Sarah Hardacre’s paper collage and silkscreen prints explore the architectural legacies of post war housing development and present a preoccupation with Modernism as a legacy of the welfare state. Using images of Modernist skylines taken from local history archives, against women cut from second hand gentlemen’s magazines, her work references the effects of urban regeneration, notions of privacy and how structures designed to induce collectivism have instead left a legacy of alienation, serving to marginalise working class communities and in particular working class women. The women superimposed into her work stand defiant, drawing strength from fragilities and bringing the promise of change on a grander scale; creating private playgrounds in post-industrial wastelands that cannot be controlled by the State.
For this residency, I will be investigating the working class history of the Stoke-on-Trent area and illuminating the stories of it’s radical past; focusing on the stories of politically active women in the potteries who helped force the Votes for Women agenda and Stoke’s first female figures voted into local Government. Drawing together research from local and national archives and local community and women’s groups, the project also intends to highlight personal stories though publically engaged talks and workshops. Using film, music, archive images, light and sound; the result of the research will create a celebration for Stoke’s working class future that aims to engage debate about the current issues facing women in the home, workplace and politics and what role art can play in politics and protest.
Noel Clueit is interested in how knowledge and authorship structure the way art is read. Noel looks to question how we attribute meaning onto what is presented before us. The printed image negates the physical experience of the work, our reliance on this archival material creates a distance between the viewer and the artwork. This can corrupt our knowledge of art in terms of understanding the scale, form or movement around an artwork. Visual culture is now experienced through an ever expanding, yet increasingly homogenised archive. Images are pulled from the web as a material to work through ideas, with a particular focus on the point where technology impacts more traditional processes, and in turn, how this effects his own output.
I will be using the residency with KULES as a space for experimentation and producing larger scale works. The theme, the public as material, will become a brief to direct the production of new work. I plan to use the space in order to develop narrative between scale, architecture and how the viewer is placed within presented ideas. I am drawn to the theme for how it can be used as a way to investigate the function of structured experience, and the potential of how an audience engages in dialogue to their surroundings.Lucy Wright
Lucy Wright's work locates itself at the intersection of art and ethnomusicology—the social science concerned with performance, people and place—to explore contemporary manifestations of tradition and everyday creativity. Motivated by an interest in self-organised communities of practice and influenced by the writings of the anthropologist Tim Ingold and folklorist Georgina Boyes, her artistic research seeks to re-nuance tradition as a forwards-facing process that is generative, collaborative and highly current.
As a maker and performer, Lucy's practice deploys the aesthetics of the pound shop and market stall to create contemporary re-workings of historical folk arts from the North of England. Following the completion of a practice-led PhD at Manchester School of Art in 2014, the work has become defined by a dialogical process of exchange, dedicated to a co-creative approach that does not ‘turn away’ from participants after time in the field has been completed.
My forthcoming KULES residency will respond to the theme The Public as Material by engaging directly with selected communities in Stoke-on-Trent in a dialogical practice involving performance, making and videography. I will engage local members of the girls’ morris dancing community—sometimes called ‘carnival’ or ‘fluffy’ morris—to explore the concealed history and contemporary legacy of performances associated with the town carnival movement in Stoke-on-Trent. The broadest goal for this work is to re-evaluate such performances as vibrant examples of non-corporate identity-making in the UK.
Kyle is a mixed media artist driven by the materiality of oil paint, the majority of Kyle’s recent paintings focus predominantly on studies of human nature and cityscapes, drawing influence from lived and observed life. The paintings are built up over a number of layers using thick impasto marks verging on the sculptural, the colours lurid and unnatural often squeezed straight from the tube, bringing an urgency to the work.
Alongside documenting the topography of his hometown and it’s inhabitants, Kyle has a strong interest in what it’s like to be an artist in the digital age, information 24/7 a constant flood of mediated images prime for the taking, social media and self editing, are all themes that find their way into the work. Stealing profile pictures from strangers, (a series of recent works which were born out of a morning of procrastination), in which the main character has been stripped of any real identity, like the ghost of a faded memory. Alongside painting Kyle is also exploring the use of objects and sculpture, mirroring the way he paints, the introduction of objects stem from a love of how oil paint adhered to his painting clothes.
My initial plans for the 7 day residency are to take the time undertake some extensive research and contextualise my practice, though initially I feel utilizing the space to experiment and further develop sculptural works may seem productive, through taking the time to step back and look at my practice as a whole I may develop other areas.