'Without Mind' will show as part of a video art festival in Nenagh, Co. Tipperary, Ireland - 5th - 12th February. For more information visit the site here. A digital version of the exhibition catalogue is also available by following the link.
Showing posts with label memory. Show all posts
Showing posts with label memory. Show all posts
Wednesday, 1 February 2012
Its a long way to Tipperary...
'Without Mind' will show as part of a video art festival in Nenagh, Co. Tipperary, Ireland - 5th - 12th February. For more information visit the site here. A digital version of the exhibition catalogue is also available by following the link.
Thursday, 8 September 2011
Looking from a distance
Gymnasium Gallery
Paul Grimmer
Looking from a distance
10th September – 15th October 2011
Looking from a distance features two recent moving image works, Without Mind (2011) and Changeling (2010). Both pieces focus on movement in a contemplation of beauty, time, memory and transformation. These two video works are connected by a tension between the sense of intimacy and detachment in the handling of the subject, which in each case is a solo performer. In each work the movement has been digitally altered through editing processes, foregrounding our ways of looking and the weaving of possible psychological narratives.
Looking from a distance was developed with support from Arts Council England, Allenheads Contemporary Arts, Dance City, Globe Gallery and the Medical Research Council.
Opening on Saturday 10th September between 2:00pm – 4:30pm
Special viewing for the Berwick-upon-Tweed Film & Media Arts Festival on Saturday 24th September between 7:30pm - 9pm
Opening times:
11:00am – 5:00pm Wednesday-Sunday
Free entrance from the Ramparts
Gymnasium Gallery
Berwick Barracks,
The Parade,
Berwick-upon-Tweed
TD15 1DG
01289 304 535
Saturday, 3 September 2011
'Looking from a distance' gallery information
Paul Grimmer (UK)
Looking from a distance
Looking from a distance features two recent moving image works, Without Mind (2011) and Changeling (2010). Both pieces focus on movement in a contemplation of beauty, time, memory and transformation. These two video works are connected by a tension between the sense of intimacy and detachment in the handling of the subject, which in each case is a solo performer. In each work the movement has been digitally altered through editing processes, foregrounding our ways of looking and the weaving of possible psychological narratives.
Without Mind (2011) was developed through a cross-generational collaboration with the artist’s 80 year old Grandfather, who has practiced and taught the martial art of Karate for over 25 years and holds a black belt 3rd dan grade. Karate training involves the repeated practice of specific movement phrases or kata (form) until they can be performed without thought and with a clear mind, free from fear, anger and ego, a state known as Mushin. The work focuses on 3 of the advanced kata routines forming an intimate portrait of memory and capturing the skill, power, agility and focus involved in the discipline. Conventional assumptions of age and deterioration are also questioned as the work unfolds, dissecting time, slowing to reveal the detail of each movement. Familiar representations of the aging body are subverted to reveal a body that is strong, dynamic, monumentally present, dancing an intricate dance with an invisible opponent.
Changeling (2010) makes reference to the highly symmetrical structure and geometry of viruses and their transformative power. The work also references the symbolism associated with alchemy and the alchemical opus, repeating forms in nature, sacred geometry and architecture. Here, the artist’s own body has been physically and digitally transformed altering the image of the body, even further pushing it into abstraction. As this unfamiliar body moves in and out of focus suspended in space it is glimpsed not seen, it is taken apart, re-ordered and replicated into new and exotic forms in a meditation on beauty, perfection and difference.
Paul Grimmer was born in Newcastle upon Tyne in 1975 and studied Fine Art at Northumbria University. Since 2005 he has worked as an artist as well as coordinating events with live art organisation Platform North East and collaboratively setting up Piggyback Arts. He often works in collaboration and has spent time engaging with research in a number of scientific institutions/organisations in the UK. His moving image, installation and performance work explores the biological and psychological, focusing on gaps in understanding, tensions between opposing forces and the fluid nature of identity. Recent exhibitions include: ‘Changeling’ (Globe Gallery, North Shields), ‘Triparks’ (UK touring group exhibition) and screenings in the UK, USA and Europe of ‘Continuum’, a 360° video work made specifically for viewing in Planetariums. Paul Grimmer currently lives and works in Newcastle upon Tyne.
Changeling was developed during residencies with the Medical Research Council Virology Unit, (Glasgow), Allenheads Contemporary Arts (Northumberland) and Dance City (Newcastle upon Tyne). Developed with support from Arts Council England and Globe Gallery (Newcastle upon Tyne). Without Mind was developed during a residency with Dance City (Newcastle upon Tyne) and with support from Arts Council England.
Thanks to: Nick Able (Nick Able Music), Ewelina Aleksandrowicz & Andrzej Wojtas (Hacksquad), James Froment (Dance City), David Bhella (MRC), Jo Brossman (Arachnae Designs), Satinder Chumber, Tom Cullen (ArtAV), Wendy Erickson, George Grimmer, Kyle Heslop, Michelle Hirschhorn, John Smith and Fiona Wright.
Looking from a distance
Looking from a distance features two recent moving image works, Without Mind (2011) and Changeling (2010). Both pieces focus on movement in a contemplation of beauty, time, memory and transformation. These two video works are connected by a tension between the sense of intimacy and detachment in the handling of the subject, which in each case is a solo performer. In each work the movement has been digitally altered through editing processes, foregrounding our ways of looking and the weaving of possible psychological narratives.
Without Mind (2011) was developed through a cross-generational collaboration with the artist’s 80 year old Grandfather, who has practiced and taught the martial art of Karate for over 25 years and holds a black belt 3rd dan grade. Karate training involves the repeated practice of specific movement phrases or kata (form) until they can be performed without thought and with a clear mind, free from fear, anger and ego, a state known as Mushin. The work focuses on 3 of the advanced kata routines forming an intimate portrait of memory and capturing the skill, power, agility and focus involved in the discipline. Conventional assumptions of age and deterioration are also questioned as the work unfolds, dissecting time, slowing to reveal the detail of each movement. Familiar representations of the aging body are subverted to reveal a body that is strong, dynamic, monumentally present, dancing an intricate dance with an invisible opponent.
Changeling (2010) makes reference to the highly symmetrical structure and geometry of viruses and their transformative power. The work also references the symbolism associated with alchemy and the alchemical opus, repeating forms in nature, sacred geometry and architecture. Here, the artist’s own body has been physically and digitally transformed altering the image of the body, even further pushing it into abstraction. As this unfamiliar body moves in and out of focus suspended in space it is glimpsed not seen, it is taken apart, re-ordered and replicated into new and exotic forms in a meditation on beauty, perfection and difference.
Paul Grimmer was born in Newcastle upon Tyne in 1975 and studied Fine Art at Northumbria University. Since 2005 he has worked as an artist as well as coordinating events with live art organisation Platform North East and collaboratively setting up Piggyback Arts. He often works in collaboration and has spent time engaging with research in a number of scientific institutions/organisations in the UK. His moving image, installation and performance work explores the biological and psychological, focusing on gaps in understanding, tensions between opposing forces and the fluid nature of identity. Recent exhibitions include: ‘Changeling’ (Globe Gallery, North Shields), ‘Triparks’ (UK touring group exhibition) and screenings in the UK, USA and Europe of ‘Continuum’, a 360° video work made specifically for viewing in Planetariums. Paul Grimmer currently lives and works in Newcastle upon Tyne.
Changeling was developed during residencies with the Medical Research Council Virology Unit, (Glasgow), Allenheads Contemporary Arts (Northumberland) and Dance City (Newcastle upon Tyne). Developed with support from Arts Council England and Globe Gallery (Newcastle upon Tyne). Without Mind was developed during a residency with Dance City (Newcastle upon Tyne) and with support from Arts Council England.
Thanks to: Nick Able (Nick Able Music), Ewelina Aleksandrowicz & Andrzej Wojtas (Hacksquad), James Froment (Dance City), David Bhella (MRC), Jo Brossman (Arachnae Designs), Satinder Chumber, Tom Cullen (ArtAV), Wendy Erickson, George Grimmer, Kyle Heslop, Michelle Hirschhorn, John Smith and Fiona Wright.
Thursday, 18 August 2011
Creative Summer Residency @ Dance City - part 2
Started working with Andrzej Wojtas and Ewelina Aleksandrowicz (Hacksquad) yesterday capturing some video footage of selected clips. I was amazed at the quality achieved with the Panasonic camera they were using. The close up shots of showing texture and quality of skin are absolutely amazing. We are now hoping to work with Red cam, Which is capable of capturing with a faster shutter speed at 120fps, so will be able to recreate the shots and capture even more minute detail in the movement and expression.
Tomorrow we will also be working with cinematographer Kyle Heslop.
Stills from the shoot yesterday...
Tomorrow we will also be working with cinematographer Kyle Heslop.
Stills from the shoot yesterday...
Wednesday, 17 August 2011
Creative Summer Residency @ Dance City - part 1
I was very happy to receive funding from Arts Council recently to both begin development of a new body of work and install an exhibition at the Berwick Gymnasium Gallery, which will also be part of this years Berwick Film and Media Festival.
Since Monday I have been working at Dance City with my Grandad on a Creative Summer week long residency. The experience so far has been amazing! After 25 years of training he has attained the level of black belt, 3rd Dan in Wado Ryu style karate.
Watching him perform the karate katas (choreographed movement phrases involving blocks and attacks) in the past it has appeared both complex and in some way simple. I realise now that achieving the appearance of simplicity is very difficult. Monday and Tuesday we worked together as teacher (Sensei) and student as I attempted to learn the first black belt kata (Seishan). It was fascinating to learn, but more interesting to learn from my Grandad and to see him change from the the man I know to the intense focused state when performing. He told me that when he is performing the kata's he sees nothing else, everything else disappears.
During the fisrt 2 days I also observed my grandad performing three of the black belt kata -Seishan, Basai and Rohai - and began capturing some of the more dynamic moves.
Since Monday I have been working at Dance City with my Grandad on a Creative Summer week long residency. The experience so far has been amazing! After 25 years of training he has attained the level of black belt, 3rd Dan in Wado Ryu style karate.
Watching him perform the karate katas (choreographed movement phrases involving blocks and attacks) in the past it has appeared both complex and in some way simple. I realise now that achieving the appearance of simplicity is very difficult. Monday and Tuesday we worked together as teacher (Sensei) and student as I attempted to learn the first black belt kata (Seishan). It was fascinating to learn, but more interesting to learn from my Grandad and to see him change from the the man I know to the intense focused state when performing. He told me that when he is performing the kata's he sees nothing else, everything else disappears.
During the fisrt 2 days I also observed my grandad performing three of the black belt kata -Seishan, Basai and Rohai - and began capturing some of the more dynamic moves.
Friday, 1 April 2011
Busy time
The last few weeks have been really busy...
Last Friday I took part in '3 degrees of Separation', an artists discussion event organised by North East artists Jo Coupe and Catherine Bertola and supported by Turning Point. The event gave the opportunity for 8 artists to discuss their practices in relation the the theme of 'time'. The selection for the event was really interesting, with each artist choosing another in a chain. The choices were made based on similarities in practice or relationship of work to the theme. There will be two further events based on themes of 'site and context' and 'materiality'. A further artist was invited to respond to the discussion and create a written text. The outcome will be a limited edition set of 3 books.
The website for 3 degrees of Separation can be found here. It will continue to grow as further events take place and the written texts are added.
On Monday I attended the Journal Culture Awards, where I had been shortlisted for the 'Visual Artist of the Year 2010'. The shortlisting was for the screening of 'Continuum' at Centre for Life's planetarium last June and was based on public vote and recommendation. Congratulations to Laura Lancaster who won the award!
I have also been working on several proposals to start researching a new project. I met with Emma Kirkpatrick from the Institute of Neuroscience at Newcastle University to discuss a possible collaboration as part of this research. More on this soon...
Last Friday I took part in '3 degrees of Separation', an artists discussion event organised by North East artists Jo Coupe and Catherine Bertola and supported by Turning Point. The event gave the opportunity for 8 artists to discuss their practices in relation the the theme of 'time'. The selection for the event was really interesting, with each artist choosing another in a chain. The choices were made based on similarities in practice or relationship of work to the theme. There will be two further events based on themes of 'site and context' and 'materiality'. A further artist was invited to respond to the discussion and create a written text. The outcome will be a limited edition set of 3 books.
The website for 3 degrees of Separation can be found here. It will continue to grow as further events take place and the written texts are added.
On Monday I attended the Journal Culture Awards, where I had been shortlisted for the 'Visual Artist of the Year 2010'. The shortlisting was for the screening of 'Continuum' at Centre for Life's planetarium last June and was based on public vote and recommendation. Congratulations to Laura Lancaster who won the award!
I have also been working on several proposals to start researching a new project. I met with Emma Kirkpatrick from the Institute of Neuroscience at Newcastle University to discuss a possible collaboration as part of this research. More on this soon...
Wednesday, 1 September 2010
'The Rules of Engagement' images/early ideas for new work
These images were captured during the production of the video piece The Rules of Engagement (2006), working with my grandfather at the Waygood Gallery and Studios in Newcastle upon Tyne. I love the concentration, focus and the feeling of strength that the images convey. The experience of working with my grandfather to make the piece was amazing - his total commitment to the performance and the art was really inspiring.
Early ideas/starting points for work
I particularly like the level of detail in the skin, which is missing in the video work. I hope to pick up on this a bit more on the new work I am about to begin using HD to shoot. I also hope to be able to emphasise the precision of the movement and the focus and the concentration using slow motion cameras.
I am interested in exploring the use of a fragmented image, focusing the camera on specific parts of our bodies - two rooms - as they move, reflecting one another - providing the viewer with snippets of visual information - inviting them to fill in the gaps - the closure principle. I am also interested in exploring after image, ghosts (phantoms), distorted reflections, creating Rorschach-esque patterns with our divided bodies.
Monday, 16 August 2010
Memory Portrait
After a busy year working on the Mutations project I feel able to think about new work. During the project I began working with movement, which has opened up new ways of considering the body. With this new focus I want to go re-visit a work I completed several years ago working with my Grandfather, who at 79 is a practicing 3rd Dan, Black Belt in Karate. The work entitled The Rules of Engagement (see below) created a portrait, not only of the individual and the actions but of memory The work, filmed from a static camera documented 11 Wadō-ryū style katas - fighting dances with an invisible opponent.
The practice of the kata and Karate can be viewed as a strive for perfection, for a harmony of body and mind, the attainment of which can only be achieved through repetition. Repetition encodes the action in the body and muscle, making it reflex, making it instinct.
I am interested in exploring proprioception and kinesthetics, the memory of my body, muscle and genes. I am going to work with my Grandfather again, we share genes, will this effect the way we work together? I have asked him to teach me to perform kata. I will attempt to learn from observation, mirroring his actions, perhaps we will have to re-think? I will be attempting to run before I can walk, obviously.
The practice of the kata and Karate can be viewed as a strive for perfection, for a harmony of body and mind, the attainment of which can only be achieved through repetition. Repetition encodes the action in the body and muscle, making it reflex, making it instinct.
I am interested in exploring proprioception and kinesthetics, the memory of my body, muscle and genes. I am going to work with my Grandfather again, we share genes, will this effect the way we work together? I have asked him to teach me to perform kata. I will attempt to learn from observation, mirroring his actions, perhaps we will have to re-think? I will be attempting to run before I can walk, obviously.
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