal I will hang in the same way, however these are not such a risk as if they fall the should not break. I am not using any wires or electricity for this exhibition so do not have to consider any of that within my risk assessment.
I did not have to submit a proposal for this exhibition however I am writing an artist statement as a practice for other possible future professional exhibitions.
I arrived at Nunnsyard at 10am to start setting up. The private view was due to start at 6pm so I thought this would be enough time. I began by laying out where I wanted pieces to go. I knew Grey Primed and Circle should have their own walls as they are 2 of my largest and best pieces. I then also collected together my next favourite pieces so I could make sure to try to include my best pieces first. Broken Mirror and its accompanying cavases were always intended to be exhibited together. They compliment Circle well so I layed them out in the same room. I wanted to keep my two metal sheets together, and also my other two 1.2m square MDF pieces, Untitled and Pink Primed. After drawing up a couple of sketches I came up with my final floor plan.
The finished floor plan saw Circle and Grey Primed facing each other at opposite ends of the space, this gave them their own individual wall but could also be seen from almost anywhere in the space. My metal sheets were hung together, and on the adjacent wall of the same dimensions, I displayed Untitled and Pink Primed. These pieces mirrored eachother, making the space flow a lot better. After hanging up all of these, the rest of the space seemed to fall into place. Untitled (my pink and green piece on mirror) finished off room 1 and Cut Up (one of my favourite pieces cut from my 8ft piece) completed room 2.
Due to my pieces being relatively thin MDF it was quite difficult trying to find a way to hang them. I decided on resting the mirror and metal pieces on two screws with a final screw in the top to secure them. I had previously considered how to hang the MDF pieces however due to the size and weight of them I eventually decided on screwing through the pieces. This would be the safest, most secure way to do so, without being able to see the hanging method (I covered up the screws with matching paint). This did result in me having holes in the work, however when I sell them/put them up there will need to be a way to fix them anyway.
I am very happy with the final layout and the way everything has been hung. I had to do a few touch ups to cover screws but overall it was successful.
I tried to print my labels onto acetate which I could then stick to the walls. A fellow student exhibition had done a similar thing and it looked very professional. The student helped me out with how to achieve this however, when trying myself I couldn't get it to work quite the same. This is something I would like to try again and do next time, however for this exhibition I ended up just printing off the labels onto paper. I wrote a short piece of text, similar to an artist statement to give viewers a bit of a background/insight into the work.
I held my private view on Monday 2nd January, there was a good turn out and I even recieved a few painting requests. It was open 6-8 and I supplied drinks and nibbles. The favourites pieces were Circle and Grey Primed. These were also my favourites, hence why they each had their own wall. Everyone was very complimentary about the work
I had lots of passersby walking in to look around, many of them asked about a private view. In future I may hold the private view in the middle or at the end of my time exhibiting as this may give the private view a bit more advertising. I also picked a date where most people from the university will be at home and possibly not in Norwich so the turn out could have been even better.
Holding this exhibition has given me an opportunity to view my work in a white cube setting and get really good quality photos of the work. Seeing the work exhibited on the wall has such a different effect to just viewing it in your studio space, and it has helped me view my work in a fresh light. I am now filled with lots of ideas and inspiration for creating new work.
This setting has been perfect for my work. The simplistic, clean, white cube space has enhanced the depth, texture and colour in my work. The space made my work seem very professional and I would really like to exhibit here again.
For images of the finished space, individual work, and close ups see www.elliebrine.com
Artist Statment:
My work is about breaking the
boundaries of painting: exploring colour, scale, layers and texture. I work
with a very narrow colour scale of pinks and purples; in colour psychology
these are positive colours representing comfort, affection and harmony. Sometimes
I consciously use a pop of uncomplimentary colour to create an awkwardly interesting
layer to my work. Working large scale gives me freedom to explore different
techniques and create larger and bolder brushstrokes. To contrast textures, I
use different types of household material from gloss paint to multi-purpose
filler, also experimenting with different specialised acrylic mediums to alter
the characteristics of traditional acrylic paint such as gloss medium, heavy
body medium, and fine pumice. Layering is a key part of my paintings; most of
my pieces begin with a layer of gestural brushstrokes, followed by systematic
drips, and finally a layer of texture. The different characteristics of each
layer create the depth to my work. I often create interruptions in my work.
This comes in different forms such as: covering whole sections of the work,
layering different pieces, cutting out sections, and folding or bending the
work. My work explores the process of painting: Painting As Process.
Press Release:
Press Release:
NUNNS YARD
Press Release
Ellie Brine
2nd – 4th January 2017
Nunns Yard Gallery presents the latest exhibition by Ellie Brine
featuring new 1.2 metre square acrylic paintings, as well as snippets of her
series’ Broken Mirror, and Cut Up; all made in 2016. The works
displayed in the city of Norwich mark a new epoch for the British artist who
has developed a recent interest in the process of painting.
Brine’s abiding love for paint has continued into these works, exploring
paint through painting. The meaning behind the artist recent works is simply to
be a record of the process. Different types of material (from household gloss
paint to fine pumice acrylic medium) are layered onto the 6-9mm MDF to contrast
textures; creating depth to the work.
Executed in often narrow colour schemes of pinks and purples, Brine’s
work evokes comfort, affection and harmony, while absorbing the viewer into the
depths of the work.
In Brine’s pieces on metal and mirror, the artists traditional canvases
of linen, cotton duck, or board are replaced by sheets of aluminium, steel and
Perspex to begin to push the boundaries of painting.
The stand out piece of the exhibition, Circle [2016], resides solitarily at the far end of the gallery. As
the viewer’s eyes follow the corridor, at the end, this 1.2 metre circle
presents itself with importance. The deep hues of magenta and maroon are
contrasted by the under layers of hot pink and iridescent medium. There is a
final glaze of gloss paint which when caught in the right light makes the work
glisten with significance.
Opening Hours
12am – 5pm
Private View Monday 6pm
Enquires
art@elliebrine.com
www.elliebrine.com
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