STRUGGLETRAIN

STRUGGLETRAIN

MY search was originally for a publication unique to Africa. Whilst writing this Blog I hope I will find such, but first let me try to put into my own simple words, an article that appeared

in the journal: "THIRD TEXT"

which is Published by Routledge(since 1836),

"Routledge remains a key publisher for those who, through their scholarship,

seek to influence the course of academic thought, across the social sciences and humanities."

Third Text is an international scholarly journal dedicated to providing critical

perspectives on art and visual culture, and was established in 1987

.http://www.tandf.co.uk/journals/journal.asp?issn=0952-8822&linktype=1

Online subscription seems costly andThird Text presents 6 issues yearly.

Rasheed Araeen (Founding Editor) lives in London and there are some

20 different nationalities

represented in its advisory council.

http://www.informaworld.com/smpp/rout

The Third Text article is written by;

FRANK UGIOMOH

(BA. Sculpture, MA. African Visual Arts MA and PhD Philosophy)

Frank Ugiomoh is a Senior Lecturer and Acting Head, Department of Fine Art and Design,

University of Port Harcourt,Nigeria, where he lectures in sculpture and art history.

His major interest, in studio related theory,

is African art

'historiography and methodical concerns in studio practice and Art Education.'

Third Text VOLUME 21, ISSUE 3, AND PUBLISHED MAY 2007.

The article is called the CRISES OF MODERNITY:

ART AND THE DEFINITION OF CULTURES OF AFRICA.

[Ugiomoh says his qualifications are of a practicing visual artist,

interested in cultural studies.

His work is included in:

where he responds to the open letter by Rasheed Araeen,

founder of the Journal,

"Modernity, Modernism, and Africa's Place in the History of Art of Our Age.

Founded: 2001.

I quote the opening statement in Third Text,Volume 21,2007,

which also identifies Rasheed Araeen:

" I know history to be full of cunning surprise

And I know that we are all, in this post colonial world,

Children of the fecundity (richness) of the unexpected, in cosmic,

In biological, in cultural evolution."

(Ihab Hassan – Queries for Postcolonial Studies in The Third Text Reader on Art and Culture and Theory.2002, Rasheed Araeen, page 234.)

Ugiomoh addresses an aspect of cultural dialogue relating to the appreciation of

African contemporary art.

He speaks of Ona Irein Wangboje, his teacher, who was present at the event

'Africa '95',and who participated in the establishment of the journal

'AFRICA STUDIO: A JOURNAL OF CREATIVE

PRACTICE'.

(an opportunity for African Artists to talk about themselves and their work).

Ugiomoh considers his participation, ten years later,

to be a continuation from where his teacher left off.

http://www.art-in nigeria.com/art_field/for_professor_wangboje_that_art_may_live.htm

Says Ugiomoh in the conclusion of :

The Problematic of the Politics of Theory in Visual Arts Education in Nigeria:

A Proposition:

http://portal.unesco.org/culture/fr/files/29968/11398323611frank_ugiomoh.htm/frank_ugiomoh.htm

"Art, I repeat, dies in the arid

excesses of reasoning."

Works cited :The Yale University School of Art and Design 2004 Academic brochure.

• Ugiomoh A. O., (2004) "Photologos and or Narrative Semiotics: which way to Rehabilitating African Art History" Third Text, 8:1 P 10. "The Philosophy of African Art History: A Hegelian Interpretation" (Ph.D. Dissertation University of Port Harcourt 2003 Unpublished)
• "Nigerian Art History and the Hegelian Unconscious: The limits of Lineal Evidence in Historical Practice" Third Text 2005
• "The Dialectics of Studio Criticism: An Evaluation of Wangboje's Example" in Issues in Creative Arts and Art Education: Wangboje Memorial Essays Eds Stella O. Idiong and Frank A. O. Ugiomoh. Lagos: AWanSCA Books, 2003, Pp 169-181

http://www.sil.si.edu/SILPublications/ModernAfricanArt/maadetail.cfm?subCategory=South%20Africa

Directed initially by printmaker Solomon Irein Wangboje,

I noticed Willie Bester is included in the 100 S.African artists mentioned

on this Website.

Before my concentration on the particular article of Third Text I need to divert

one more time with:

http://www.art-in-nigeria.com/art_field/for_professor_wangboje_that_art_may_live.htm

where Frank Ogiomoh writes:

"The debate regarding the qualifications teachers of Fine Arts

should possess to teach art better at the University level should been

seen as an ongoing one.

This piece is yet another contribution to that debate

and it is dedicated to the memory of Professor S.I. Wangboje

whose thought are rearticulated and enlarged here."

Below are the three most recent articles by Ogiomoh,

in Third Text,

mentioned through 'InformaWorld' of which I have partial access.

• Frank A. O. Ugiomoh The Crises of Modernity Third Text, Volume 21, Issue 3, 2007,
• Pages 297 – 305 10.1080/09528820701362266
• Frank A. O. Ugiomoh Nigerian Art History and 'The Hegelian Unconscious' Third Text,
• Volume 19, Issue 4, 2005, Pages 329 – 338 10.1080/09528820500124503
• Frank A. O. Ugiomoh Photo-Logos and/or Narrative Semiotics Third Text,
• Volume 18, Issue 1, 2004, Pages 1 – 11 10.1080/0952882032000182677

http://www.informaworld.com/smpp/quicksearch~db=all?quickterm=Frank+A+O+Ugiomoh&searchtype=author&x=13&y=6

Wishing to write this Blog as up to date as possible,

I have chosen the most recent entry of 2007,

where he mentions the topic

“to explore the reality of displacement”.

He explains

“A crisis exists in the efforts to peg Africa’s cultural frames of reference to those

which Western modernism has defined. What is of interest will be the realized

objective of reconciling the effects of displacement in contemporary African Art

Practice.”

Under the heading “A Conceptual Frame for Art in Africa”

Ogiomoh says

“I have wondered how the carvings on Egyptian, Ashanti, Benin and Basonge stools

relate to the objective of sitting. Could it be that such decorations are

born out of an intensification of the spiritual dimensions of culture?”

Mudfish: 16th century carved bronze stool, with a royal Benin symbol as centre-piece. Shown at National Museum Lagos.

“Art in Africa is identified by its totality of a man-made universe

and not by the limited frame that the west constructed during

the romantic era.” (18th century)

He continues, under the heading "Artists'

"Collectives in Africa and the mapping of National Cultures",

with "The Collective as opposed to the individual Romantic hero,

represents an interesting feature in African artistic practice".

He explains that there are three main inclinations within modern African Collectives;

1. intracultural ;Territorial boundaries - but works unlimited.

2. Broad boundaries - leaving intracultural links

3. Diverse groups - with intracultural interests - aspiring to larger cultural circles.

"An awakening of societal conciousness in the encoded message that art forms convey"

is a perfect way to express the power of wordart.

The reason, as I see it, to write about conceptually motivated images,

and for understanding the

awareness, strength, definition, support and dialogue of African Collectives.

Says Mr Frank Ogiomoh,

"Some collectives aspiring to define an identity for African Art in intercultural

dialogue have continued to identify the preference for creative liberty for which

African Art was apparently known before contemporary modernism."

He mentions that while Aina Onabolu (1882-1963 modern arts teacher and painter)

was attracted to academic realism,Pablo Picasso was dicovering the creative liberty

of African and other non western traditions.

http://en.wikipedia.org/wiki/Aina_Onabolu

An interesting ejournal I have started to research is: "Ijele is the grandest, most spectacular, colorful magnificent, "spirit" on the continent of Africa.

In taking the name "Ijele,"

the journal announces its aim of bringing full color,

grandeur and insight to the study and presentation of the

contemporary art of Africa and African Diaspora."

Ijele: Art eJournal is published thrice a year: January, May and September. http://www.africaresource.com/ijele/

© Africa Resource Center, Inc., 2000 IN CONCLUSION,MR OGIOMOH SAYS, AND TO WHICH I TOTALLY AGREE :

"HEIRARCHY BETWEEN CULTURES IS REPREHENSIBLE."

This article is the edited text of a keynote paper given at Africa 05 at the British Museum http://www.moadsf.org/about/press.html?year=2005

A GALLERY I am always eager to visit is the October Gallery @

24 Old Gloucester StreetBloomsburyLONDON WC1N 3AL (not far from Holborn Station but print the map given on their website, if you have no sense of direction, like me!)

I feel at home there.

Staff are so helpful and friendly, and even allow me to take photos for personal use

It is on the ground floor of a Victorian building, so no stairs!

The October Gallery always have work from exciting artists and works are presented within an atmosphere of calm deliberation. Their aim is to communicate diversity of Contemporary Art, from around the world ; this is through workshops focusing on interrelationship of the artist/workshop leader and participants, where the culture and artistic background and techniques are emphasised. The Gallery has been exhibiting since OCTOBER, hence its name,1994, but I was first introduced to the Gallery, just over a year ago, when I was intensely researching for the subject "The Twelve Tribes of Israel, Slavery Past/ Slavery Today". I visited "From Courage to Freedom", a wonderful display from 3 visual artists of West Africa. The artists each map personal and universal relationships between past and future, three very different ways, and were part of the Gallery’s project:“Bitter Aftertaste: Sugar, the Slave Trade and the Arts of the Atlantic World”, The Artists were:

El Anatsui,"Blema", Aluminium and copper wire, 2006

Romouald Hazoume "And From There They Leave "2006. A panoramic photograph, and Owusu-Ankomah. "Rising," Acrylic on Canvas, 2006.

Since then I have been a regular visitor and have never been dissapointed with their displays

It is free to view but I realise, now, that it is important to become a member, cost £20 per year, as although I signed my email address to receive notification of private views etc, I have, so far, missed all!

Often the exhibiting Artist will make a personal appearance on such occasions and I missed Ira Cohen's opening night, on the 30th November 07,with poetry readings and also the showing of his Films on the 11th December 07. http://www.flickr.com/photos/jonathan_greet/sets/72157603329969018/

As most of the events at October Gallery are of interest to me I am determined not to miss the next event: 17th May 2008, 3.00pm Angaza Afrika - African Art Now "Free Admission - recommended Booking Contact: rosalind@octobergallery.co.ukTel: 0207 242 7367 (I did ring them and have put my name on the list, Great!!)

“Africa is as much a global phenomenon as a continent.” Chris Spring

Chris Spring, curator of the African Galleries at the British Museum and author of the book Angaza Afrika - African Art Now, will discuss contemporary African art with particular emphasis on the artists featured in the exhibition. He will be joined by several exhibiting artists. The talk will be followed by a Q&A session and Chris will be available to sign copies of his book." and @ 4.30pm Film: This is My Africa Dir. Zina Saro-Wiwa (55mins).

"Commissioned by the Africa Centre, this film is about the Africa that exists in the hearts and minds of people who are from Africa or have lived, travelled or worked there. Amongst the 20 interviewees are the artist, Yinka Shonibare MBE; actor, Chiwetel Ejiofor; author and playwright, Biyi Bandele and Mourad Mazouz, founder of the restaurants Sketch and Momo" Angaza Afrika, translated from the Swahili to mean ‘Shed light on Africa’ or ‘Look around Africa’ , opens on the 15th May and runs untill the 28th June 08.

"Each work will be a stunning visual and physical manifestation of the artists’ energy and spirit, such as Rachid Koraïchi’s Sufi- inspired black and white appliqué work and the beautiful work of South African artist Karel Nel, who sets vast leaves from the Coco de Mer palms in atmospheric, elemental architectural spaces" "Other featured artists include Romuald Hazoumé, whose immense installation Dream (2007), consisting of a boat made from petrol canisters, placed in front of a panoramic photograph won the documenta 12 prize; El Anatsui, who with his magnificent cloths made from thousands of glimmering bottle tops was one of the highlights of the 52nd Venice Biennale and who will transform Channel 4’s 50ft logo, situated in front of their London Headquarters, with an installation in June 2008; Owusu-Ankomah, whose drawings were chosen by Giorgio Armani for his Emporio Armani (PRODUCT) RED capsule collection and Abdoulaye Konaté who has been shortlisted for the Artes Mundi 2008 Prize." (quote from this Gallery's informative website)

http://www.octobergallery.co.uk/homepage.shtml

The Website is not to be confused with the American "October Gallery"website; they are completely independent from each other!

World regions included at the gallery are: Africa, Asia, Australasia, Europe, North and South America. There is also quite an extensive Educational Programme aswell, they say;

“It is rare that a small, independent art gallery offers high-quality workshops to such a wide range of ages and with such clear aims, but the October Gallery consistently does this. One of the main values of the gallery as far as we are concerned is the regularity of exhibitions featuring the work of non-European, living artists.”

"The Schools and Early Years’ gallery programme provides 1 ½ to 2 hour, artist-led workshops, held in the gallery. Workshop content is related to the work of the exhibiting artists, using observation, discussion and a variety of practical and artistic techniques taught in the context of the art on display. Our workshops are tailored to suit children of all ages, from Early Years, through Key Stages 1 to 4. We also welcome special schools and EAL groups. We also run longer, artist-led projects, which take place both in the gallery and at the school/centre over a period of days or weeks, usually leading to a permanent artwork.Schools programme funded by JPMorganfoundations." I wish I had known about a facility such as the above, when I worked with children. Workshops take place at the gallery from 10.00am—12.00pm at a cost of £70 per group, or £180 for schools booking three classes. We used to pay that for a clown or magician, and usually many of the under fives cried throughout. Still they did have me. LOL!! If you visit the Gallery between 12.30 till 2.00pm you will be greeted by the strong aroma of cooking, which I found to be a little disconcerting and a distraction from the intensity of concentration. However the home cooked food does look very apetising.The food is international and there is a good range of vegetarian food aswell.Quite good value for around £6. (Picture on left, taken in 2005 was taken by an anonomous admirer of the Cafe) these pictures, were taken upon my first visit at 4.30pm. There is a Courtyard aswell, which is a large open-air garden courtyard with fruit trees, shrubs and flowers. This is lovely for the summer and to take "chat and refreshments" outside. The Gallery, courtyard and cafe, can be hired outside of visiting hours (5.30pm) for private social events and there is equipment for hire too. http://www.octobergallery.co.uk/about_us/spaces.shtml

I did speak with a young man, in his third year of Fine Art (B.A I think) studying at Golsmith,s. He was helping out there and we were well in agreement that the October Gallery had an excitement about it. There is always an optimistic anticipation of "looking forward to more".

BIENNALE is Italian for every other year, and describes an event that happens every two years.

It is frequently used within the International Art World;

the Venice Biennale began in 1895

and the 52^nd International Art Exhibition, curated by American, Robert Storr,

in 2007, had the most attendance, during the active months of June through November, for the past 25 years. 76 countries exhibited at this prominent cultural institution. consisting of a variety of pavilions scattered around the Italian city.

30 African Artists exhibited (left; is the African Pavilion, entrance)

Amongst the artists were; Yinka Shonibare with his installation "How to Blow Up Two Heads At Once"2006 and Ghada Amer's "not about orange" 2007

(Acrylic,embroidery and gel mediums on canvas) A great favourite of mine, El Anatsui , from Ghana, was there ! http://www.nytimes.com/2007/06/15/arts/design/15veni.html?_r=1&oref=slogin The above website is worth looking at! Willie Bester was at the Venice Biennale in 1993 " Semekazi "(Migrant miseries) 1993 Mixed media in board 125 x 125 cm From his CV: Venice Biennale, INCROCI DEL SUD : An exhibition of works by 27 contemporary South African Artists

The Australian Biennale in Sydney,

with "Revolutions-Forms that turn", opens on June 18th 2008

and will continue through to September 7th 2008.

The first Sydney Biennale was in 1973,

and is still Australia's largest contemporary visual arts event.

They are looking for enthusiastic volunteers: http://www.bos2008.com/page/become_a_volunteer.html Great Opportunity for those who live a little nearer! http://www.bos2008.com/revolutionsonline/?p=118

"Lamentations" 2006-07

There will be a new video and sound installation

by Norweigan artist Anawana Haloba.

Filmed in the Australian desert and expressing

experiences of Women

from different cultures and perspectives.

She creates instinctual and psychological effects in the viewer.

This looks very interesting;

at first I thought the tongue, in the video was a nipple - silly me!

More than 180 artists will participate both new and avant-gardes of the last century.The curator will be Carolyn Christov-Bakargiev. who is very interested in relationships of the avant-gardes and the contemporary artist. Movement and a desire for change are strong features this year. Part of the exhibition will be at the former prison and shipyard called Cockatoo Island.Sounds great!

I have subscribed for their eNews ,

as they will be premiering an extraordinary online venue.

This will be for the first time worldwide!

http://www.bos2008.com/app/biennale/venue/8

American Michael Rakowitz's will be there;

he deals with the destruction of Iraq's cultural treasures.

Archaeological objects looted from the National Museum of Iraq

after the American invasion in April 2003.

A series of his work is made from Middle Eastern food packaging

and Arabic newspapers found in Arab communities in America.

"Headless Male Figure" (Recovered, Missing, Stolen Series),

2007

Australian Tracey Moffat's "Under the Sign of Scorpio"

2007 is amongst the new works.

Anthony McCall will be at the

Singapore Viennale

in September till November 08, as well as 50 other artists.

http://www.singaporebiennale.org/artists.php http://www.singaporebiennale.org/kidsbiennale.html

Part of the biennale will be for children,the website above says:

"A Biennale just for the Kids! Presented by Jet Airways,

Singapore Biennale

has worked together Little Art Bug Workshop

to design an integrated programme to introduce Primary school children

to this year’s theme of Wonder.

Beginning in their classrooms,

children will learn both art techniques and concepts inspired by the story of Alice in Wonderland

and Singapore Biennale artists"

The Official beginning of the Singapore Biennale was in 2006.

The creative concept was the marrying visual art with street culture.

A lovely website which had similarities to the ideas

Willie Bester Has on his Website.

It is this magical feeling when you click on the paper bag etc.

http://singaporebiennale.org/2006/about.html

It excites me for future work for my own website!

The 1st Istanbul Viennale

was held in 1987.

For the 10th, in 2007, five curators from Turkey

were invited to select over150 short videos

from the public.

These were shown at night in public spaces.

I know I would have enjoyed that. "Nightcomers" The theme of this Biennale was "Not only Possible, but Also Necessary: Optimism in the Age of Global War" Focusing on urban issues and diverse forms of modernity, more than 100 artists participated. (Left) "Lessons of Love" 2007 by Hamra Abbas, was made in coloured plasticine. Hamra was born in Kuwait and she works in Aslamabad and Berlin, through her practice she playfully approaches accepted traditions . She also participated in the Sydney Biennale 2006.

Dak'Art Biennale

has been held in Africa since 1992, under the patronage of Senegal's Ministry of Culture. In May 2008 , the 8th Biennale will exhibit African contemporary artists, particularly those living in Africa and works not shown, before, in an International exhibition. The theme "Mirror in relation to Africa's Current Presence in the World" Crucial issues for those who live in Africa and the African diaspora. Congolese Cheri Samba will be there. "Le Lavement" (the Enema) (Left) Says Cheri "I want to change our mentality that keeps us isolated from the world. I appeal to people's consciences. artists must make people think." "critics in Kinshasa have never accepted the phrases in my paintings,".

Willie Bester was there in 1998. (Biennale de l'Art Contemporian, Dakar, Senegal )

My wish is to one day be able to visit an African Biennale.

The Havana Biennale

was established in 1984 when the focus was on artists who lived in Latin America

and the Caribbean.

After 1986 the Havana Biennale invited African and Asian artists and this Biennale became

and still is an important meeting place.

The Biennale has not been held every 2 years; the 9th being held in March to April 2006

and the next will be in 2009,

when a more "open concept" of invite has been announced.

It will emphasise "Integration and Resistance in the Global Age"

http://universes-in-universe.de/car/english.htm The above website of Universes in Universe writes, quote:

"The 10th Biennial of Havana will address, on the one hand,

the complexities of a real and active process of integration

to the global order and, on the other,

the capacity to challenge the homogenizing farce

this process presupposes. "

Guess what? yea! Willie Bester was there too; in 1994 (5th Havana Biennale, Cuba )

The American Whitney Biennale

in New York, 2008, began March 6th , questioning the staging and display

of art and exploring " fluid communication structures".

So it's on NOW!

http://www.whitney.org/

Ah that is better!

A website which gives a substancial amount of interesting information on all 81

Artists.

Coco Fusco

A Room of One’s Own: Women and Power in the New America ,

Spike Lee,

Spike Lee, Spike Lee in the aftermath of Hurricane Katrina during the production of When the Levees Broke: A Requiem in Four Acts, 2006.

and Eduardo Sarabia

Eduardo Sarabia, Babylon Bar, 2006.

are amongst the artist.

Fia Backstöm, A New Order for a New Economy--to Form and Content (A proposal to re-arrange the ads of Artforum), 2006-07.

Fia Backström’s work explores the logic of display and structural limits or disciplines.

There is a strong imput of videos including music and other performance,

movement workshops, radio broadcasts, publishing projects,

community-based activities, film screenings,

culinary gatherings, and lectures.

On the 10th/11th April were afternoons and seminars with some of the artists.

The "Artist License" seems always to bring debate rather than offer free expression, in America.

I have subscribed to their newsletter aswell.

The Liverpool Biennial

was established byJames Moores James Moores in 1998

and has presented festivals in 1999, 2002, 2004 and 2006.

The 5th festival opens on 20th September 2008,

as part of Liverpool's year as Capital of Culture.

The festival consists of four strands,

with half of the 30-40 new commissions appearing in public spaces around the city.

One of my favourites, Antony Gormley’s installation "Another Place"

was brought to Crosby Beach by Liverpool Biennial

with South Sefton Partnership in 2005.

Programmes in the 2008 Liverpool Biennial will include:

the John Moores 25 Exhibition of Contemporary Painting,

national open painting competition

and Bloomberg New Contemporaries 2008,

the annual exhibition by students and recent graduates of Fine Art colleges

throughout the UK.

There will be a strong focus on the power of the mind ;

when faced with complete abstraction and extreme sensory deprivation.

This will be in collaboration with the Tate Liverpool "Open Eye Gallery"

I have registered with the Liverpool Biennale aswell,

now this is one I can, and look forward to visit.

"Email applications to jobs@biennial.com or post them to Lorna Woods Moses, Liverpool Biennial, 55 New Bird Street, PO Box 1200, L69 1XB."

I just realised that the closing date was April 5. Never mind 2 years time will be when I finish my study!

(Left) world Map of 16 Biennales depicted on the Havana Biennales Website

Says Thierry de Duve, writing in

Volume 21 of Third Text ,

pages 681-688,

" Their number increases at a crazy pace,

and though Europe still houses the majority of them,

the so-called periphery,

Asia in the first place, is quickly catching up; as of today, estimates oscillate

between eighty and 140 art biennials scattered around the world. "

"A success of a biennial also has to do with the changing of the balance of power

in the international art world by focusing critical attention away from the

dominant cultural centers and towards the periphery".

"Doesn't the West make an abusive usage of art biennials as a mode of

externalization of its production or of its aesthetic options,

the way it does with its economic action,

by delocalizing and exploiting for its own profit today's globalization of the world".

In writing this Blog I have experienced, as expected, many negative racial issues.

I feel the Bourgeoisie of the West, is still firmly rooted in the "Biennale".

Is there always a seperate display of African Art?

Would African artists want it any other way?

Why cannot Global Art be simply categorised by for example: subject.

Yet, I as a student need to be involved with much more intense research,

to emphatically state my "unwritten line" findings.

"There are artists who inspire entire generations

and these key artists are not always the most visible

in the world of museums and fairs."

"The geography of the art world

has been expanding rapidly with new centers emerging:

China, India, the Middle East...

It will be my ambition to create a show that,

although articulated into

individual zones of intensity,

remains one exhibition." says Daniel Birnbaum,

curator of the future 53rd Venice Biennale.

It is time for a change!!

I would appreciate any comments from you, the reader,

especially if you have visited a Biennale recently.

METAL can be so hard,

heavy, cold, sharp and

slippery, which I feel,

strongly differs to my own

nature, and yet during this

last year I have devoted all

my time and energy to work

within this mysterious

medium, and plan to spend a

lot more time too!

There is so much to learn

from its endless changes.

Revelations 21 verse 18,

in the Bible,

describes Heaven

with a "city of pure gold,

as pure as glass".

This image was my reason

for choosing metal and using

glass paint.

It has such therapeutic

qualities; allowing the artist

to beat, mold ,burn, engrave,

paint, collage,patinize, cut,

melt and join it.

My highly abused past with

permanent inner keloid scars,

finds release in its

dependable strength.

I have widespread osteoarthritis,

yet I find the physical

demands,that metal requires,

help to strengthen me;

whereas a day at the PC will

result in pure pain.

Above is just a very general

glimpse of some metals I use

or plan to use.

I have encountered some

hindrances whilst working

with metal, as people object

to the noise I make with

metal. Where can I go?

I am compromising my work

by trying to make as least

noise as possible.

One day, maybe I will have a sound proof studio or even a

garden to work outside.

At present the only outside is on the street of my estate,

and what will my neighbors say to the sound of an

angle grinder, drill or constant hammer with

centre punch precision work.

My flat is far too small to work in safety.

I thought it would be easy at University,

but a Tutor objects to the noise, I make, in the 3D studio.

Still I do pray that I will be accommodated next year.

Sorry to make a fuss!!

I so admire Willie Bester's

achievements and

accomplishments in pursuing

work with this medium,

against so many more

adversities than I.

According to Chinese astrology, our universe consists of five basic

elements to which everythingin the universe, including humans,

must have a relationship.

Please look at the table (left)

Western Astrology is made up of 4 elements: Earth, Air, Fire and Water.

It is not often that I come accross a female metal

sculptor and I was so surprised to find the Artist,

Suzi Trubitz

whose work has vague similarities to mine.

http://suzitrubitz.com/bio.shtml

Introducing her brilliant video, on Youtube, she says

"When I see a piece of steel,

it always has a story for me.

For some reason I see it's

history, I see it's future,

and it let's me know

how it wants to be used.

I like to change it's surface;

I like to change it's feeling.

To make a flat piece curve;

to burn it or cut it.

Her words express just how I feel!

Once a mark has been made

it becomes permanent;

the mark can be hidden

but not erased.

Each indentation causes

the metal to move.

Some may say it fights back,

but I like to think it gives

in return from what it

receives.

The luster of the metal with transparent layers of

glass paint and high gloss varnish enables the piece to

reflect light and no two photographs appear the same.

This makes photography almost impossible and

encourages the viewer to see my work in situ.

"Creation" details.

The least explored, densest and smallest planet of Mercury has a huge metallic core. Geophysicists calculate that the core 70-80% of the planet, whereas the earth's metallic core makes up only 32%. Sunrise on Mercury, my ruling planet. "Native Mercury", a metal, conducts electricity

and is used in fluorescent light tubes.

It is largely found in the mineral cinnabar (below).

It is liquid at room temperature

and a highly toxic heavy metal.

The danger of its uses with

dentistry and vaccines seem to still be ignored, even though there is growing evidence that mercury can cause autism and alzheimers disease. That is one metal I won't be experimenting with! Metal scrapyards have become of interest to me now. I am joining the recyclers, especially as metal can be so very expensive. The men were very helpful to me at this yard at the Angel, London. I have just realised that they specialise in non ferrous metals, so I will need to "steel" at another yard.