I'm happy to say that's, art-wise, it's been a busy week for me. On Tuesday I got my cotton tote bags (screen printed with my Swirly Skull design) back from the printers (more about them in a later post), Thursday I was in Northamptonshire delivering my Orifice sculpture to The University of Northampton, ready for the Alumni Art Exhibition that will be running alongside the university's graduate shows, Friday I collected two of my sculptures from where they've been on display in the Artfinder office, then went to my first get-together of an artists' network group called Sculpture Tribe, and today (Saturday) I installed four of my sculptures in the window display area of the visual effects company, The Mill.
Based in London, New York, Los Angeles and Chicago, The Mill collaborate on award-winning (you can't help but notice the prominently displayed Oscar and two BAFTA awards as you walked into their London base) moving image, design and digital projects for the advertising, film, TV, games and music industry. They also put the two massive front windows of their London building to good use as a display areas for contemporary artwork.
So I was rather pleased when they invited me to exhibit my work in their London space (40-41 Great Marlborough Street, at the top of Carnaby Street, and a few doors along from the Liberty Store) for the whole of June and July.
So this morning I installed four works; in the deeper window, Orifice Tower, Pharos Cyclops #1 and 2, and in the shallow window, Planetoid 210.
Although all three pieces (for the sake of argument I'll call 'Pharos Cyclops #1 and 2' one piece for now) share certain commonalities, they are also examples of different lines of enquiry that I have pursued. For this installation I wanted to give an insight into the divergent aspect of my practice; to show how various works can trigger ideas for newer and slightly different pieces, which in turn lead to further, and thus less related, works. To highlight this aspect of the development of my work I displayed the two Cyclops pieces on bright green deckchairs, the colour of which is a reference to one of my earliest sculptures, And When I'm a Man (I'll Think as a Man). Being bright green and made of fibreglass, plastic and resin, this earlier work offers a stark contrast to the directs of much of my current work.