The London Group at Shoreham, 2017

Thanks to Jake Moulson and Heather Phillipson I have a short video (7’ 13”) of my contribution to The London Group’s open-air exhibition at Shoreham (June, 2017). I was very fortunate to be able to place my ‘objects’ in Janet and Geoff Heuston’s delightful riverside garden. The video,  ‘Michael Phillipson – objects – with The London Group at Shoreham, 2017’, is on Vimeo and  can be accessed via my member’s page at the following link:

www.thelondongroup.com/michael-phillipson/

The London Group in St. Ives

Screen Shot 2018-09-26 at 15.10.23

The London Group negotiated an exhibition-exchange with the Penwith Society of Artists of St. Ives.  Penwith members exhibited  a wide range of work at the Cello Factory in March, 2018 and 76 members of The London Group are exhibiting in the Penwith Gallery during September, 2018. My contribution is ‘some time later’ (mixed media on paper, 95x76cm). A companion exhibition, ‘ The London Group – the St. Ives Connection’ (including  work by earlier members of The London Group, such as Barbara Hepworth  – a founder member of the Penwith Society –  and Terry Frost) runs concurrently.

michael phillipson, 'sometime later' jpeg small

Waterloo Festival

 St. John's Church, Waterloo

The Waterloo Festival 2018 at St. John’s Church

June 6th – June 24th

The London Group is participating in the Waterloo Festival  with a variety of events  locally and in the grounds of St. John’s Church. Under the title ‘Nothing endures But Change’  the Group’s President,  Susan Haire, has organised and curated an open-air exhibition of ephemeral sculpture by both members and friends of the Group.  My contribution, a small but cumbersome lump of inscribed and collaged rock entitled ‘flow everlasting’, is sited on the tarmac at the rear of the Church.

Title:    …flow-everlasting…

Materials:   sandstone grit, lead, shell, water, air…

Size:  depth (from ground):  14cm. / 5 and a half inches;   width:  61cm./24”;  height: 49cm./19”

Comments:    …remembering…  J. J.’s  self-re-circling dream-wake book… fin  negans…  and its turning  point – riverrun  –  and then, the heavy, the light, the congealing,  the erosion, the dust, the disappearing, the flow-without-end, the now…

        'flow everlasting',        label with text

         'flow everlasting' in position at St. John's

DOWN FROM LONDON

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The London Group was invited to exhibit at the Linden Hall Gallery in Deal. We responded with a show open to all members. Size restrictions operated in order to accommodate the large number of members’ submissions. My contribution was a small oil painting on canvas mounted on board entitled ‘away-from-here’…

 

Painting and Time

The current issue (Volume 4 Number 1) of the Journal of Contemporary Painting focuses on the relation between painting and time. The contributors, themselves mainly painters, explore a wide range of interesting questions about the ways they engage time in their diverse approaches to painting.

Shortly before he died John Berger gave permission for the journal to re-publish his provocative 1979 article ‘Painting and time’ as the issue’s ‘Archival text’. I was invited by the painter Beth Harland, an Associate Editor for the Journal, to offer a response to Berger’s piece. In the issue my text, ‘Painting untimely’, follows Berger’s re-printed article. The journal is published by ‘intellect books’  (www.intellectbooks.com).

Here is the ‘contents’ page for the issue:

Art’s Body

Very pleased that Theo Cowley is including my ‘Art’s Body’ audio-recording , featuring Jon Thompson, in a Luxus Extension event in Brussels celebrating Jon’s life and contribution to the arts on Friday, June 30th.

Screen Shot 2017-06-08 at 13.37.50 (1)Michael Phillipson/Jon Thompson, Amelia Saul/Claude Wampler, Axelle Stiefel

 Luxus Extension

Art’s Body

This event brings together works made between artists for particular contexts and in various forms of collaboration. The works deal, on some level, with what is extra, yet intrinsic to art; the pool of resources that go into its production.

Michael Phillipson’s audio work ‘Art’s Body: A Largely Sedentary Masque for Three Personae’ is a recording of a voice-text performance. Written by Michael Phillipson and performed by Michael Phillipson, Jon Thompson and Paul Filmer, during Jon Thompson’s exhibition ‘Ars Universitas by Jon Thompson’ at the John Hansard Gallery, Southampton, UK in 1985.

Sadly, Jon Thompson died in 2016 while we were preparing this event. We have inserted Willem Oorebeek’s ‘Regarding the Towers of Babel by Jon Thompson’, 2006 and a silkscreen print by Jon Thompson from the above exhibition.

Axelle Stiefel’s video documents a performance intervention, one of 3 produced for a program of live video streamed performances called ‘Performance Proletarians’ at Le Magasin, Grenoble in 2014.

Claude Wampler and Amelia Saul’s performance ‘N’a pas un gramme de charisme’ was performed at The Kitchen, New York City in 2013. Amelia Saul’s ‘The Script’, 2013 is a post-performance intermission leak “from the document dropped in lieu of a programme on the heads of the audience during the day of Claude Wampler and Amelia Saul’s performance ‘N’a pas un gramme de charisme’ (The Kitchen, New York City in 2013.)”

Video and sound event, Friday 30th June, doors 7pm, starts 7.30pm prompt. No admission after.

Résidence Aviation Luchtvaartsquare 7/Square de l’Aviation 7 Brussels 1070

www.luxext.be

Shoreham Sculpture Trail

 

Shoreham Sculpture Trail

 

Delighted to be participating in The London Group’s ‘Sculpture Trail’ in the village of Shoreham on June 17th and 18th! Here are images of four of the nine objects I will be placing in a lovely garden bordered by the River Darenth.

 

'graft of transference' (c.), laburnum, lead, wood base,25x10x11ins.                                        'Pantatonic' (c), hog-weed, wood, plaster, paint, 23x10x17ins

‘Hybrid’ © – laburnum, lead, wood base, 25 x 10 x 11 ins            ‘Pantatonic’ © – hog weed, wood, plaster, paint, 23 x 10 x 17 ins

 

'poor boy' (c), pitch fork , lead, wood17x19x8ins.                                                          'we're dicing with...', (compr.), t.v., cabinet, paint, 47x18x9ins.)

‘Poor Boy’ © – pitch fork, lead, wood, 17 x 19 x 8 ins              ‘We’re dicing with…’ © – (compr.), t.v., cabinet, paint, 47 x 18 x 9 ins

The catalogue for the Trail contains brief statements by the exhibiting artists. Here is mine!

Although my making always falls back on painting I like to move across a range of media. My choice of medium is project-specific. The three-dimensional objects (are they ‘sculptures’?) invariably emerge from some practical engagement with their materials. In the course of this handling they seem to propose something about their alternative potential as they fall away from usage! The vagrant materials – woods, metals, plasters, paints, machine-derivatives, whatever-at-hand –   collaborate in a resolutely useless venture. In their alludings they may gesture obliquely to the painting life which, however temporarily, they have set aside.

sisyphean

sisyphean-hazel-paintbrush-coca-cola-can-peppa-pig-2016                sisyphean-detail-1                sisyphean-detail-2

‘sisyphean’, (hazel, toy, paintbrush, can, 216cm x 33cm x 28cm, 2016) was my contribution to The London Group Annual Members’ Exhibition at the Cello Factory, London, October, 2016.