Upcoming exhibition – A mountain, foiled. A game, played.

Emma Edmondson 08/02 – 16/03/19

A precarious life is the norm as an artist and human in the 21st century. Fluxing socio-economics, zero hours contracts and the threat of environmental extinction precariously shape who we are and how we survive in the contemporary. With this body of work, Emma Edmondson explores the impact of these fluxes within art, education and the wider world.

A mountain can be both a peak of accomplishment or a point to fall from. Fluxing mountainous landscapes also haunt the stock market; charting financial losses and gains or visually marking the start of a recession. Throughout Edmondsons practice, the emblem of the mountain returns continuously, ever-enduring through a variety of media and aesthetics. A mountain formed from the papier-mâché of a yearsteaching admin from the artists day job(s). Small mountains inhabit the wall, forming an impractical (and decorative) rock climbing wall. In a triptych of graphs, they reappear as Edmondson depicts her own artistic productivity in correlation with financial recessions and again in a painted mural. The mountains symbolise the Eternal Return, survival and demise – the climb, the exertion of labour, leading to a fall. Is creativity a survival instinct?

The sound work, art teacher loop, circles the same sentence until it deconstructs to form new meanings. Now more than ever, job security and success, adequate education and subject specific language are unattainable, formed in hierarchic smoke. Disrupting the very language, Edmondson aims to reclaim it, and questions how such hierarchies can be disrupted – or edited.Foil survival blankets form an impromptu sculpture at the centre of the show, constructed onsite in a limited timeframe. Edmondson works explicitly with the two most vital materials of art-making: labour and time. Clay sculptures are blind-fired. Edmondson risks time and labour, demonstrating the precarity of not just artistic practice, but the turbulent political and economic landscape artists cannot help but to operate in.

Emma Edmondson (b. 1984)

Lives and works in Southend on Sea. Graduating during the 2008 financial crash and tuition fee rises, investigations into dystopian survival and utopian community are at the centre of her research and practice. She uses sculpture, print, sound, andtext, exploring her interests directly via her workin art education.

In 2015 Edmondson founded TOMA (The Other MA), a postgraduate level art programme outside of the traditional institutional model. Designed to fit the everyday lives of 21st century artists, the programme is shaped by its participants, and was created in response to the hierarchies surrounding access to higher education. Edmondson sees TOMA as partof her creative practice.

Rose Cleary (b. 1990)

Also from Southend on Sea, has contributed labour in the form of a text included in the exhibition library. Edmondson and Cleary collaborate frequently; influenced by their shared experiences in arts education and the professional context. Cleary has worked with performance and film to address the structuring of the art experience, in a practice which has developed into writing as a form of documentary and critique.

Mae bywyd ansicr yn gyffredin i artist a pherson yn y 21ain ganrif. Llif economeg gymdeithasol, contractau dim oriau a bygythiad marwolaeth amgylchedd syn llunio pwy y rydym, a sut rydym yn goroesi yn y byd sydd ohoni. Gydar gwaith yma, mae Emma Edmondson yn archwilior trawiad or llifoedd hyn o fewn celf, addysg ar byd ehangach.

Fe all mynydd fod yn gopa o gyflawniad neu fan cwympo. Mae tirweddau mynyddog hefyd yn aflonyddur farchnad stoc, yn nodi colledion ariannol yn weledol nodi dechreuad dirwasgiad. trwy gydol ymarfer Edmondson, mae emblem or mynyddoedd yn dychwelyd yn gyson, yn fythol drwy wahanol gyfryngau ac estheteg. Mynydd wedi ei ffurfio o papier-mâché o flwyddyn o ddysgu admin o waith dydd yr artist. Mae mynyddoedd bychain yn byw yn y wal, yn ffurfio wal ddringo anymarferol (ac addurnol). Mewn triptych o graffau, maent yn ail-ddangos wrth i Edmondson ddarlunio cynhyrchiant artistig ei hun mewn cydberthynas a dirwasgiadau ariannol eto mewn murlun. Maer mynyddoedd yn symboleiddiorEternal Return, goroesiad a chymyniad- y dringad, yr ymdrech o lafur, yn arwain at gwymp. A yw creadigrwydd yn reddf oroesi?Mae’r gwaith sain, art teacher loop, yn amgylchynur un frawddeg tan iddo ddadadeiladu i greu ystyr newydd. Nawr, mwy nag erioed mae sicrwydd swydd a llwyddiant, addysg ddigonol ac iaith pwnc penodol yn anghyraeddadwy, wedi ei ffurfio mewn mwg hierarchaeth. Gan amharu ar yr iaith, mae Edmondson yn anelu i’w achub, a chwestiynu sut all ddrysu neu olygu hierarchaethau.

Mae blancedi goroesi ffoil syn ffurfio cerflun difyfyr yn ganolbwynt i’r sioe, wedi ei adeiladu ar y safle o fewn amser cyfyng. Mae Edmondson yn gweithio gyda dau ddefnydd mwyaf hanfodol celf, sef llafur ac amser. Mae’r cerfluniau clai wedi eu tanion ddall. Mae Edmondson yn peryglu amser a llafur, gan gyfleu ansicrwydd sydd i ymwneud nid yn unig ac ymarfer celf ond hefyd ar dirwedd economaidd a gwleidyddol cythryblus y mae artistiaid yn gweithio ynddo.

Emma Edmondson (b. 1990)

Mae Emma Edmondson (g.1984) yn byw ac yn gweithio yn Southend on Sea. Graddiodd yn ystod yr argyfwng ariannol yn 2008 a phan gynyddodd ffioedd dysgu, roedd archwiliadau i oroesiad dystopaidd a chymuned iwtopaidd yn ganolbwynt iw hymchwil ai gwaith. Maen defnyddio cerfluniau, print, sain ac ysgrifen, gan archwilio ei diddordebau yn uniongyrchol trwy ei gwaith yn addysg celf.

Fe sefydlwyd Edmondson TOMA (The Other MA), rhaglen gelf lefel ôl-raddedig tu allan y model sefydliadol traddodiadol. Wedi ei ddylunio i weddu a bywydau dydd i ddydd artistiaid yr 21ain ganrif, maer rhaglen wedi ei fowldio gan ei gyfranwyr, ac wedi ei greu mewn ymateb ir hierarchaethau syn amgylchynu mynediad at addysg uwch. Mae Edmondson yn gweld TOMA fel rhan oi hymarfer creadigol.

Rose Cleary (b. 1990)

hefyd o Southend on Sea, wedi cyfrannu drwy ffurf ysgrifen gwelir yn llyfrgell yr arddangosfa. Mae Edmondson a Cleary yn cydweithio yn gyson; wedi eu hysbrydoli gan eu profiadau yn addysg celf a chyd-destun proffesiynol. Mae Cleary wedi gweithio gyda pherfformiadau a ffilm i gyfeirio at adeiledd profiad celf, mewn ymarferiad sydd wedi datblygu i ysgrifen fel ffurf o ddogfennu a beirniadu.emmaed

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