Klatch 2.0: Residency Opportunity.
29th July 2019 @ 12:00 am – 17th August 2019 @ 11:59 pm
Shift is pleased to support Klatch in their upcoming curatorial residency.
In their time at Shift, Klatch will be developing their own practices alongside developing curatorial skills and building relationships with other artists.
Klatch is a painters collective which focuses on contemporary painting and creative development, experimentation, curation and critical discussion.
Who can apply?
We welcome applications from artists at any career stage who respond well to painting but also work within their own media – drawing, painting, installation, sound, sculpture, textiles, ceramics and video are all accepted mediums.
The residency will take place from Monday 5th August until 18th August 2019.
The deadline for applications is 4pm on Monday 29th July. Short-listed artists must be available for interviews during the week of July 30th until August 2nd.
A collective of painters are seeking artists to participate in a 2-week residency in Shift.
The residency aims to celebrate our own distinctive approaches to contemporary painting through exhibiting work that prompts critical discussion about what it means to be a painter today.
We are proposing a residency that offers artists the opportunity to engage, discuss, provoke and challenge each other within a shared space; a place to network, develop your practice in response to others, and to gain an understanding of working within an interdisciplinary environment.
We welcome artists from all disciplines to explore their practice through sharing work with others and to allow others to experience in-progress and completed works.
Shift is an exemplary space for this residency as we want to engage in a challenging environment that isn’t confined to the studio and reaches a wider audience.
Within this residency, we aim to explore how each of our practices relates to each other and reveals the different relationships that exist between contemporary practices.
To mark the end of the residency, we will put on a closing event which will display the development of all participating artists work on Friday 16th August.
How to apply
Please send us the following:
• Example of your work, this may include 5 – 10 images or short clips from film work or sound work.
• Up to date artists statement.
• Artist CV.
Send your submission to email@example.com with the subject header Klatch Residency Application.
The deadline for submissions is 4pm Monday 29th July.
Throughout my artistic practice I have always been inspired by spaces of omnipresent power from ethereal cathedrals, to stormy coastlines. The Sublime is formless and cannot be controlledor be simplified into one shape, it cannot be the sole subject matter of any painting or sculpture orinstallation because it cannot be constricted to one thing. Therefore it being the sole inspiration of my practice creates quite a challenge when producing work. I have always considered myself aof the canvas. Thus this led me to taking my canvas off the frame and trying to recreate thefluidity of emotion. As shown in Klatch, my current practice is exploring how the scale of canvascan either overwhelm or all encompass the viewer’s experience with the artwork. I am allowing it to drape, flow and stiffen into whatever shape it so desires, my own impression on the work being minimal. In doing this, I hope to create a freedom within my compositions, that exude a feeling of Sublimity. http://www.francescawilcox.weebly.com
My current work is an exploration into the incidental; the residue of momentary interactions between person and object, and the architectural spaces wherein such interactions occur. I’m interested in the mundane, the overlooked and the anecdotal. Underpinning this is a deep-seated fear of change, the inevitable sense of loss which follows and coping mechanisms to deal with it, particularly the human desire to make impermanent things permanent. Provisionality is key to the making of my work, i.e. the notion of an “uncertain, casual, self cancelling” means of painting (Rubinstein, 2009). I deliberately revel in bad practice by painting on unprimed, found materials; using broken and dirty brushes, and ostensibly abandoning my paintings before they are seen to be complete, in order to deconstruct traditional, well-versed painting rituals. I draw influence from day-to-day occurrences and my day-to-day experiences, like discussions with my flat mate in our shared kitchen, sitting in the garden whilst having my coffee and my routine in the studio. Through the act of making, a dialogue is established: a conversation between myself, object and memory. As a consequence of this, and putting representations of these objects into my work, I am able to process personal change and monumentalise things that I have lost. http://@_abi.birkinshaw
My paintings are self portraits, studies of the surface and an exploration of the barrier between the abstract and the figurative. I create artwork that investigates the ‘human condition’, which is defined by the oxford dictionary as: “the characteristics and key events which compose the essentials of human existence, such as birth, growth, emotionality and mortality”. I paint skin as it has a role in all of this; both the inner emotional ego and outer physical experiences of life. My works attempt to deconstruct the idea of skin as a surface, examining it at its most basic levels; a barrier between innards and the outside and an envelope that contains our being. I aim to portray flesh physically and tangibly; to push away from traditional representations of the human body. The viewer should feel as if they could reach into the depiction and grab the flesh within. As well as my ‘abstract skin studies’ I move between subject matters. In particular, landscape; which can be seen as explorations of surface just as much as my skin studies are. A barricade within one can be resolved through working on the alternate. My process is completely organic; everything down to where I place the turpentine and palette impacts the piece. I attempt to think about these details as little as possible before I embark on producing a work, in that way each mark made in the midst of creative flow is completely spontaneous, something which gives my work a visual viscosity and fluidity. http://www.lukerobertsart.com
Predominantly using a soft and muted palette, the work explores colour relationships with the compositions being limited to a minimal use of round shapes. The patterns are used in an attemptto evoke a sensory experience within a flat surface. The paintings display aesthetically pleasing colour compositions because the eye naturally recognises them as such. Complementaries are typically used to study colour compositions, however the work strives to find them through breaking out of the norm of the colour wheel to find unexpected connections that still indulge the eye just as much. The carefully chosen tones, along with the unrefined use of shapes and slight imperfections aim to evoke an instant gratification through our primal understanding of colour relationships. A reflection on how the human consciousness perceives colour. http://magdalenalackowska.com
My current work is an exploration into the practice of painting in the digital age, based on thecombination and interweaving of digital and analogue practices. The work aims to challenge how abstract painting can be pursued when this narrative – as a consequence of technology – can be faked or non-assignable, and to question the status of painting today. The canvas – and the analog process of the painters’ hand – references the computer screen and the digital touch, with compositions that are informed by methods that ask the viewer to engage with and question the marks made on the surface, utilising both manual and digital techniques. Multiple painterly techniques and a diverse matter of materials are entwined to produce imagery that asks us to appreciate the real layers within a painting in a time when we are confronted and consumed by the ruling of screens. http://www.shaunachapman.co.uk