DAVID STEANS – OCULOMANCY Saturday 15th May 7:00PM
SATELLITE is pleased to announce – Oculomancy by David Steans.
This preview will open 7:00PM – 11:00PM especially for Late Shows.
Alongside this solo presentation Satellite is launching a special edition of Our Demons II available to buy directly from Satellite (info@satellitesatellite.org) or in Alt Vinyl record shop for £14 each.
See here for details
In this installation Satellite observes an emergent artist’s practice and shows a sound-bite of the key devices that he employs: film, costume, artefact and performance.
This exhibition also includes a preview of new film work Oculomancy.
Previous film-work, Our Demons, in collaboration with King Conny Wobble [ http://www.kingconnywobble.com ] records a group of ten characters isolated within a baron landscape and follows them through a series of basic tasks as they endeavor to move through this environment. The morphed faces of these characters, or non-characters, appear disfigured but do not ‘monstorise’ humanity. Some of their actions may be grotesque or degenerate but they imbue a human-like action and endeavor. The lack of direct conversation is substituted with subtle active responses to one another, acting like fellows brought together quickly, and sharing the same rationale and purpose. Their silence together with the situation we find them in and their unexplained outward appearance seems to indicate a post-climactic loss in the tool of direct communication: echoing a disparity in civilization.
Steans’ presentation of works in Oculomancy brings forward two additional dimensions of his practice in the form of artifact and performance.
Specifically Steans presents costume and persona in recognition of the potency of these devises and their potential to forecast and alter the perception of reality. His development of the role of costume follows its heritage, stemming from ritual and its primary function as a form of social identification.
Persona is used in the immediate sense, by Steans who uses costume to appear himself as a directive devise for the audience and challenges ideas surrounding artist as creator and artist’s persona.
For more information on Steans earlier works please visit www.davidsteans.com
as well as www.xymphora.co.uk which documents 10 film-works titled Initiation Rites Anthology by the now disbanded collective Xymphora.
Also www.glamourie.co.uk
FIRST, TASTE THE LEMON… Thursday 15th April 8:00PM
SATELLITE/PRMNT VIBES/GI
Building 34, Hoult’s Yard
Walker Road
Byker
Newcastle upon Tyne
SATELLITE is proud to present
FIRST, TASTE THE LEMON…
SATELLITE is pleased to announce a joint, off-site project with GI and PRMNT VIBES in a special one-night curated exhibition and live music event.
Collaborating in the location of an immense quay-side, warehouse space at Hoult’s Yard, Newcastle upon Tyne for the exhibition: First Taste The Lemon…
with performances by Gold Panda (London), Dam Mantle (Glasgow), Seams, Morgellons and Totem Recall (Newcastle)
And a special live performance by Juneau Projects.
First Taste The Lemon… references an early Bauhaus drawing exercise given by Johannes Itten to students.
Itten took a basic drawing lesson, presenting his class with two lemons on a plate, after asking them to draw the objects he cut the fruit into sections and gave a piece to each student to eat. This exercise, at the time, demonstrated the potential of the arts as an interpretative not an imitative procedure.
Artists Johanna Billing (Kavi Gupta, Chicago/Berlin), Caroline Achaintre and Kit Craig (Arcade Fine Arts, London) Juneau Projects (FA Projects, London)
And bands Gold Panda (London), Dam Mantle (Glasgow), Seams, Morgellons and Totem Recall (Newcastle) have been selected for their multi-faceted response to this idea.
Each artist tackling a different line of thought from the motivation of re-connecting with the raw, expansive field of nature, memory and experience from within the technological age.
Live performances by the selected music acts have been chosen for their interpretive approach to performing music.
This approach gaining precedent now, often relies heavily upon software, sampling and looping but pushes the capabilities of such technology. Instead of imitating, it’s original purpose; it is used to recreate the root of memory or experience. The recording and sampling process rides upon the integrity of revived recording equipment – vinyl, mini discs, tape cassettes, 8-tracks.
My Wretched Heart Is Still Aglow provides insight into Juneau Projects’ earlier works that have written the basis for their current practice. Instantaneous and reactionary, these auto-destructive performances speak of the contradictory terms of existence in the modern world. In this piece destruction and creation take place simultaneously, as the microphone, an object with limitless potential for creative expulsion, is dipped into a bonfire while hooked up to an amp. The work thereafter exists now as a video and sound recording of the act itself. These works deal with two desires: to immerse oneself in the revelation of technology and to push its limitations, or to address issues of its insatiable re-evaluation and production.
Johanna Billing’s project: This Is How We Walk On The Moon is an insight into the difference between erudition and experience and interprets the process of learning. After observing a tendency for residents of Edinburgh to be aloof to the sea, despite their close proximity to it. Billling invited a selection of local musicians to undertake a sailing lesson together off the coast of their hometown.
The repetition prevalent throughout the film is re-iterated in the work’s soundtrack, produced by Billing it extracts cuts from Russell’s popular track: This Is How We Walk On The Moon. The inclusion of Arthur Russell in this soundtrack, which isolates his trademark cello, highlights the function of repetition in both education and music. In light of the influence of North Indian music in Russell’s early career and his appropriation of its recursive methods for meditation his connection between this genuine experiential route in music and the disco genre was as oblique as it was affecting.
Caroline Achaintre’s sculptures directly sample ethnography inspired by African art and artefacts. The culturally historic source material used by Achaintre often depicts objects from a beguiled yet foreign understanding of life and nature through a spiritually complex belief structure. The clean, geometric lines of Sun-Disc, remade from this reference material, echo both the lineage of traditional African craft and Bauhaus design. In both form and her consideration of the materials of its manufacture (steel and porcelain) Achaintre bridges a system of objects – arcane from the standpoint of western civilization – with one that formed the basis for western, modern design.
The organic structure of Kit Craig’s Thought Form drawings explore with freedom the endeavour of the artist in articulating a coherent idea into an articulate representation. His questioning of the role of artist as creator in this body of work can be paralleled to Plato’s rhetoric Theory of Forms and stands therein to explore the impossible task of articulating any idea, or object created by man with true integrity. The drawings in this series, executed in pencil, watercolour and gouache reveal objects that stand as re-presented relics. Some directly reference influential figures in our cultural and philosophical history – through title, as in “Thought Form (Wagner)” or more abstractly through appropriated forms correspondent with Da Vinci’s studies of geometry. These objects lie in a conflicted state – derelict in their condition through reclamation by nature. The naive attempts made at preservation, evident in their apparently recent attachment to plinths or stands, communicates our struggle and inability to preserve anything, regardless of influence, in the face of time.
Gold Panda is a left-field producer and remixer called Derwin who makes instrumental soundtracks to half-remembered, dreamy summer days. He scours charity shops for old records and VHS tapes to turn into distorted samples, and wraps them in minimal, warm beats.
He is obsessed with Japan and its culture, and once sold his entire record collection to pay for a Japanese diploma at the School of Oriental and African Studies, before moving there for a year.
He was included in the BBC’s 15 to watch out for in 2010 and joined Simian Mobile Disco on most of their October tour dates after supporting them at London’s Roundhouse last August. He has steadily built up a cult following for his tunes via plays on Zane Lowe and Huw Stephens and is set to tour Europe with CARIBOU in the second half of April.
Thursday 15th April, 8PM, Hoults Yard, Walker Road, Newcastle.
Join Facebook Event
JUNEAU PROJECTS, Preview 6PM-8PM, Friday 9th April 2010
JUNEAU PROJECTS
Preview: 6:00 PM – 8:00 PM, Friday 9th April 2010
SATELLITE
61 Thornton Street
Newcastle Upon Tyne
NE1 4AW
United Kingdom
10:30 AM – 6:00 PM, Monday to Saturday
SATELLITE is proud to present
JUNEAU PROJECTS
Juneau Projects’ practice has taken an interesting and obstinate path recently. Recent works include electrified instruments hosting hand-carved effigies of wild native animals. These instruments are played in live performances into sound-reactive plug in software that they have developed to respond visually to music via midi input. This work is all an extension of their enquiry into the evolving interfaces between humanity, and nature.
Renowned earlier works were based upon purposeful action, echoing the abrasive cycle of nature and humanity’s exchange in the modern age. Their auto-destructive performances (and video documentation of these) demonstrate this duality; for example the destruction of recording equipment in My Wretched Heart Is Still Aglow. In this piece destruction and creation take place simultaneously, as the microphone, an object with limitless potential for creative expulsion, is dipped into a bonfire while hooked up to an amp. The work thereafter exists now as a video and sound recording of the act itself. These works deal with two desires: to immerse oneself in the revelation of technology and to push its limitations, or to address issues of its insatiable re-evaluation and production.
In these performances their major influence, Christian Marclay and in particular his work Guitar Drag, is clear. In their most recent works, Juneau Projects have now expanded these ideas: taking revelation in the ability of artists such as Marclay and his predecessors to influence music and also to allow music to influence and change art history. Considering Futurist Rossolo and subsequent Dada and Surrealist artists – their use of often non-musical apparatus and focus upon experimentation, improvisation, collaboration and invention sets the pitch to Juneau Projects’ new sound-reactive plug in patches presented at Satellite.
This screen-based work combines the duo’s record label/music venture Juneau Records with created historical heraldry featuring emblematic images of nature. The images they employ are often found crests from history employed as a device to evoke a sense of forgotten community. These images in one patch appear in low-fi Adobe Illustrator drawings and jump between different stages of a wood engraving. Throughout the piece the sound to which the visuals are responding seems to distort and dissolve the imagery into an incoherent and erratic animation.
This demise is either an example of causal cancellation or a fiendishly reflective gesture. Accurate and relevant as we browse search engines for eco issues from a device on perpetual charge. Juneau Projects are self-confessed city-dwellers. Alongside the majority of the population, they finding nature’s cycle an aggressively real and yet a foreign and incomprehensive concept.
Responding to man’s insatiable appetite to emulate nature and simultaneous inability to comprehend nature on its own terms. Their work demonstrates the chaos of the modern world that facilitates contradictory terms of existence: creation and death or surplus and starvation. The commonplace emulation of a highly specialist skill like wood-carving, or using the icon of nature for its own purpose to create a sense of authenticity, usually to commercial ends simultaneously highlights a new democracy and questions the idea of value.
In conjunction with this exhibition at Satellite, Juneau Projects will perform live at Satellite’s one-night Warehouse event: First Taste The Lemon…
Including works by artists Johanna Billing (Kavi Gupta, Chicago+Berlin) Kit Craig and Caroline Achaintre (Arcade, London) and Juneau Projects, live music by Gold Panda, Dam Mantle, Seams, Totem Recall and Morgellons.
Warehouse Event
Thursday 15th April, 8PM, Hoults Yard, Walker Road, Newcastle.
Join Facebook Event
SATELLITE is an independent 4 x 3 meter white cube project space for contemporary art situated at Alt Vinyl Record Store in Newcastle upon Tyne, UK.
www.satellitesatellite.org
To celebrate the opening of JUNEAU PROJECTS refreshments will be served on the preview evening.
It will also present a special opportunity to browse the Alt Vinyl record collection out of hours, which specialises in rare, deleted and beautiful records, cds, cassettes and all sonic formats.
www.altvinyl.com
Carlie-Rose Laverack, “AUX”, preview 26th February 2010 6pm – 9pm
Carlie-Rose Laverack
AUX
Preview: 6:00 PM – 8:00 PM, Friday 26th February 2010
SATELLITE
61 Thornton Street
Newcastle Upon Tyne
NE1 4AW
United Kingdom
10:30 AM – 6:00 PM, Monday to Saturday
SATELLITE is proud to present
AUX
A new work by Carlie-Rose Laverack.
Satellite is pleased to announce it’s next project Aux a new work by Carlie Rose Laverack.
The work of Lancashire based artist Carlie Rose Laverack seems to operate within the realm of paradox by creating situations that are at once a simulation and subversion of their environment.
Laverack’s adaptation of the gallery space is a reflex of her shrewd response to site: responding with calculated discerption to detail and context in order to ensnare you into the counterfeit situation she has created. Her work lies within real time but simultaneously defeats this model.
The seeming normality of the situations created by Laverack create a logical puzzle that by impulse we try to solve through rational analysis. The environments and interventions she creates speak in a language that describes a circumstance, sometimes banal and always entirely acceptable. Her work relies upon our compulsion to rationalize and uses this inherent human quality in order to exploit it.
2009 work “Temporary Measures: Scaffold and Drip” used the claustrophobic nature of a gallery located within a disused underground vault room to enhance the volatility of the space. On entering one assumed there had been an interruption to the exhibition: scaffolding erected centre-space holding up a freshly built Plaster board support seemingly providing the structural function of preventing the ceiling from bowing and caving in. Through this construct a constant but irregular drip fell through a screw from the ceiling and into a mixing bucket below – indicating a leak from the storey above: a frequent cause of structural damage to a building. The success of this work was completely dependant upon the fastidious attention to detail with which the scenario was engineered, making it completely impervious to scrutiny of its authenticity. It sat not just within the realm of plausibility but the presence held by the work, although overbearing in words, fit so astutely with the space that once the realisation of it being a ruse crept into consciousness, it placed your awareness of the entire situation into conflict and accelerated doubt.
The concept of adaptation is closely linked to a recurrent concern in Laverack’s work: hinged upon the process of perception and offering a believable version or ulterior state. This relates not just to the work but to many of the spaces that Laverack uses whether intentionally or by consequence. From within the framework of project spaces and galleries which modify for purpose an expansive range of disused spaces: underground, above businesses and so on, the fluidity of contemporary art practice has to varying degrees had to fit the circumstances that are able to support it at the time. These works seem to describe a diminishing response or loss of harmony between the individual and wider environment: challenging the existing state and forcing a viewer to participate in an additional loop of repetition and banality.
Laverack’s work is marked with scepticism towards its environment, a friction with its context that exerts its own terms of engagement.
SATELLITE is an independent 4 x 3 meter white cube project space for contemporary art situated at Alt Vinyl Record Store in Newcastle upon Tyne, UK.
www.satellitesatellite.org
To celebrate the opening of AUX refreshments will be served on the preview evening.
It will also present a special opportunity to browse the Alt Vinyl record collection out of hours, which specialises in rare, deleted and beautiful records, cds, cassettes and all sonic formats.
www.altvinyl.com
Ciara Phillips and Jane Topping, “FIELD”, preview 23rd January 2010 6pm – 9pm
Ciara Phillips and Jane Topping
FIELD
Preview: 6:00 PM – 8:00 PM, Saturday 23rd January 2010
SATELLITE
61 Thornton Street
Newcastle Upon Tyne
NE1 4AW
United Kingdom
10:30 AM – 6:00 PM, Monday to Saturday
Jane Topping, I Read This Thing..., silkscreen print on paper (2009)
SATELLITE is proud to present
Field
an exhibition of works by Ciara Phillips and Jane Topping
Field marks a new and important development in the dialogue between Glasgow-based artists Ciara Phillips and Jane Topping. Both influenced by language and with a shared interest with the simultaneous promise and frustration of meaning, an abrasive conversation with the viewer.
Toppings work has consistently shown a marked interest in the use and misuse of language. In her recent solo exhibition ‘Persuasion’, Intermedia Gallery, CCA, Glasgow she turned her attention to power plays within working and personal relationships, taking inspiration from gothic literature (Bronte, Sheridan Le Fanu) the films of Dario Argento and Foucault’s ‘The History of Sexuality’.
Deriving points for visual interrogation from a range of appropriated sources Topping bridges a relationship with literary counterparts by sharing a working process which embraces the struggle between labour and the unconscious. Her appropriation of film and literature through an instinctual process of drafting, editing and selection too becomes a characterisation which recognises the subtlety of human behaviour through delineation. Often these characters are transported through this process from their conception to existing as artefact or glyph.
What do I want to say and how do I want to say it? – Phillips peels back those questions to reveal the structures they seek to conceal. As a result, her work assesses the very bones of language itself, from written forms of language and its alphabet, to the language of making, pattern and medium. In this way Phillips exposes structures within structures: the shapes, gestures, forms which, when placed alongside one another, serve to channel the flow of communication.
However, what Phillips’ work also demonstrates is that language as a tool for communication is neither reliable nor objective. By playing with these seemingly ‘fixed’ structures, Philips reveals that letters – once removed from their alphabetical context – are entirely abstract. This, in turn, exposes a tension central to language: that it is simultaneously transparent and opaque. And yet, rather than deliberately seeking to confuse, can it be argued that Phillips – as an artist, a maker, a woman – is trying to reclaim the linguistic tools which convey meaning, and thus power? Phillips interest in craft practice lies in the evolution of the ‘language of making’ through the outright dismissal of language, critique and theory in relation to craft.
Field presents the opportunity to explore potential crossovers at an exciting point of development in both Phillips and Topping’s careers.
Born in Glasgow in 1972, Topping graduated with a BA in Painting from Glasgow School of Art in 1999 before serving on Glasgow’s Transmission Gallery committee. Topping has exhibited in group shows internationally and in solo shows at Glasgow School of Art and Glasgow’s Gallery of Modern Art. Topping was the recipient of The Scottish Arts Council Amsterdam Residency 2007/08
Born in Ottawa, Canada, Ciara Phillips studied Fine Art at Queen’s University, Kingston (BFA 2000) and at the Glasgow School of Art (MFA 2004). Recent exhibitions of her work include: Ciara Phillips at Washington Garcia Gallery (2009), Vowelled at the Glasgow Project Room (2007); Scottish Collective, with Market Gallery at the Royal Scottish Academy, Edinburgh (2006); and The Clamour of Ornament as part of the Glasgow International Festival of Contemporary Art 2006. During the summer and autumn of 2009 Ciara took part in two residency programmes at Cove Park: the Fairburn Programme for Visual Arts Creative Development.
SATELLITE
is an independent 4 x 3 meter white cube project space for contemporary art situated at Alt Vinyl Record Store in Newcastle upon Tyne, UK.
www.satellitesatellite.org
To celebrate the opening of Field refreshments will be served on the preview evening.
It will also present a special opportunity to browse the Alt Vinyl record collection out of hours, which specialises in rare, deleted and beautiful records, cds, cassettes and all sonic formats.
http://www.altvinyl.com
CAI NYAHOE ‘ TOWARDS A SEMI-AUTONOMOUS SELF-PERPETUATING ART (PHONE SEX) Preview: 6PM – 8PM 13th NOVEMBER 2009
CAI NYAHOE
TOWARDS A SEMI-AUTONOMOUS SELF-PERPETUATING ART (PHONE SEX)
Preview: 6:00 PM – 8:00 PM, Friday 13th November 2009
SATELLITE
61 Thornton Street
Newcastle Upon Tyne
NE1 4AW
United Kingdom
10:30 AM – 6:00 PM, Monday to Saturday
SATELLITE is proud to present
Towards a semi-autonomous self-perpetuating art (phone sex) an audio installation by Cai Nyahoe
Duration: 5min 44sec
(phone sex) presents a recent audio work in which Cai Nyahoe initiates a conversation with a stranger surrounding his artistic practice by calling a sex line.
During the length of the phone call (that dictates the duration of the artwork) Nyahoe broaches a discussion regarding his practice with this outsider who is completely unfamiliar with its terms or manifestations and yet is willing to embrace it on a wholly accepting level on the terms of her aim to satisfy Nyahoe’s desire – in this case to be accepted as an artist.
The ambiguous tone of the conversation in which the phrase “my art / your art” is used repeatedly but without specification questions the level of autonomy that exists in artistic practice.
This sound piece is part of a series of works primarily exploring the role of the viewer in the production of art. In this piece the artist is seeking to restructure the contract between producer and consumer in a manner that favours the producer. This process has created a number of subtexts/by-products.
Though no specific work is discussed a temporal work is generated through allusions to the dimensions of the piece. Although these dimensions vary in relation to the ‘tasks’ requested by the artist – a device that simultaneously asserts and surrenders control of the work. In the context of other related pieces in particular “I really like you” (2007) Nyahoe has created a persona that is representative of a tendency inherent in the exhibition of work namely; the desire of the artist to seek external approval and conformation.
Though this notion is taken to an extreme in this project these pieces while at times humorous are not entirely satirical. (phone sex) also inevitably leads the listener/viewer to question the nature of coercion and acceptable modes of behaviour in marginalised and inherently exploitative industries (in this case the sex trade). For the duration of the call certain unspoken rules are observed and a dual narrative is created: that of the artist seeking affirmation and the ‘client’ seeking physical gratification.
It should be noted that although obscenity has been edited from the piece this is NOT in order to increase its palatability but rather to highlight the complicity of those hearing the work in the unfolding dialogue.
‘_’ new work by Rachel Adams, 2nd October 6 – 8pm
RACHEL ADAMS
‘ ‘
Preview: 6:00 PM – 8:00 PM, Friday 2nd October 2009
SATELLITE
61 Thornton Street
Newcastle Upon Tyne
NE1 4AW
United Kingdom
10:30 AM – 6:00 PM, Monday to Saturday
SATELLITE is proud to present
‘ ‘
a solo exhibition of new sculpture by Rachel Adams (b. Newcastle upon Tyne, 1985)
Adams practice is rooted in an exploration of domestic material, looks at the calance between the functional and the decorative and investigates the position that such material holds within a culture of mass production. Sculpture plays a fundamental role in Adams’ process and acknowleges the anti-form sculpture of the 1960’s. Revisiting crafted upholstery materials and techniques such as drapery trims and tassel fringes through sculpture, drawing and animation her work sets up a new dialogue with old fashioned and typically feminine objects and processes. These installations present anthropomorphic qualities and show new objects, which balance domestic, utilitarian and fetishistic influences.
‘TUNDRA’ new work by Graeme Durant, 31st July 6 – 8pm
Graeme Durant
‘SUNFLOWERS’ New work by Noel Clueit, 26th June 7 – 9pm
NOEL CLUEIT
SUNFLOWERS
Preview: 7:00 PM – 9:00 PM, Friday 26th June 2009
SATELLITE
61 Thornton Street
Newcastle Upon Tyne
NE1 4AW
United Kingdom
10:30 AM – 6:00 PM, Monday to Saturday
For the 3rd exhibition at SATELLITE we are delighted to present Sunflowers a new video work by Noel Clueit.
Sunflowers sees Clueit take on a “Van Gogh Color Workroom” booth at a shopping centre in Preston. Clueit enters the suped-up passport photo booth and follows the instructions, narrated in a hybrid international american accent generated by the machine; encouraging him to have his own portrait painted in any 4 of Van Gogh’s wide ranging styles. At the crucial point Clueit unveils a Van Gogh publication purchased from the nearby discount bookstore and holds up an image of “Sunflowers” Van Gogh’s iconic painting and perhaps the most reproduced artwork in history. The machine then diligently interprets the image, whilst entertaining Clueit with elevator style ‘musak’, eventually presenting Clueit with the finished work: a reproduction made from a photograph taken of a reproduction published in a book about one of the most famous paintings of all time.
“…I think it is the repetition that is key to the work, from one repro of a repro etc, totally devalued image that is nothing more than an icon used to decorate kitchen untensils etc …how cras it has become from the purity of the original. Which I still think is a shit painting really but I guess nobody else thinks about its merits as a painting now.”
Noel Clueit 2009
Clueit has transformed SATELLITE into a blackout video projection that both echo’s the intimacy of the “Van Gogh Drawing Studio” and the clarity of a museum scale presentation of artists’ film and video. This knowing manipulation of both the material he is working with and the context within which it is presented is central to Clueit’s practice. Working across media from carefully handcrafted objects, to fabricated texts works, and collaged works on paper; Clueit’s iconic subjects are drawn from all aspects of contemporary culture including architecture, art, design, and mass media, thus challenging his audience to constantly re-consider and re-evaluate the reason and function of the information that surrounds us.
Noel Clueit was born in 1984 in Manchester, UK and currently lives and works in Newcastle upon Tyne having completed a BA in Fine Art at Cumbria Institute of the Arts, Carlisle in 2007. In 2008 he was a prizewinner of Open at Cube Gallery in Manchester and Grundy Art Gallery Blackpool (curated by Juneau Projects). His solo exhibition Lost Wisdom is currently showing at Supercollider Contemporary Art Projects in Blackpool.
SATELLITE is an independent 4 x 3 meter white cube project space for contemporary art situated within Alt Vinyl Record Store in Newcastle upon Tyne, UK. Our programme will focus upon solo exhibitions of artists at any stage in their career, located anywhere, who are engaged with current contemporary practice.
www.satellitesatellite.org
To celebrate the opening of SUNFLOWERS Beer and Cakes will be served at The Settle Down Café located at 62 Thornton Street adjacent to Alt Vinyl.
‘WANTING IT, HAVING IT’ New Work by Susie Green, 17th April 2009, 7 – 9pm
SUSIE GREEN
WANTING IT, HAVING IT
Preview: 7:00 PM – 9:00 PM, Friday 15th April 2009
SATELLITE
61 Thornton Street
Newcastle Upon Tyne
NE1 4AW
United Kingdom
10:30 AM – 6:00 PM, Monday to Saturday
For its second exhibition SATELLITE is delighted to present new work by Susie Green.WANTING IT, HAVING IT is an installation that continues to explore Greens interest in the themes of desire, escapism, otherworldliness, and transcendence. Greens practice combines many disciplines with a strong grounding in sculpture, evident through an ongoing exploration of materials and their possible combinations. In new works, it is readily available and cheap materials such as Argos catalogues, free newspapers, gold coloured vinyl, and tissue paper that are carefully and subtly re-appropriated.
“…I am interested in analysing the fantasy, glamour, ambition and otherworldliness that can be found in, and added to, everyday life. I’m also thinking about the fragmentary and split second point that things catch our eye, change or that we make decisions. I am intrigued by momentary transcendence and how we can get out of ourselves. I am puzzled by media representations and depictions of what we desire and that, which will make us desirable. And get caught up in it. I like to examine how and what people look at and the seemingly universal desire for ornamentation. I like to examine how people view and interact with art. Low cost materials and basic means work for me. My daily experiences and inner and outer world are crucial to the development of my work. Of course. Snippets of conversations and lyrics are an inspiration. Overhearing a woman walking past me saying ‘ there’s a difference between wanting it and having it’ caught my attention. It sums up themes in both my work and my personal life…”
Susie Green 2009
Susie Green (b. 1979, Shrewsbury, UK) current lives and works in Newcastle upon Tyne having recently completed an MA in Fine Art at Chelsea School of Art, London.
SATELLITE is an independent 4 x 3 meter white cube project space for contemporary art situated within Alt Vinyl Record Store in Newcastle upon Tyne, UK. Our programme will focus upon solo exhibitions of artists at any stage in their career, located anywhere, who are engaged with current contemporary practice.
To celebrate the opening of WANTING IT, HAVING IT Beer and Cakes will be served at The Settle Down Café located at 62 Thornton Street adjacent to Alt Vinyl.
‘HUBBA HUBBA’ New Paintings by Mike Pratt, 6th March 2009, 7 – 9pm
MIKE PRATT
HUBBA HUBBA
Preview: 7:00 PM – 9:00 PM, Friday 6th March 2009
SATELLITE
61 Thornton Street
Newcastle Upon Tyne
NE1 4AW
United Kingdom
10:30 AM – 6:00 PM, Monday to Saturday
For its inaugural exhibition SATELLITE presents a series of new paintings by Mike Pratt (b.1987, Seaham, UK). Pratt’s large canvases immediately engage us with frank and achingly simple phrases borrowed from contemporary life: LOL, I’M WITH STUPID, andHUBBA HUBBA are caked with layers of mixed paint types, from Gloss to Oil to Spray. Each action obliterates the last until the ‘right’ statement has the last word. Pratt’s work knowingly references abstract expressionism, pop art and the paintings of Richard Prince and Christopher Wool whilst maintaining their own immediate and sophisticated language.
“…My work consists of triggers and viewpoints; it is led by a simplistic notion that gives itself a sense of absurdity. My belief is that the work should speak about itself, it should question its own being and criticize its opinions. The work stands as a remark; there is nothing sentimental or ‘worldly’, just a final aesthetic (this would be my testimony). I have no problem recycling the ideas of others; I see this as my viewpoint to select and covet from the existing to make the new. I see everything as a physical structure; this in itself demands reasoning, a competence to relate not only to its environment but to itself. The idea that a piece of work becomes self aware and insecure…”
Mike Pratt 2009
SATELLITE is an independent 4 x 3 meter white cube project space for contemporary art situated within Alt Vinyl Record Store in Newcastle upon Tyne, UK. Our programme will focus upon solo exhibitions of artists at any stage in their career, located anywhere, who are engaged with current contemporary practice.
To celebrate the opening of SATELLITE Beer and Cakes will be served at The Settle Down Café located at 62 Thornton Street adjacent to Alt Vinyl.