Email your animals and mouths to hello @ lucybarfoot.co.uk. I want to make more.

All made using a variety of mine and my sister’s mouths.

Quick and fun. Here’s a couple of mine:

The other from a quiche picnic:

Muhammad Ali kind of footballing, with Harry Redknapp’s suit on and a party hat too.

Poor Glenn Close / Margaret Thatcher AKA The Iron Lady, I folded her face (move over Ross Kemp)

These shell finds lead on to organising them in an orderly way, then leaving them behind, organised:

Here’s some silly things I made. This brought me lots of flow and is a great thing to do if weening yourself off watching too much TV!

Collages, all together.

These beautiful keys, which belong to the caretaker at Redland Girls School.

Trying new methods of drying the ‘glue moulds’ this patch never, ever dried.

Complete glue moulds, peeled off a strong plastic surface. So brightly coloured although I never used much ink.

My father’s difficult hand writing. A bad list! More of a statement.

The first sewing drawing, during a residency at a secondary school.

A little brainstorm which sums up everything. Colour and repetition.

Unsure of the artist of these two images.

Jessica Stockholder – Untitled (2003)

Ed Ruscha – Love Chief (1986) writing something massive on a canvas, especially something like ‘Love Chief’, how self-affirming.

Luc Piere – Environment III. Spent a while in this mirror-box. Reflections going on forever, stuck in a time-warp, can’t find the door. Shame is smelt of feet!

Rosalie Gasgoine - Web / Piece Work / Foreign Affairs (1994) ‘choosing to work with materials that “have had sun on them”‘ grids of weathered woods. order and repetition.

Tony Cragg – Clear Glass Stack (1999) assembelage, interlocked

Thank you Auckland Art Gallery, so much variation, and I never usually find much that I really am inspired by, so this was a nice hi-light of my trip.

Peter Combe, Pink Interference, 32″ x 39″, mixed media, 2009. ‘Artwork created from thousands of shredded Architect/Designer size household paint swatches in ordered/random placement.’

To me, this is perfect. The colour – a mix of sickly sweet and delicious – all mixed together, erratically but completely organised neatly, rows and grids, staggered and making the diagonal line in the lower half. How I want to touch it, would it feel like one of those butcher’s curtains? A piece of art where it’s so delicate, it’s only attached at one point, each paper could easily be torn.

This piece seems very similar to Rivane Neuenschwander’s ‘I Wish Your Wish’ where ribbons are silkscreened with one of 60 wishes left by previous viewers. Visitors can take a ribbon to take home, from a hole in the wall, in return for writing their own wish on a slip of paper and inserting it (in the ribbon’s place) into one of 10,296 small holes within the walls.

Rivane Neuenschwander, I Wish Your Wish, 2003. Silkscreen on fabric ribbons, dimensions variable. Installation view, St. Louis Art Museum.

“Rivane Neuenschwander is like a conductor of invisible orchestras: she engages external forces to make ephemeral art with sensuality and rigour but also with the lightest possible touch.

‘Ethereal materialism’

Secondary Stories (2006) consisted of brightly coloured tissue-paper circles of varying sizes that were blown by fans inside a false ceiling made of translucent plastic, creating kaleidoscopic compositions as they drifted about.

A lingering resonance that was hard to shake.” Kristin M. Jones (Frieze.com)

 

Drops of water, bubbles, sprocket holes, hole-punched confetti, eggs, moons, constellations, and cascading zeros all play a role, sometimes as soundtracks or symbols of fragility. Much of her oeuvre is also about measuring passing time: calendars, both marking the past and rushing to the future.

Her maps, whether tracking visitors’ paths through the exhibition or presenting the blurred boundaries of those exposed to the elements during the rainy season are about creating new geographies for new explorations. New Museum.org

Peter Combe’s Blog,

Peter Combe’s Twitter

An Article about Rivane Neuenschwander’s exhibition ‘A Day Like Any Other’ which contained ‘I Wish Your Wish’

 ?

 Sea Star

  Fish Eating Anenome

 Crazy thing. I feel like I made this and snuck it down there

Bit of research on the old google images, and I found these beauties:

 Fish Eating Urticina

 Pink Sea Star

When I saw Kusama’s ‘The Obliteration Room‘ (above) I didn’t realise it was her work. I was reminded of ‘I’m Here, But Nothing‘ which I saw back in my Uni days (see below images) but the work is slightly different. The viewer can interact with the artwork; children only being allowed to add stickers to the walls and domestic items in the room. How I remember ‘The Obliteration Room’ was that you opened the door, slid into the room, which was pitch black apart from a UV light and thousands of equally spaced glow-in-the-dark stickers. The room made me dizzy, people were stumbling and any sense of surroundings was lost.

I’m Here, But Nothing

I’m Here, But Nothing

Narcissus Garden

Infinity Mirror Room: Love Forever

‘En masse Kusama’s work is beautiful but overwhelming, the product of a self-described obsession.’ Victoria Miro Gallery

‘The encounter with my work is extremely important at this stage. I am a factory worker and the monotomy of these tasks I make myself complete have an effect on me. The balance of control is off-kilter as I feel like I am being controlled by my objects.’ 3rd year Project Plan from uni

‘Obliterate your personality with polka dots. Become one with eternity. Become part of your environment. Take off your clothes. Forget yourself. Make love. Self-destruction is the only way to peace.’ Yayoi Kusama

Since the visit to the gallery, I have found a love for her drawings, especially the repetition of Infinity Nets.

What excited me is the idea of painting an entire room and objects completely white, as in ‘The obliteration room‘.

More images of The Obliteration room here

More images of the entire exhibition ‘Look Now, See Forever’ here

Kusama’s website

Amanda uses a variety of media in her work (including stitch, wire, ceramics and found objects), but all have their roots in drawing. The work tends to be simple and pared back – about the juxtapositions of different marks, tones and textures; and often uses elements of mapping and graph-making inorder to convey particular emotions and ideas.

Themes that Amanda is exploring at the moment include identity and some of the aspects that contribute to this such as memories (especially the transient and shifting nature of memories and those mediated by photos) and a sense of place, particularly around living on an island with fixed boundaries, surrounded by the forces of the tides and the weather.

Here’s her profile on North Bristol Artists website.

All: ‘Sewn Tides’ Images Copyright Amanda Hazell