1. Audiomaps




Process Akai Desktop Samplers | Eight Track Porta-studio | Record Decks and Knackered Records | A Music Box | A Megaphone | Voice | Bass 

Field recordings and collaged soundscapes that are filtered, re-sampled, looped. Re-configured and re-constructed. Audiomaps is often collaborative in the recording, remixing and performative stage. Texts are ‘cut ups’, overheard conversations - part manifesto at times.

Loops. Samples. Sequences. A whisper. A sense of place.

“People tend to play in their comfort zone, so the best things are achieved in a state of surprise, actually”.

From Brian Eno

Mark

2. Bad Choreography



Process Falling over | Lying face down | ‘Balancing acts’

You get to that point sometimes where you need to take things back to basics. Being able to work quickly. Spontaneously. These photographs are playful. How much ‘awkward and clumsy’ can I choreograph? Falling over, lying face down, ‘balancing acts’ (sic). No tricks here. No athleticism. The humour is dry. Pathos wriggles just under the skin.

“I think humour is used a lot of the time to keep people from getting too close. Humour side-steps and shifts the meaning”.

From Bruce Nauman




Mark

3. CAN YOU HEAR ME NOW?



Process Joy | Fear | Desire | Guilt | Sadness | Disgust | Delight | Anger

A collaborative installation by Stephen Carley and Anna Mawby. Curated by Andrea Hadley-Johnson.

A mixed-media, anthropological framework. Experimental and participatory. Joy, Fear, Desire, Guilt, Sadness, Disgust, Delight and Anger.

Two exciting years of intricate planning, development and collaboration. A period of studio time that felt like a creative research project.

CYHMN? was installed and exhibited at Derby Museum and Art Gallery between March and June 2012.

Oh god. Is thing on?
Test test test test test test
Can you hear me now?
As we come to the close of our broadcast day
This is my farewell transmission.

From Shellac – The end of radio.


Exhibition Review







Mark

4. Construct Deconstruct
    Reconstruct



Process Collage | Layered | Action/Gesture | Press, Gravity, Weight | Drawing | De-collage 

Drawing is absolutely integral to my studio practise. The process informs and underpins my work. For me, drawing is not about representation, it’s more a gathering and ordering of a collection of memories. Half seen, overlooked fragments, fleeting moments. It’s where marks, surfaces, shapes, lines and textures coalesce. Entirely process orientated and risky, it becomes a dialogue with the materials.

“A discourse between definition and the unresolved, the systematic and chaotic, certainty and speculation”. 

From The Good Drawing, CCW Bright 7












Mark

5. Finding Lines




Process Here in this Space | X Marks the Spot            

fig one.

HERE IN THIS SPACE. X MARKS THE SPOT
THE CENTRE. THE PLACE
TO START AND END.

fig two.

REFLECT REWIND. PAUSE REPEAT.
REFLECT REWIND. PAUSE REPEAT.
REFLECT REWIND. PAUSE REPEAT.
REFLECT REWIND. PAUSE REPEAT.

fig three.

ABSTRACT MEMORY. REMNANT A TO B
STONE MUD CLAY SOIL
THE LAY OF THE LAND
THE LAY OF THE LAND
THE LAY OF THE LAND
THE LAY OF THE LAND

fig four.

DELINEATE . THIS LINE
AN OUTLINE. LINES THAT CONNECT US TOGETHER.


Finding Lines – a celebration of marks made and lines drawn.

New work from Liz Atkin, Stephen Carley, Nick Parker and Susan Kester alongside loaned work including pieces by Pablo Picasso, LS Lowry and Henry Moore. Finding Lines moved from an invitation to notice and capture the lines around us into a provocation to ‘find your lines and make your mark’, to reclaim the joy of drawing.

The resulting exhibition is a lively arrangement of drawings kindly loaned by partner organisations and freshly crafted works by five inspiring artists.


“A drawing is simply a line going for a walk.”

From Paul Klee.


Virtual Tour


Mark