Over time the objects we surround ourselves with represent our life experience. They reflect our culture, and within it our ideas and opinions. These objects eventually become conceptually invisible components of who we are and how we live our lives. Once assimilated, we rarely reassess the cultural and personal meaning of these objects or indeed, their perceived importance and function. Lost Properties, our exhibition for Fringe Arts Bath, aims to rediscover and reveal those inherent qualities that we either take for granted or revere. In revealing that which has become conceptually invisible or contrarily indispensable, we open up new possibilities for the object and for the viewer. Questioning the accepted view of the familiar presents the possibility of changing the way we view both our surroundings and ourselves
Lost Properties explores this theme through photography, painting, drawing, sculpture, film and performance.
25th May- 10th June
Opening Friday 25th of May 6-9pm
Then open daily 10am-6pm
Curated by Object Art
Object Art is a collaborative partnership between artists Stephanie Bengry-Howell and Tracey Page. They started collaborating as a result of their shared interest in objects, the inspiration for their creative practice. Their aim is to explore what it means to make object based art by initiating collaborative projects, challenging individual artist taste and perception, and bringing together makers from different disciplines; all of whom demonstrate through their work an interest into what making means. In addition to their collaborative work, they currently pursue independent art practices.
The Tyler Hanbury Emporium
The Tyler Hanbury Emporium is an ongoing collaboration between artists Kate Tyler & Gini Hanbury. Their work uses other people's lost property to capture and protect remnants of the past. To them, genuine treasure exists in those chucked-in-a-skip, found-in-a loft,
charity-shopped objects that are so often abandoned. If someone else has thrown it away, there's a good chance they will take it back. And that's what The Tyler Hanbury Emporium is all about ~ making us look again at the things we consume and the things we discard.
My Rome built from one week is a piece work of that physically documents a section of Lorna Barrowclough’s social circle’s daily life experience, culture, ideas and opinions through the literature they actively engage with and much of the written word that enters their lives inadvertently externally.
By creating physical objects that embody both the materials used and the collectors themselves (having given Lorna Barrowclough their ‘paper lives’ from one week) has she created a realistic component that marks out who these people are and how they live their lives? www.lornabarrowclough.com
What Everybody Knows are a selection of four drawings each containing four objects derived from the episode titles 1 - 51 in the The Black Museum a 1951 radio crime drama hosted and narrated by Orson Welles. The episodes each recount a Scotland Yard case file and are each entitled after an object archived as significant to the alleged crime. Transporting these objects to an environment indicative of psychological space suggests the objects presented may be construed in a multitude of ways and that space itself is drawn into these readings.
Cleaning is one of our least valued forms of labour, associated with women, immigrants and the lower classes, it is monotonous physical work essential to our health but afforded low status and low pay. The sponge cast in porcelain evokes ideas of taste, class and the stifling social traditions of the 18th and 19th century English bourgeoisie. We are currently seeing a re-emergence of Victorian values in public discussions of social welfare and benefit claimants ‘sponging’ off tax-payers, returning to ideas of the deserving and the undeserving poor.
Anonymous everyday objects are overlaid with those once used by members of Lois Hobby’s family. Habitually in use or on view, such items gather associations and personal stories as they accompany people throughout their lives. Separation from those who have invested them with the capacity to awaken emotion and attachments reduces them to junk, as they are sold on to strangers in the second-hand trade.
Rebecca D Wilson
Rebecca Wilson uses the display of objects and information to interpret notions of place and their functionality. Producing photographs, sculptures and installations that are guided by pre-existing structures, forms and histories. Her work utilises observational recordings, informing its production and allowing a duality of meaning that primarily comments on the manner of manufacture and craftsmanship.
With particular focus on the opposing fields of the domestic and industrial, Orange Funnel explores ideas of re-examining familiar objects. The enlarged scale reduces the possibility for its usefulness as a domestic object and increases its potential as an idle industrial component. www.rebeccadwilson.blogspot.com
Dawn Stringer creates sculptures and installations using everyday objects that get overlooked within our daily lives. She finds hidden potential within objects and invests a change of state and form, for example slotting playing cards into plastic footballs.
The work explores readymade elements and turns the common object into works that examine the discourse between structure and balance, site and placement, function and decoration by transforming functional objects into useless arrangements. The objects create their own temporary structure www.dawnstringer.com
The Tradesman is a performance to facilitate an exchange of goods, from one pocket to another, when the time is right he will ask, "would you like to trade?".
In Klepuszewska’s work the underlying themes of separation and solitude persist concurrently with an exploration of the spaces we inhabit and the objects we surround ourselves with.
Sparked by the disturbing statistic that one in ten of our elderly people spend their lives utterly alone, rarely encountering another human in their solitary day-to-day lives, Living Arrangements explores the home as an island of isolation, "a place of uncertainty, positioned between the conflicts of past memories and present emotions."
Annabel Dover was born in Liverpool and educated in Newcastle and London. She is currently studying for a PHD at Wimbledon exploring a practice lead response to the cyanotype albums of Anna Atkins. A regular exhibitor in the Jerwood Drawing Prize, she has shown her work nationally and internationally, and her next solo will be hosted by English Heritage at Darwin’s House. The Imperial War Museum has recently acquired a set of her cyanotypes and the same work will be featured in Carol Mavor’s upcoming study, Blue Mythologies, published by Reaktion. She herself writes regularly for Garageland and is represented by Transition Gallery, London.
Throughout her practice she finds herself drawn to objects and the invisible stories that surround them. Through their subtle representation she explores their power as intercessionary agents that allow socially acceptable emotional expression. The work presents itself as a complex mixture of scientific observation and a girlish enthusiasm which is candidly revealed in her touring lecture Stardust Memories.
The sculptural piece stood up (2010) serves as an exploration of the often overlooked supernatural or sublime properties of everyday objects. In removing the composite items from their usual contexts, renegotiating function and exploiting hidden qualities a re-sampled sculptural form emerges from the sum of apparent mundane parts.
This work was originally exhibited at ‘to come so far for beauty’ Block T, Dublin, Ireland, 2010.
AMIWHATITHROWOUTORAMIWHATIKEEP? is a short movie of images taken from the neighbourhood household rubbish collection combined with images of junk in Dennett’s flat which she treasures and hoards. The voiceover in the movie is a Spanish traveller reading out a list of these objects without knowing the meaning of many of the words she was saying.
The traveller also had no idea what the list was for. She was travelling light; a small backpack carrying her possessions compared to Dennett’s flat encrusted with stuff.
What was meaningless to her is familiar to Dennett.
This movie is accompanied by a mixed media wall sculpture which is made from many of the objects found in the throw out and around Mimi Dennett’s home.
Nina Reid’s work centres on the home and ideas of the domestic. Everyday household objects can become metaphors to explore issues of gender, class and culture. She is interested in what goes on behind closed doors, the public and the private. Her sculptures are a crossbreed of object and human, to become part of the furniture, to become part of a mundane chore. Home is a symbol of so much that is core to our well-being. Security, comfort and safety, for some people home is an uncomfortable environment that they wish to escape.
Melissa Campbell is interested in memory, disappearance, and the power of photographs. Using traditional printmaking techniques, alongside fingerprint powder on found photographs, she has considered their materiality and the traces of information they contain.
These images (The New Landscape 1, 2 and 3) were discovered after dusting old family photographs with fingerprint powder. The act of looking at photographs, valuing them, leaves a physical trace upon them. New scenes were revealed on the surface, created by a combination of fact, time and remembrance.Version:1.0
David Cutts work reassesses the role of obsolete technology and questions what we take for granted. He recalls visiting the fairground and how memories from his childhood can become distorted; questioning if he really had the experience or just saw it on TV or played it in a computer game.
Using the components that often go unnoticed, he highlights and distorts them to present a new reality. Everyday normalities are subtly re-presented to question what are considered to be real experiences.
Alex March makes works which invite the viewer to re-engage with the domestic photographic portrait by directly attacking or obscuring the identifying features of the portrayed, asking questions of what is lost, or what is identified in anonymous photographs of those long gone, but still inform our sense of who we are.
She graduated Master of Arts, Wimbledon, 2011, was featured in the Catlin Art Guide 2012, was shortlisted for the Future Map 11 Prize and has a solo show ‘What Remains’ at The China Shop Gallery in Oxford 26th May - 30th June 2012.
Harriet’s practise explores our expectations of the familiar; subverting what we see to create a sense of uneasiness, a sense that something is out of place. She is particularly interested in the dawning of a realisation, the point in which the viewer becomes aware of the alterations she has made. On first inspection the piece may appear to be merely an object in normal working order, hung or placed within a gallery space; when looked at more closely, the uneasiness will become apparent.
Jennifer Cummins primarily works along a sculptural route focussing on throw away plastics and detritus we once took for granted. Installation pieces are made from commonplace objects, expressing issues regarding the material and its social standing.
Man-made colour and the rearrangement of form is emphasised throughout. However, it’s only on closer inspection that her work’s material identity is revealed. She transfigures the mass manufactured into works of art, not by changing the object entirely, but by re-shaping it to create new meaning.