big shed scotland

2007-05-15T10:44:00.000-07:00

Big Shed Scotland was an exhibition of eight young Edinburgh-based artists, who exhibited together at Big Shed, Iken in July 2007. The show featured a range of works including sculpture, film, painting and projection from artists on the edge of their professional careers.

Biographies of the artists and information on their work can be accessed through the menu on the right.

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Welcome to Big Shed Scotland.

artists

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Oliver Herbert

2007-01-01T09:03:00.000-08:00

"What you're paying for is technique. And the opportunity to look truly wicked. Isn't it worth it as long as you look wicked and feel good?" John Galliano

"Fashion is made to become unfashionable" Coco Chanel

My practice is concerned with a state of flux that exists when two cultures fight for dominance. I went to India, a straight talking fashionista ready to set up an empire of glamour and luxury.

I wanted to outsource the work of cable channel Fashion TV to India, in a bid to cut costs. I advitised for my models via signs plastered around Mumbai slums and offered the wage of Rs80 to any budding stars. Quickly the applications flooded in.

When the day of filming arrived chaos ensued. A pack of rabid dogs encircled my glamorous crew. As soon as I started filming crowds surrounded me, everyone wanted a piece of the action.

I quickly realised that my objective of a slick, ‘funky’ fashion fest wouldn’t be realised. What you see in my film is an attempt to cover up, constrain and constrict India to make it work for me. I wanted money, success, fame glamour, what I got was something very different.

I’m currently working with the home office to go ahead with a show at the Collective in October with the working title ‘The Sweatshop.’

With thanks to Sunil, Anah, The Gulf Hotel and Emporio Armani.

The Mantilla Foundation

2007-01-01T08:56:00.000-08:00

We believe that everyone has, at some stage in their lives, created art which they have later come to regret. The Mantilla Foundation provides a bespoke cremation service for regretted works of art. Artists are invited to submit the works to an anonymous mail box, from which they are collected and thereafter cremated. Closure is renewal; the phoenix shall rise from the ashes. Just let go....

To date the Foundation has received over three hundred and eighty works of art via its anonymous mailbox. Works submitted cover many different media ranging from stone sculptures, life sized oil paintings, a sunken cake, teenage love letters and architectural plans to a World War II diary entry.

Though legally bound to protect the anonymity of submitting artists, we are pleased to disclose that - alongside hundreds of submissions from professional and amateur artists - the Foundation has received the work of one major Scottish artist who regularly provokes controversy in the national press. The last burning took place in April, the precise location of which cannot be revealed for security reasons.

The Mantilla Foundation regularly appear at major arts events across Europe and North America, including the London Art Fair, ARCO (Madrid) and The Armory Show (New York). The foundation have advertised at numerous British Art Schools and in the leading arts journal Frieze earlier this year.

Clemency Cooke and Charlotte Jarvis

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Clemency Cooke and Charlotte Jarvis have been working together for several years, notably as members of the Mantilla Foundation and through the collaborative work, Concept Cakes. Their individual works exhibited at Big Shed include Bolloks 2008! by Jarvis and A Pilgrim's Progress by Cooke.

Bolloks!:

The ‘Bollocks’ 2008 Calendar is designed to make you laugh, (or snigger); it is a satire of the attitudes portrayed by men’s magazines and the tabloids towards women. The calendar attempts to make explicit, to literally spell out in huge candy colours, the manner in which women are framed by these publications and open such imagery up to public criticism, or at the very least consideration.

A Pilgrim's Progress:

In the summer of 2006 Cooke and two friends set out to find (if they could) three of the most famous examples of American Land Art; Double Negative by Michael Heizer (1969), Spiral Jetty by Robert Smithson(1970) and the Sun Tunnels by Nancy Holt (1979). Upon return footage taken of the trip was used to fabricate a documentary. In editing the entire expedition was documented, omitting neither the joys of Las Vegas nor conversations with locals. This film is testament to the absence of the work as opposed to its existence; to the eroded actuality of Double Negative and the semi- submersion of Spiral Jetty. It is a film less about Land Art than about the journey which defines it.

Charlotte Jarvis

2007-01-01T08:37:00.000-08:00

For boobs with balls read ‘Bollocks!’…

The ‘Bollocks’ 2008 Calendar is designed to make you laugh, (or snigger); it is a satire of the attitudes portrayed by men’s magazines and the tabloids towards women. The calendar attempts to make explicit, to literally spell out in huge candy colours, the manner in which women are framed by these publications and open such imagery up to public criticism, or at the very least consideration.

Contact

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For further information about Big Shed Scotland or any of the exhibiting artists, please email:

bigshedweb@gmail.com

Directions

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"Unlucky For Some" Opening on Friday 13th

A private-hire bus will be available on the evening for the journey between Ipswich and Big Shed, leaving from Ipswich Station at approximately 5pm.

By Car

To reach Big Shed:

Take B1078 off A12. Turn right back over dual carriage way and proceed from Campsea Ashes to Tunstall.
Turn left at t-junction in Tunstall then take second left signposted Snape.
Continue until right turn into forest and go straight over the next crossroads.
Proceed for approx. 2 miles until you see a council sign left to Stanny House Farm and High Street.

Click image to enlarge OR right click here to download map (pdf)

Ian Bruce

2007-01-01T08:09:00.000-08:00

Over a period of eight months Ian Bruce was an artist in residence at Nutley Hall, a residential and craft centre for people with learning disabilities. He has painted nineteen members of that community.

As a subject matter, people with mental impairments are absent within the tradition of the painted portrait. He has painted this collection of images at a time when disability advertising is persistently campaigning for inclusion and visual acknowledgment

Rosalind Thompson

2007-01-01T06:27:00.000-08:00

The home is a metaphor for safety and comfort yet it can also be a place of oppression, conflict and isolation. I am interested in investigating and subverting the social construct of the domestic ideal. My work aims to question the underlying layers of this ideal and to explore the tensions and anxieties often found within the home.

"Home in a sense has always been unhomely. It is not just the utopian place of safety and shelter which we supposedly yearn. But also the place of dark secrets of fear and danger that we can sometimes only inhabit furtively."

D Massey

Rose Davey

2007-01-01T06:19:00.000-08:00

When looking for space within the confines of the modern city, one can find it in the forms of recent architecture, within uninterrupted planes of concrete and towering panels of glass. Through my work I try to capture this space and translate it into a form, which relieves the building of it identity.

Although not at first apparent, the subjects are familiar to the citizens of Edinburgh. Among them are the St James Centre and John Lewis, Harvey Nichols, Marks and Spencer and the Scottish Parliament Building.

The abstract compositions embedded within this architecture provide me with the opportunity to reflect upon my environment and my preferred aesthetics. These buildings often described by their critics as brutal, oppressive and alienating, provide me with my required design, then to be accentuated through colour, tone, shape, line and surface. Light moves and shapes the architecture. Shadows establish themselves as extensions to the abstract patterns and spaces of the buildings.

Rocca Gutteridge

2007-01-01T06:11:00.000-08:00

I am interested in transitory states. Undetermined conditions when someone or something is in a state of flux between two elements. The meeting of day and night; adjoining structures in architecture; vents and piping, which mark the transition between internal and external environments, and the questioning of our perceived states of reality.

Inspiration for this show was derived from a physical experience I had in a hostel in Arizona. Waking up surrounded in blue light with such intensity that was almost liquid. The desert sunrise shone through crude synthetic blue curtains creating an environment that fell somewhere between a natural and artificial experience. The feeling was that of being unnerved yet intrigued, unsettled but excited at the same time.

This room is made up of a series of observations, a crack in the pavement, a moment of captured motion, light seeping through gaps and emerging creaks and rumblings. Through a common thread between these individual elements the room becomes a tangible physical experience.

Philip Ewe

2007-01-01T05:59:00.000-08:00

Philip Ewe was born in 1983 in London and works with film, photography and drawing.

At Big Shed Philip Ewe's work with photography and drawing explores the awkward conundrums of dealing with ones own company. His works share an interest in the way imagination and humour can reflect on our experience through observation, exaggeration or ridicule. The occasional use of and at times characterisation of himself explores embarrassment as a valuable untapped emotion.

Sex Positions for Singles is a revolving slide show with Philip Ewe using himself in a kind of aimless demonstration on his own single status and expectations of relationships.

His ongoing collection of drawings, including reflections on past experiences, daydreams and doodling excursions, admit his take on the world around us.