Pushing Paper

Some paper works by Toronto based artist Niall McClelland.

'The Light That Burns Twice As Bright' - Offworld Sculpture

Recently, whilst staying in a little French village (Pontlevoy), I talked my way into using a disused warehouse of a slowly deteriorating abbey; the neglected gold rolex of an American businessman.

I wanted to build an internally floodlit sculpture that commented on this, my current living situation, offworld project, and a nod to religion.

Every element of the installation was sourced from an abandoned part of the abbey.
I only ever intended it to be a photo series, ending in its eventual destruction, but the villagers took an interest, and on the final night turned up in a sort of impromptu gallery opening, and demanded it be left there.
The somewhat bewildered village vicar asked where the hope was.
I pointed out it was mostly white.

Full story and proper photos coming later on the main site, as soon as I can get back to rephotograph.

The Swinging 1760s

Back in 1766 this was scandalous. Painted by Jean-Honore Fragonard as a commission from a French nobleman, it depicts a girl on a swing, allowing a man in the bushes a look up her skirt. At the same time, she is throwing off a shoe to symbolise the loss of virginity, whilst a priest provides the inertia. Cheeky little madam then.

Like many of the best works, it was both vilified for its shocking subject matter, and praised for its technical brilliance... the use of light is cinematic, even by todays finely tuned standards of gloss and finish.

To transpose the technicality and social relevance to a more contemporary setting, it could be said both Gregory Crewdson and David Lachapelle reference aspects of the work... There are definitely echoes of the atmosphere Fragonard created in Crewdson's widescreen work, and both the colour and playfullness/
shock-factor Lachapelle has forged a career from seem to be evident in early form here...

Furthermore, there are even early elements of kitsch; by todays benchmarks at least... not only the shade of pink, but by the cherubs and the overall tone. In fact, Yinka Shonibare worked off this very notion in 2004, with his Turner Prize entry; reinventing the painting sculpturally...

So then, is the painting a pebble that's been creating ripples ever since, or simply an early example of pop-culture defining the boundaries of social taste?

My Namesake Makes Good Things

So, whilst trawling the web I came across this Brooklyn artist who happens to share my name. Normally I'd take exception, but his stuff is pretty interesting, so it's probably not worth an argument.

Apparently exhibiting regularly since 1999, there are some very surreal and tense undercurrents at play in his work, with the focus frequently on textural aesthetic and form. Of paticular interest are the wall mounted painting/sculptures that seem to be evolving and trying to break free of the canvas, and the surreal plastic-draped box sculptures which exude menace.