Tag Archives: Royal Academy

SMALL JOURNEYS | Paul Coldwell

SMALL JOURNEYS

Long & Ryle Contemporary Art. 4 John Islip Street, London SW1P 4PX

April 20th, 2016 – Extended until June 10th, 2016

This, the first exhibition by Paul Coldwell with Long & Ryle, presents a group of recent small sculptures and associated prints which together explore ideas of journey, absence and loss. The sculptures are very much thinking models; propositions about how we might consider landscape, both from an interior perspective but also as seen from photographs and from above through the window of an aeroplane. The prints, developed on screen through the computer are reconstituted and resolved as physical prints, most recently as etchings, in order to reinstate their presence as objects in the world.

The sculptures were all cast in the Foundry at Chelsea College of Art with the assistance of John Nicoll. The etchings plates were made at Byam Shaw, (CSM) with the help of Paul Dewis and then proofed at OBS Oficina Bartolomeu dos Santos, Tavira, Portugal.

Upcoming events include:

– London Original Print Fair (Royal Academy) at which Paul will be giving a talk about his work on Saturday May 7th at 3.30.

– At SASA Gallery (Brisbane, Australia) Coldwell is showing in a five person show along with Aleksandra Antic, Marion Crawford, Joel Gailer, Performprint & Olga Sankey entitled The Unstable Image. 29th March – 22nd April

– The Artists Folio, an exhibition Coldwell jointly curated with Sonya Kielty originally for Cartwright Hall, Bradford will be shown at Gallery Oldham 16 April – 9 July.

Image: Paul Coldwell, Suitcase & Mountain-Bronze 30 x 40 x 14 cm

Drone on the Range or “Step Away From Your Shadow”

CCW Professor and Rootstein Hopkins Chair of Drawing Stephen Farthing is exhibiting prints and paintings at the Royal Academy Summer Exhibition 2015. He is working to explain why Native American culture is infinitely more resilient today than it was at the end of the nineteenth century. This is part of Farthing’s research into Native American drawing.

‘I have been following a track that I hope will enable me to better understand how and why eighteenth and nineteenth century colonialists encouraged the indigenous people they encountered to illuminate their oral histories by drawing. I started in Australia and New Zealand with Maori and Aboriginal drawing, then this last year I shifted my inquiry to the Smithsonian Archives in Washington DC, where my focus has been the Native American collections. At the centre of my interest are the Native American narrative drawings known as “Ledger Drawings”. These were mostly made during the mid to late nineteenth century by Plains Indians during their detention in US army forts.

As an artist researcher, my work simultaneously heads off in two directions – on one side there is the written, on the other the drawn and painted. On this occasion my writing explores the conventions of Ledger Drawings, while my drawings and paintings manipulate images that are concerned with the conventions of warfare, the subject matter of most Ledger Drawings. Each of my drawings starts with “the brave” and end with “the  sneaky”. Together they become a narrative that takes us from the bald eagle to the drone. The writing, which has quite different ambitions, explores the effects of a European education and the introduction of paper and pencil on Plains Indian drawing. I envisage the drawn side of my research growing into a much bigger project that will in the end be painted and have little to do with its starting point. The writing however, has stayed true to its starting point and will soon be done.

This summer, as a way of testing some early results, I have turned four images – Step Away From Your Shadow and Drone on the Range, Wounded Knee and Dance – into hand finished digital prints that I’m showing at the Royal Academy Summer Exhibition. I find showing at the Summer Exhibition useful. Even if not a critical word is exchanged, it enables me to see what I have done  beyond the context of my own studio and in the company of my peers.

Ticking away in the background, beyond the writing and drawing, I have a third direction which is a result of my Chairmanship of the Royal Academy Exhibitions Committee. Two years ago I was asked by my committee to explore the possibility of mounting a large scale exhibition of Native American Visual Culture. Since then I have been involved in a journey and lengthy consultation process that has taken me to museums, archives, Native American reservations and  meetings with scholars. The aim? To begin to understand and shape an exhibition that will represent Native American visual culture in London as a resilient contributor to twenty-first century global culture.’

Farthing has been a Royal Academician since 1998.

Top Image: 818 – STEP AWAY FROM YOUR SHADOW #2, hand-finished digital print, Stephen Farthing