Fire and Ice: Works by Gina Glover and Jessica Rayner
Upstairs at GroundWork
Hilary Mayo ceramics
14 October - 16 December 2017
Upstairs at GroundWork
Hilary Mayo: Topography of a landscape
14 October - 16 December 2017
Newly on show are some beautiful wool and cashmere Saori-woven scarves by Femke Lemmens.
Femke Lemmens uses natural fibres and naturally obtained colours, to create weaves with a certain lightness and movement. Creating her own colours at home from plants and kitchen waste, has become an engaging and integral part of her whole process.
For the weaves in blue, red, and russet, the artist was inspired by the blueish cold evening air coming down onto the red of the Alpujarras mountains in Andalucia, southern Spain. While dyeing, the scarves were strung up in a woven shibori technique, then unfolded after they were dry. This has contributed to the ripple effect of the colours.
Fire and Ice 14 October - 16 December 2017
From glaciers to biofuels and from Iceland to N Dakota – images about nature, light and power, raising questions about energy use, over use and climate change
‘Fire and Ice’ includes images of industrial intrusions into wild nature, melting ice-caps, and burning biofuels. It tackles tough subjects to do with the over use of energy and the stress it is causing to the environment. But while there are tensions around the subjects, they are visualised through beautiful work in photography, installation, film and drawing by Gina Glover and Jessica Rayner, and ceramics by Hilary Mayo. Following GroundWork Gallery’s emphasis on connections between art and environment, the exhibition is intended to be thought-provoking, leading, we hope, to a greater sharing of ideas between the art and science communities around climate change and energy futures.
Gina Glover and Jessica Rayner
....are artists who explore the melting, changing, landscapes of climate change. Gina Glover is a photographer with a long-term interest in environments affected by human conflict and economic development. Jessica Rayner uses the illusion of film, light and mirrors to make dramatic installations about sources of energy in nature. Underlying their beautiful images are the stories of the stresses to the environment caused by over demanding uses of energy.
The artists who are mother and daughter, have developed complementary images in film and photography, and shared a dramatic exhibition project in 2014, The Metabolic Landscape.
Gina Glover is founder of the London-based photography organisation, Photofusion, and her interests have ranged from exploration of biomedical science related imagery, to the study of environments affected by human conflict and economic development. Among the works in the exhibition, is a series about fracking sites, and another of melting ice-floes.
Jessica Rayner’s interests range widely around the phenomena and mechanisms of light, power, perception and reflection. Much of her practice is based at the juncture between science and art and aims to examine notions of progress and our continual need to pursue knowledge, even as we move mundanely through our daily tasks.
The artist's assumption is that we produce unresolved questions when we look at things, and consequently, much of human inquiry in any field, is based upon inspired guesses or chance discoveries.
For this work (below) Jessica Rayner examined the mineral, Icelandic Spar. Icelandic Spar has optical properties akin to polarising lenses. Recent research showed that the Vikings used it in the course of their navigation at sea, to reveal the position of the obscured sun. Often, at sea, the sun is hidden by clouds, so through use of this mineral, the Vikings were able to judge their direction of travel, using the position of the sun as a guide. For the artist, this series of works encapsulates the way in which material experiments and discoveries can be used to overcome human limitations.
Upstairs at GroundWork, there is a selection of ceramics by Hilary Mayo, made following a recent trip to Iceland. Collectively entitled Topography of a Landscape. this body of work is informed by the strangely addictive beauty of Iceland’s other worldly landscape, following the artist’s recent visits to the country. they demonstrate her completely different response to this changing and fragile environment.
The delicate pots in this series of works demonstrate the artist's completely individual and powerful response to this changing and fragile environment. Working from photographs, memory and observed detail, ideas have evolved in terms of form and surface decoration, referencing receding glaciers and climate change so clearly evident in the topography of the Icelandic landscape.
Finely rolled slabs of stoneware clay are assembled and form a canvas on which multi layers of glaze, oxide and stain are applied with a brush.
Femke enjoys the age old traditions in this interplay between dyeing and weaving, which fits perfectly with the freedom she has discovered through SAORI weaving. The term was invented in the 1970s in Japan by Misao Jo. SA comes from the word “SAI” in Zen vocabulary: everything has its own individual dignity | ORI means weaving.
Misao Jo was the first to realise that irregularities in her weavings were an expression of her creative spirit, and should be seen as positive expressions of her personality, not as imperfections. As a teacher, she encouraged her many pupils to explore freely as young children do, to see everything with wonder, to break with convention and be true to their instincts.