KEITH FARQUHAR

‘In Domestos Chaos’

ex_farquhar_hoodie

Saturday 8th November – Saturday 13th December 2008

 
Edinburgh based artist Keith Farquhar has built a significant reputation over the past 10 years with works such as V- Necks versus Roundnecks (2003), Atomised (2005) (ill) and Drunken Maria (2006) (ill). He has exhibited frequently in the UK and abroad including the 1st Athens Biennial (2007), at Anthony Reynolds Gallery in London and Galerie Neu in Berlin. We are pleased to host the first showing of his new work, ‘In Domestos Chaos’ at Crescent Artspace.

‘In Domestos Chaos’ brings together two bodies of current work. These comprise a number of specially designed cardboard cut-outs like the kind seen in cineplex foyers, except that here the artist isn’t advertising a film or product and the cut-outs are free to remain as props who’s only function is as artworks. These are set against a series of paintings on denim which are produced by applying bleach (domestos) to unstretched denim, thus allowing chance to determine the constellation of drips, stains, sprays and spills to form a backdrop of the heavens.

Keith’s work frequently takes the form of sculptural installation, employing a strict economy of means, whereby the individual physical elements act as visual props, retaining a sense of the temporary and portable. Keith has compared his practice to that of window dressing, in that he explores the means to create effective (yet momentary) illusion through methods more usually associated with commercial product display.

ex_newfacade
 

Crescent Artspace Launch at Woodend 04/10/2008 – 14/10/2008

Crescent Arts with Yorkshire Coast College BA students in costume design working with Cath Whippey; Hull University Scarborough Campus, School of Arts and New Media; photography by Graham Mack.

Crescent Artspace opened with an intriguing installation of sound and vision, offering a contemporary insight into the artistic legacy of Edith, Osbert and Sacheverell Sitwell. Woodend, the former home of the Sitwells, provided an impressive backdrop to this collaboration between Crescent Artspace, students and tutors from Yorkshire Coast College costume design department, and the sound department of Hull University Scarborough Campus. Through the combined talents of visual artists, designers, makers, performers, and audio artists, a fascinating and inspiring series of audio-visual works emerged, referencing the photography of Cecil Beaton, the poetry of Edith Sitwell, and the architecture of Woodend. Visitors could experience the poetry of Façade as never before, navigate our virtual artspace (now on our website) and encounter a reincarnation of Edith Sitwell.

Façade 04/10/2008

Façade! The Orchestra of St. Paul’s and Crescent Arts presented this seminal collaborative work combining the poetry of Edith Sitwell and music of William Walton. It was performed originally in 1922 at Carlyle Square in London, home of Osbert and Sacheverell Sitwell. William Walton conducted whilst Edith Sitwell recited the texts from behind a curtain using the famous Sengerphone (a megaphone-like instrument) to amplify her voice. By all accounts, it was a powerful performance. Façade evolved over several performances before reaching the version that we know today. The event in Scarborough was a rare opportunity to experience a live performance of Façade. We were privileged to host William Sitwell as reciter along with Pippa Longworth, and the highly accomplished Orchestra of St. Paul’s conducted by Ben Palmer.

CATHERINE GRAHAM

Installation ‘Out of Place, Out of Time’

ex_graham_cleaning_cloth_dandelions

Sat 4th October 2pm – 5pm

Crescent Artstudios Catherine Graham, an ex-studio holder at Crescent Arts, recently completed an MFA at Leeds University. This installation was timed to coincide with the opening of Crescent Artspace and our re-launch, allowing Catherine to revisit her former studio environment, bringing to bear experiences since leaving Scarborough and Crescent Arts. Catherine’s ability to confound expectations by the lateral juxtaposition of unlikely materials and objects demonstrates both humour and pathos ranging from the scatological to the biodegradable. Her work, which might at first sight appear to be subliminal and undemonstrative, has a tendency to creep up on you from behind a radiator or from where it lurks in some hidden corner. It’s never quite where it ought to belong, and thus performs its primary role as ‘intervention’.