The word gallery was the fifth an final word we were given and what is meant by this appears to be anything. However my intention is to go for a gallery of the type that we are probably more familiar with but again, heres the link to what I found.
http://dictionary.reference.com/browse/gallery
gal·ler·y –noun, plural -ler·ies.
...6. a room, series of rooms, or building devoted to the exhibition and often the sale of works of art.
...13. a collection of art for exhibition.
—Related forms
gal·ler·ied, adjective
gal·ler·y·like, adjective
Again some interesting factors jumped out a me here. Not all just from the definition but more from something that was said to me by Keith Piper at a recent exhibition I did at Signal Gallery near Old Street, that related to the definition. At this particular exhibition, our work which we did not intend to sell was in fact priced and then labelled next to the artist name and title was the price itself, decided not by us but by the gallery owners. I mean it was up to us wether we put the prices on display or not but it was their idea to actually put a price on them anyway.
Now the decision to price the pieces is irrelevant. What is of interest to me is the effect that having the price in view has on the piece and the way people view the work. Keith pointed out that this had a detrimental effect in terms of the status that it gave the piece. At the time I couldn't understand but now I suppose I do agree with his argument. This idea that a gallery is there for the display of art work and the viewing of art by others, along with discussion and the like, to then put in there a price I believe almost completely contradicting. As if walking down the street in this day and age doesn't provide enough harassment from our desperate, money making society we go and add to it by sticking another bloody price tag on what is personlly the only thing that gives us a rest and the peace of simply looking at something actually interesting, - Something different to this great mess that is commercialism.
Anyway back to it. For this category I think I am simply going to research a gallery. Not sure which yet but I'll have a think.
Decided against the gallery idea, well in a way I think its a gallery. Portobello road market. Thats the one. Been there a few times now and the place is fantastic. Spent to much time thinking which gallery to chose so dumped the idea and decided on portobello. The history, the culture, the life. Starting with this,
Portobello Road Market - history
In 1739 Admiral Vernon captured the city of Puerto Bello in the Caribbean and this exploit gave rise to a number of commemorative names. One of these, Portobello Farm, in turn gave its name to Portobello Road, formerly the lane leading to it. The Market (known locally as `the lane') seems to have begun in the late 1860's or early 1870's at a time when much of the road had been built. This Market was one of several street Markets operating at the turn of the century; there were, for example, others in Kenley Street, Sirdar Road, Norland Road, Crescent Street and Golborne Road. An early reference in the vestry minutes (8 November 1893) mentions the obstruction caused by the size of the costermongers' stalls in Portobello Road.
Sir William Bull in `some recollections of Bayswater fifty years ago' (1923) says of the Market that `Carnival time was on Saturday nights in the winter, when it was thronged like a fair from Cornwall Road (now Westbourne Park Road) to Bolton Road (Portobello Street - now demolished). The people overflowed from the pavements so that the roadway was quite impassable for horse-traffic. On the left hand side (the east side) were costers' barrows, lighted by flaming naphtha lamps. In the side streets were side-shows.'
The Market was originally held on Saturdays only but in 1920 the local branch of the National Federation of Discharged and Demobilised Sailors and Soldiers attempted to get the Market extended to other days of the week. The scheme, however, was not approved (the Royal Borough of Kensington and Chelsea Council's Minutes 26 June 1920 and 21 September 1920) and a running battle began between the Council and street traders who continued to use the road during the week despite protests from local shop-keepers.
At this time the Council had no powers either to designate particular streets as Markets or to licence traders. A trader could be prosecuted for obstructing the highway, however, and this power could be used to exert some control. This unsatisfactory situation was remedied by the London County Council (General Powers) Act, 1927 which gave Metropolitan Borough Council powers to licence stationary street traders and to make Bye-laws controlling street trading. By this date a daily Market seems to have become acceptable in Portobello Road for early licence holders could trade between 8.00 a.m and 8.00 p.m on Mondays to Fridays and 8.00 a.m to 9.00 p.m on Saturdays. The east side of the road between Westbourne Grove and Wheatstone Road was designated for trading and a Street Market Inspector was appointed (the Royal Borough of Kensington and Chelsea Council's Minutes 20 December 1927).
The market today
The boundaries of today's Market are much the same, except that Saturday mornings see the addition of antique stalls in the stretch of road between Westbourne Grove and Chepstow villas. The Market falls roughly into three sections - in the south antiques and bric-a-brac; in the centre fruit and vegetables, with second-hand clothing, bedding and the like to the north. The trade in Antiques has grown markedly in the last few years and was stimulated by the temporary closure of the Caledonian Market in 1948.
In January 1961 there were some thirty-five antique dealers out of a total of 199 licence holders but this number has since increased. On Saturday mornings the southern half of the Market is a great attraction to tourists and it is packed with bargain hunters and onlookers. Although most people know Portobello Market for its antiques, the food section should not be forgotten. This, probably the oldest part, serves a real local need and trade here is brisk throughout the week.
The Portobello Road is also lined with shops on both sides, many of these being long established businesses, and is no average shopping street. At its best, it is a place of extraordinary vitality and a source of both enjoyment and fascination to its myriad users. This is more than can be said of the typical, sterile High Street. Portobello has a rich character, long in evolution, which provides a unique source of appeal to local shoppers, day-trippers and foreign visitors alike. This is a rare asset which cannot be artificially recreated.
This depth of personality, which makes Portobello so appealing, is difficult to define. The street Market is a major component; when the Market stalls are packed away, much of Portobello's vitality goes with them. But Portobello is much more than just a street Market. It also offers an unusually wide range of small, independent shops. Marks and Spencer and Burtons have long gone. Most of the other big High Street names have never been there. But the retailers who are on Portobello offer a splendid array of goods and services which complement the Market very well. There is plenty which is bizarre, to interest the day-tripper and the tourist, but also a large supermarket and a fine selection of small food shops for the local customer. This includes provision for particular nationalities and ethnic groups, often poorly served by the major multiples.
Neither is Portobello just about shopping. It is a residential area too. Several major housing estates sit next to Portobello Road, there are some attractive residential mews adjoining, and the street is surrounded by a densely-packed, enormously varied set of communities. There is no shortage of pubs and restaurants, so Portobello also serves as an entertainment area. It is also home to the famous electric cinema which currently closed for renovation. A number of cafes, offices and light industrial users are situated close to the street, particularly under the Westway. Finally, there are the schools and other major educational institutions to bear in mind. The bi-lingual Spanish school, for example, makes a further contribution to the lively, cosmopolitan atmosphere of the street.
Portobello offers shopping, leisure and entertainment in a human-scale environment. Unusually for a busy London shopping centre, there is little through traffic. Public transport connections are good, with three tube stations within walking distance of the street. The road line predates the surrounding urban area, curving gently downhill as it snakes northwards. Original Victorian Terraces remain along most of the length of the street. Not always well maintained, these nevertheless provide an intimate street-scape.
Most remain as single shop units, their independence often affirmed by the colour scheme of the facade, as well as by the shop signage. Even the few larger buildings tend to have a narrow frontage onto Portobello Road, remaining in tune with the small scale and intimate character of the place. Neither are there any large expanses of tarmac, such as car parks, to fragment the enclosed feel of the street. Space is at a premium and every last inch is used to advantage, particularly on the busiest Market days.
In short, Portobello has many strong features which contribute to its unique character. Its distinctive feel owes something not only to the buildings and street-scape, but also to the three sections of the Market, the kaleidoscopic range of shops and the variety of communities and individuals who choose to use the place. It is to this mix of features that Portobello owes its international reputation and its commercial success.
Now, having been to the market on more than one occasion, its easy to picture the hustle and bustle of the market trade and the fantastic atmosphere of the people hunting for a bargain. This one of my favourite places to be. Completly fascinating so it is that this market has been around for so many years. To think that a hundred years ago, people were trading, as they still do today in that similar, bartering manner is just brilliant.
Why I go to the market, other than for a day out is with the intention of buying old, second hand items. The main items I go for are books. The fascination with where the book has been in its lifetime, who has owned it, how old is it coming top of the itinery I suppose. Also the biggestthing for me is the authentucity of the book. The binding and how it was made, the material, leather or other wise. The content not been an issue. The last I bought for an absolute bargain. Two pound got me an old bible. In spanish which in itself is quite extrordinary. The old frail leather bound cover an extra addition to the quality of the article.
Been a book binder myself, its easy for me aswell to appreciate the time thats been paid to the making of the book. On the subject, another favourite stall of mine is the leather man. I buy leather skins to use to back the books I make, an absoluite jem of a stall. Bargains in the leather. So saying this I suppose to me the market is a very important element of my practice. Providing the majority of my materials from tradesman making a living. No set price, no comercial harrassment, and none of this modern day nightmare of the fake comercial society were surrounded by in the high street.
Since visiting the market on several occasions, I've often thought of the idea of renting a a plot in the market and try and make a bit of money myself, selling books I've bound or maybe some paintings or the like. In some ways using the market place as a gallery. An interesting idea that I'd like to persue and found this.
How to Rent a Market Stall
in London's Portobello Road Saturday Antique Market
We rent out covered market stalls within The Good Fairy open air antique market at 100 Portobello Road, London W11 2QB to antique dealers, enabling them to sell goods within London's busy Portobello Road Saturday Antique Market.
-the rent for each stall is £50 to £60 per Saturday, depending on position and is paid a week in advance.
-each stall is 4 feet 6 inches(137 centimetres) long by 3 feet(91 centimetres) wide and is covered by rigid translucent roofing. Extensive shelving and steps are available to facilitate display.
-this market has a larger throughput of customers, than any other market in Portobello Road due to it being open air.
-the market is open from 4 a.m. to 5 p.m. every Saturday. Traders arrive anytime between 4 a.m. and 9 a.m. and leave whenever it suits them.
-stalls are well lit with halogen lamps and extra lighting can be provided.
-our porters are there from 4 a.m. to 9 a.m. to help unload vehicles and carry stock into the market. They endeavour to keep the road outside of the market clear so that -there are never any problems unloading stock.
-We can supply a parking space which is a 10 minute walk away from the market at a cost of £10, and there are parking meters or 'pay and display' in the area.
-some dealers bring stock that is particularly appealing to foreign tourists which they put out to sell later in the day.
-we have C.C.T.V.
-all of our traders are invited to help themselves to tea, coffee, toast and croissants provided freely by us.
-friendly and helpful traders and Management.
-stalls are also available for casual use.
http://www.goodfairyantiques.co.uk/firstco2.html
After finding this out I've decided to go through with renting a market stall and try and sell some work. Its so exciting to think that I could make money from exhibiting work on a stall in a venue like that. I'll contact them. Get involved. Even get a job as a porter in the long run. Although selling works this way could be a possible income. I can't wait. First thing is to produce some work to sell. Going to take a while to build up enough stuff to exhibit and sell. Be good fun though. Organising hthe transporting is also an issue. I'm thinking wooden canvas are going to be to large and heavy, although maybe a few, and the rest of the stuff I could do on smaller sheets and transport in a folder. I could mount them in white card. I could also take a few books along. I'm going to try it and see how it goes. Might be I don't sell anything but how do I know until I've tried it. This my friend is going to be good.
Wednesday 30 April 2008
Tuesday 29 April 2008
Bibliography
http://education.guardian.co.uk/higher/arts/story/0,9848,649481,00.html
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http://www.tate.org.uk/magazine/issue3/michaellandy.htm
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http://www.philobiblon.com/bonefolder/index.html
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TWINED BINDING
- Roberta Lavadour
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http://www.rbkc.gov.uk/EnvironmentalServices/StreetTrading/history.asp
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http://www.goodfairyantiques.co.uk/firstco2.html
...............................................................
http://www.tate.org.uk/magazine/issue3/michaellandy.htm
...............................................................
http://www.philobiblon.com/bonefolder/index.html
...............................................................
TWINED BINDING
- Roberta Lavadour
...............................................................
http://www.rbkc.gov.uk/EnvironmentalServices/StreetTrading/history.asp
...............................................................
http://www.goodfairyantiques.co.uk/firstco2.html
Bibliography - Film
Making Semi-detached May 2004
© Tate, 2004
http://www.tate.org.uk/britain/exhibitions/landy/makingof.htm
© Tate, 2004
http://www.tate.org.uk/britain/exhibitions/landy/makingof.htm
Bibliography - Images
Michael Landy
'Breakdown' - 2001
http://encoretheatremagazine.blogspot.com/Michael-Landy-Breakdown-200.jpg
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Michael Landy
'Common Dandelion' - 2002
http://images.google.com/imgres?imgurl=http://images.artnet.com/artwork_images_832_120849_michael-landy.jpg&imgrefurl=http://www.artnet.com/artwork/423991276/nourishment.html&h=480&w=338&sz=16&hl=en&start=3&um=1&tbnid=Y5gIuonr0aQybM:&tbnh=129&tbnw=91&prev=/images%3Fq%3Dmichael%2Blandy%26um%3D1%26hl%3Den%26client%3Dsafari%26rls%3Den%26sa%3DN
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Michael Landy
'Bristly Ox-tongue 2' - 2002
http://images.google.com/imgres?imgurl=http://images.artnet.com/artwork_images_832_120849_michael-landy.jpg&imgrefurl=http://www.artnet.com/artwork/423991276/nourishment.html&h=480&w=338&sz=16&hl=en&start=3&um=1&tbnid=Y5gIuonr0aQybM:&tbnh=129&tbnw=91&prev=/images%3Fq%3Dmichael%2Blandy%26um%3D1%26hl%3Den%26client%3Dsafari%26rls%3Den%26sa%3DN
.............................................................................................
http://www.thomasdane.com/artist.php?artist_id=7
Michael Landy
'Nourishment' - 2002
http://images.google.com/imgres?imgurl=http://images.artnet.com/artwork_images_832_120849_michael-landy.jpg&imgrefurl=http://www.artnet.com/artwork/423991276/nourishment.html&h=480&w=338&sz=16&hl=en&start=3&um=1&tbnid=Y5gIuonr0aQybM:&tbnh=129&tbnw=91&prev=/images%3Fq%3Dmichael%2Blandy%26um%3D1%26hl%3Den%26client%3Dsafari%26rls%3Den%26sa%3DN
.............................................................................................
Michael Landy
'Semi-detatched' - 2004
http://www.tate.org.uk/britain/exhibitions/landy/
.............................................................................................
Michael Landy
'Dragon Fly' (detail) - 2004-05
http://www.recirca.com/reviews/2005/michaellandy/ml.shtm
.............................................................................................
Michael Landy
'Daily Mirror' 2004-05
Michael Landy
'Barbie comb' - 2004-05
'WELCOME TO MY WORLD - built with you in mind' - Thomas Dane Gallery (2005)
http://www.thomasdane.com/artist.php?artist_id=7
'Breakdown' - 2001
http://encoretheatremagazine.blogspot.com/Michael-Landy-Breakdown-200.jpg
.............................................................................................
Michael Landy
'Common Dandelion' - 2002
http://images.google.com/imgres?imgurl=http://images.artnet.com/artwork_images_832_120849_michael-landy.jpg&imgrefurl=http://www.artnet.com/artwork/423991276/nourishment.html&h=480&w=338&sz=16&hl=en&start=3&um=1&tbnid=Y5gIuonr0aQybM:&tbnh=129&tbnw=91&prev=/images%3Fq%3Dmichael%2Blandy%26um%3D1%26hl%3Den%26client%3Dsafari%26rls%3Den%26sa%3DN
.............................................................................................
Michael Landy
'Bristly Ox-tongue 2' - 2002
http://images.google.com/imgres?imgurl=http://images.artnet.com/artwork_images_832_120849_michael-landy.jpg&imgrefurl=http://www.artnet.com/artwork/423991276/nourishment.html&h=480&w=338&sz=16&hl=en&start=3&um=1&tbnid=Y5gIuonr0aQybM:&tbnh=129&tbnw=91&prev=/images%3Fq%3Dmichael%2Blandy%26um%3D1%26hl%3Den%26client%3Dsafari%26rls%3Den%26sa%3DN
.............................................................................................
http://www.thomasdane.com/artist.php?artist_id=7
Michael Landy
'Nourishment' - 2002
http://images.google.com/imgres?imgurl=http://images.artnet.com/artwork_images_832_120849_michael-landy.jpg&imgrefurl=http://www.artnet.com/artwork/423991276/nourishment.html&h=480&w=338&sz=16&hl=en&start=3&um=1&tbnid=Y5gIuonr0aQybM:&tbnh=129&tbnw=91&prev=/images%3Fq%3Dmichael%2Blandy%26um%3D1%26hl%3Den%26client%3Dsafari%26rls%3Den%26sa%3DN
.............................................................................................
Michael Landy
'Semi-detatched' - 2004
http://www.tate.org.uk/britain/exhibitions/landy/
.............................................................................................
Michael Landy
'Dragon Fly' (detail) - 2004-05
http://www.recirca.com/reviews/2005/michaellandy/ml.shtm
.............................................................................................
Michael Landy
'Daily Mirror' 2004-05
Michael Landy
'Barbie comb' - 2004-05
'WELCOME TO MY WORLD - built with you in mind' - Thomas Dane Gallery (2005)
http://www.thomasdane.com/artist.php?artist_id=7
Monday 28 April 2008
The English Pub
in·sti·tu·tion –noun
1. an organization, establishment, foundation, society, or the like, devoted to the promotion of a particular cause or program, esp. one of a public, educational, or charitable character: This college is the best institution of its kind.
2. the building devoted to such work.
3. a public or private place for the care or confinement of inmates, esp. mental patients or other disabled or handicapped persons.
4. Sociology. a well-established and structured pattern of behavior or of relationships that is accepted as a fundamental part of a culture, as marriage: the institution of the family.
5. any established law, custom, etc.
6. any familiar, long-established person, thing, or practice; fixture.
7. the act of instituting or setting up; establishment: the institution of laws.
8. Ecclesiastical.
a. the origination of the Eucharist, and enactment of its observance, by Christ.
b. the investment of a member of the clergy with a spiritual charge.
[Origin: 1350–1400; ME < L institūtiōn- (s. of institūtiō). See institute, -ion]
For the most part I was actually expecting a rather dull result from the meaning of the word. Yet as it is I am in fact pleasantly surprised to find that actually the word has more qualities hidden away in its definition than it originally let on. The most significant finding for me being that an institution is more than just a building or organisation or any of the other things I thought it was, but very intriguingly, it could also be a person, "...6. any familiar, long-established person...".
Something I find very amusing is that I can actually relate to this personally when thinking about the pub I work at, in particular the regulars. Familiar faces, that you see everyday, in the same environment, surrounded by the same sounds and movements, and always saying the same things and ordering the same drinks, - long established person? - i'd say so, certainly familiar. So I think this maybe more interesting than doing a building or company for example. I'll have a think.
When I was looking again at 'in·sti·tu·tion' and thought a bit about what the word actually meant, I also came across the word 'institutionalised' which in its self plays a good relationship to what I was talking about with the idea of the people in the pub. I know as well that this must happen in pubs all over the world and in all the pubs i've worked in I have realised this is the case and it has always intrigued me that pubs do actually become 'public houses' as they are less commonly known, and the people in them are in fact a family if you like. They are in fact institutionalised. And just for the record this is not an excuse to go and sit in the pub to do some 'research'. It is something that is of actual interest to me.
institutionalised adjective
1. officially placed in or committed to a specialized institution; "had hopes of rehabilitating the institutionalized juvenile delinquents" [syn: institutionalized] [ant: noninstitutionalised]
2. given the character of an institution or incorporated into a structured and usually well-established system; "institutionalized graft"; "institutionalized suicide as practiced in Japan" [syn: institutionalized]
So here you have it. This is my story on the good old English pub as an institution, with a more direct focus on the people in
it. What I want you to remember is that all the information given in the story is true and that these people actually exist. I am however, for the purpose of confidentiality going to give the characters stage names, not only for arguments sake but also for the fun of making names up.
You know when you wished you'd never asked? When an attempt at making short polite conversation beyond the boundaries of, "carling?...cheers!", or "same again?" turns completely sour. Thats what you get for working in such a place with a 'family', all accustomed to the extent of no return. Day in day out, undergoing the same old routine, asking for the same old drinks, seeing the same old faces, hearing the same old stories told by the same old voices, at just about the same hour of the same day of each and every week. Now that my friend is an institution, and that my friend is institutionalised!
The good old English pub! A place where people, ordinary people just like you and me, come together, rendezvous, drink, talk and chat, laugh, relax, joke and shout, argue, discuss and debate, dance, hug and kiss, clap, act daft, play, gamble, fight, cheer, and above all, in the majority of cases get absolutely wankered. And the wonder is, haven't they got something better to be doing? Something more valuable to be spending their money on? But even if they had why would they? For some its almost home and this is the pub and the drink is the most valuable thing they have. Young or old! Man or women! Under-age or legal! It really is a 'public house'. A house, shared by the public. Anybody welcome, at any time the place is open, and thats just the customers, not to mention the staff. Incredible.
And that brings me on nicely to introduce myself. I'm Archie Grimble, worked behind the bar for three years or more now. Worked in two completely different pubs, and have been institutionalised in both as well as a third in which my good friend Jimmy is the assistant manager, and a big group of my friends call their 'local' making it a convenient meeting place for us, and a place we are often found. Over my three or so years behind the ramp, I have learnt many a thing. Not all about working behind the bar but probably more importantly so about life in general. Yep, the pub has, believe it or not, taught me more than I learnt at school.
I'll start at home. My home town, Sheffield. The pub, in a small village on the out skirts of the city, a mile down the way form where I live. A large stone built structure with low beams, an old stone fire place and hops hung above the bar with an old fashioned till that dings when opened. A selection of real ales, a snooker table in the tap room and everybody's favourite in the kitchen, the land lady, Mrs Marmytes, home made rabbit pie. A good a person to start with as any I suppose,
NAME: MRS Marmyte
AGE: 45
DRINK: Half a lager
JOB: Land lady and chef
STORY: Mrs Marmyte, always a great laugh. A short plump lady, standing at around 5ft 1", short brown curly hair with a round face and an apron always tied high just below the bust. A fantastic character with a wicked sense of humour and an incredible ability to feed the village. Home made pies her speciality with rabbit pie as I mentioned being at the top of the list. Lived in the village all her life and was born into the pub trade at the pub up the hill. Its in her nature. Daughter to the boss, Joan, wife to the grumpy arse that is my boss, MR Marmyte, the landlord, and sister to Bob. Mrs Marmyte is my one of my favourites, always looking after me, cooking my tea for free when I'm working.
NAME: MR Marmyte
AGE: 48
DRINK: Real ale in his 'landlords' glass
JOB: Landlord and general lazy arse
STORY: A grumpy man, always moaning, never doing anything about it. Standing around 5ft 11". Scruffy, always un-combed hair, and a serious lack of personal cleansing. Above possibly the laziest man on the face of the earth. You see, as I've learnt from the very very authotarian, 60+, panel of village farmer blokes, and Joan (the boss) the landlord of a pub should be there, from open to finish, behind the bar, talking to his customers. Not this one though. Spends the majority of his time upstairs, shouting orders at Mrs Marmyte and his kids, and the rest of his time out at other pubs and often comes home drunk. Nothing is ever good enough. Definatley not a favourite. Disliked by the majority of the institution, but one plus as I have also learnt is he takes care of his beer.
NAME: Joan
A.K.A: Boss, Mother, Coach
AGE: 66
DRINK: Gin an tonic (slimline), ice and slice of lemon
JOB: Mother to all and in charge
STORY: A wonderful women, very, lets say, cuddly, round from head to toe and a bigger personality than her belly. A huge laugh, three missing teeth at the front, and hair scraped back and tied in a bun a the back. Should probably be grey after hearing the stories she's told but she's holding out, jet black it is. An absolute delightful lady, caring for everyone in the pub, yet at the same time handing out clips round the ear'ole when required. I've had a few when late. Always taking care of Mrs Marmyte and giving it large to Mr Marmyte when he comes home pissed. An ex-landlady her self for about 48 years so she knows her stuff and don't we know it. Always keeping us in line. Best mates with old Alfie who promised her husband she'd be taken care of when he passed away, 16 years ago. Another favourite.
So maybe, hopefully I've set the scene. A family business, and more, a lifestyle rather than a job. Its a fantastic place, and great fun working their. Certainly not like working for a company. None of this rules and regulations bollocks, or training this and filling in this form and that form. A free house it was. Cash in hand, no nonsense, common sense run place. A proper 'locals pub'. A spade's a spade an all that. Everyone knows everyone.
A bit like my mate Jimmy's pub that he works at. At the other side of the valley but a simliar sort of pub. All locals, he's mates with him and his brothers married to her aunties cousin an that sort of thing. Only this one a chain pub. Proper forms to fill in when you start working there. Your wages paid into an account, and a proper landlord that actually does his job. Has a proper closing time and a chuckin out time. Doesn't stay open till the last man standing stumbles out the pub. Also there's more than, well, me an Fred who work behind the bar. (I'll come back to him but in brief, he works tuesdays cause his old friends come in for a shindig, and thats about all he can do cause of his heart. Although a huge one, it's a bit touch an go, more on that later) At Jimmy's pub, there's proper rotas and set shifts and that sort of thing. The hours are put into the computer, not come to work, work longer if its busy and then right your hours on a bit of paper when you leave, before asking when your next on. Nope Jimmy's place was company run. Arthur and Ernie pubs they were. Staff under paid and overworked and made to follow rules right down to how to welcome people into the pub. Very proper. Had to watch stock an all that. Weren't allowed a bag of crisps without payin for it and puttin it through the system. Not run with common sense. However with Jimmy the assistant and Paddy the landlord (who we soon made friends with when he took over the place about 2 years back) theres no doubt in saying its a fanatstic institution to be apart of.
NAME: Jimmy
AGE: 21
DRINK: Pint lager and after that anything alcoholic
JOB: Assistant manager and my best mate
STORY: A top lad. Having known him four years after meeting him at 6th form, I couldn't ask for a better mate. Like a brother. After living in Sheffield for most of his life since moving up from Luton where he was born, Jimmy left school at sixteen and went onto do A-levels and worked in the pub part time to fund the partying of 6th form life and other dossing activities that we so often took part in as a way of escaping lessons. A young, fit and healthy lad at the time, playing football at the weekends and that sort of thing. However, after leaving 6th form, started at the pub full-time, and spent most of his days there. Choosing to spend the odd evening and day off with the local blokes, of which group me and the rest of us joined as well, sat drinking, laughing, watching the footy and playing pool or golf when it wern't raining. Often these times turned into full on sessions involving becoming extremely drunk and stumbling home calling for a fantastic greasy kebab on the way. Gambling also became apart of day to day life, wether it was between each other or nippin in the bookies for the accumulator for the weekends football fixtures. We loved it, he loved it, I loved it, and still do to be honest. Its not very often we'll pass up the chance for a session. His only downfall, not that drinking copious amounts of alcohol is any way to argue against the lad but he smokes. I'm not the biggest fan of the subject. Anyhow, what a mate. Good times. He doesn't do relationships.
NAME: Paddy
AGE: 34
DRINK: Pints lager or real ales and again anything alcoholic after that
JOB: Landlord
STORY: Another top bloke. Always suited when behind the bar. Came into the pub around 2 years back. Works for the company as a relief manager, traveling the city and standing in till they find another, more permanent manager for whatever pub it is he's in. His last, a bar in city centre. A totally different ball game, and quite clearly less enjoyable cause having only been there a matter of months he requested a move to us in the pub, and hasn't shifted since. Irish, brilliantly hard working and fantastic at his job, a looks after the beer. Allows lock ins which are a great laugh and is always around for a drink with the customers. Together with Sandy his girl, they live in the house next to the pub, with there staffy-bull-terrier called Locai. A monstrous piece of dog but soft as a brush and mad as a hatter. Paddy is a legend, always up for a session but although a great laugh, doesn't let things drop like when Jimmy comes in late he knows about it. Loved by all in the pub. Wouldn't be the same without him.
session - noun
1. a term used by 'us' in our pub to describe a period time in which a number of around 8 or more pints are consumed by each participant, normally ending in some rather funny activity taking place
So again, a little bit of information to set the scene if you like, and thats just some of the staff. I'd like now to introduce you to some of the customers, the locals.
NAME: Billy Bones
A.K.A Cote du Bones
AGE: 68
DRINK: Magners then Gin an 'slim line' tonic due to high blood pressure ice and lime, glass of red wine (Cote du Rhone) with meal
JOB: Architect
STORY: At the ripe old age of 68, Billy's a fantastic man, a fairly average height at about 5'10", a wonderfully large beer belly, short grey hair and a bright red, round face, one give away that he drinks to much which he knows. Always smiling although a few problems with his blood pressure. Comes to the pub 2-3 times a week. Monday evening without fail, most
Oreyt billy what we havin'?
Magners lad, to start with anyhow.
1. an organization, establishment, foundation, society, or the like, devoted to the promotion of a particular cause or program, esp. one of a public, educational, or charitable character: This college is the best institution of its kind.
2. the building devoted to such work.
3. a public or private place for the care or confinement of inmates, esp. mental patients or other disabled or handicapped persons.
4. Sociology. a well-established and structured pattern of behavior or of relationships that is accepted as a fundamental part of a culture, as marriage: the institution of the family.
5. any established law, custom, etc.
6. any familiar, long-established person, thing, or practice; fixture.
7. the act of instituting or setting up; establishment: the institution of laws.
8. Ecclesiastical.
a. the origination of the Eucharist, and enactment of its observance, by Christ.
b. the investment of a member of the clergy with a spiritual charge.
[Origin: 1350–1400; ME < L institūtiōn- (s. of institūtiō). See institute, -ion]
For the most part I was actually expecting a rather dull result from the meaning of the word. Yet as it is I am in fact pleasantly surprised to find that actually the word has more qualities hidden away in its definition than it originally let on. The most significant finding for me being that an institution is more than just a building or organisation or any of the other things I thought it was, but very intriguingly, it could also be a person, "...6. any familiar, long-established person...".
Something I find very amusing is that I can actually relate to this personally when thinking about the pub I work at, in particular the regulars. Familiar faces, that you see everyday, in the same environment, surrounded by the same sounds and movements, and always saying the same things and ordering the same drinks, - long established person? - i'd say so, certainly familiar. So I think this maybe more interesting than doing a building or company for example. I'll have a think.
When I was looking again at 'in·sti·tu·tion' and thought a bit about what the word actually meant, I also came across the word 'institutionalised' which in its self plays a good relationship to what I was talking about with the idea of the people in the pub. I know as well that this must happen in pubs all over the world and in all the pubs i've worked in I have realised this is the case and it has always intrigued me that pubs do actually become 'public houses' as they are less commonly known, and the people in them are in fact a family if you like. They are in fact institutionalised. And just for the record this is not an excuse to go and sit in the pub to do some 'research'. It is something that is of actual interest to me.
institutionalised adjective
1. officially placed in or committed to a specialized institution; "had hopes of rehabilitating the institutionalized juvenile delinquents" [syn: institutionalized] [ant: noninstitutionalised]
2. given the character of an institution or incorporated into a structured and usually well-established system; "institutionalized graft"; "institutionalized suicide as practiced in Japan" [syn: institutionalized]
So here you have it. This is my story on the good old English pub as an institution, with a more direct focus on the people in
it. What I want you to remember is that all the information given in the story is true and that these people actually exist. I am however, for the purpose of confidentiality going to give the characters stage names, not only for arguments sake but also for the fun of making names up.
You know when you wished you'd never asked? When an attempt at making short polite conversation beyond the boundaries of, "carling?...cheers!", or "same again?" turns completely sour. Thats what you get for working in such a place with a 'family', all accustomed to the extent of no return. Day in day out, undergoing the same old routine, asking for the same old drinks, seeing the same old faces, hearing the same old stories told by the same old voices, at just about the same hour of the same day of each and every week. Now that my friend is an institution, and that my friend is institutionalised!
The good old English pub! A place where people, ordinary people just like you and me, come together, rendezvous, drink, talk and chat, laugh, relax, joke and shout, argue, discuss and debate, dance, hug and kiss, clap, act daft, play, gamble, fight, cheer, and above all, in the majority of cases get absolutely wankered. And the wonder is, haven't they got something better to be doing? Something more valuable to be spending their money on? But even if they had why would they? For some its almost home and this is the pub and the drink is the most valuable thing they have. Young or old! Man or women! Under-age or legal! It really is a 'public house'. A house, shared by the public. Anybody welcome, at any time the place is open, and thats just the customers, not to mention the staff. Incredible.
And that brings me on nicely to introduce myself. I'm Archie Grimble, worked behind the bar for three years or more now. Worked in two completely different pubs, and have been institutionalised in both as well as a third in which my good friend Jimmy is the assistant manager, and a big group of my friends call their 'local' making it a convenient meeting place for us, and a place we are often found. Over my three or so years behind the ramp, I have learnt many a thing. Not all about working behind the bar but probably more importantly so about life in general. Yep, the pub has, believe it or not, taught me more than I learnt at school.
I'll start at home. My home town, Sheffield. The pub, in a small village on the out skirts of the city, a mile down the way form where I live. A large stone built structure with low beams, an old stone fire place and hops hung above the bar with an old fashioned till that dings when opened. A selection of real ales, a snooker table in the tap room and everybody's favourite in the kitchen, the land lady, Mrs Marmytes, home made rabbit pie. A good a person to start with as any I suppose,
NAME: MRS Marmyte
AGE: 45
DRINK: Half a lager
JOB: Land lady and chef
STORY: Mrs Marmyte, always a great laugh. A short plump lady, standing at around 5ft 1", short brown curly hair with a round face and an apron always tied high just below the bust. A fantastic character with a wicked sense of humour and an incredible ability to feed the village. Home made pies her speciality with rabbit pie as I mentioned being at the top of the list. Lived in the village all her life and was born into the pub trade at the pub up the hill. Its in her nature. Daughter to the boss, Joan, wife to the grumpy arse that is my boss, MR Marmyte, the landlord, and sister to Bob. Mrs Marmyte is my one of my favourites, always looking after me, cooking my tea for free when I'm working.
NAME: MR Marmyte
AGE: 48
DRINK: Real ale in his 'landlords' glass
JOB: Landlord and general lazy arse
STORY: A grumpy man, always moaning, never doing anything about it. Standing around 5ft 11". Scruffy, always un-combed hair, and a serious lack of personal cleansing. Above possibly the laziest man on the face of the earth. You see, as I've learnt from the very very authotarian, 60+, panel of village farmer blokes, and Joan (the boss) the landlord of a pub should be there, from open to finish, behind the bar, talking to his customers. Not this one though. Spends the majority of his time upstairs, shouting orders at Mrs Marmyte and his kids, and the rest of his time out at other pubs and often comes home drunk. Nothing is ever good enough. Definatley not a favourite. Disliked by the majority of the institution, but one plus as I have also learnt is he takes care of his beer.
NAME: Joan
A.K.A: Boss, Mother, Coach
AGE: 66
DRINK: Gin an tonic (slimline), ice and slice of lemon
JOB: Mother to all and in charge
STORY: A wonderful women, very, lets say, cuddly, round from head to toe and a bigger personality than her belly. A huge laugh, three missing teeth at the front, and hair scraped back and tied in a bun a the back. Should probably be grey after hearing the stories she's told but she's holding out, jet black it is. An absolute delightful lady, caring for everyone in the pub, yet at the same time handing out clips round the ear'ole when required. I've had a few when late. Always taking care of Mrs Marmyte and giving it large to Mr Marmyte when he comes home pissed. An ex-landlady her self for about 48 years so she knows her stuff and don't we know it. Always keeping us in line. Best mates with old Alfie who promised her husband she'd be taken care of when he passed away, 16 years ago. Another favourite.
So maybe, hopefully I've set the scene. A family business, and more, a lifestyle rather than a job. Its a fantastic place, and great fun working their. Certainly not like working for a company. None of this rules and regulations bollocks, or training this and filling in this form and that form. A free house it was. Cash in hand, no nonsense, common sense run place. A proper 'locals pub'. A spade's a spade an all that. Everyone knows everyone.
A bit like my mate Jimmy's pub that he works at. At the other side of the valley but a simliar sort of pub. All locals, he's mates with him and his brothers married to her aunties cousin an that sort of thing. Only this one a chain pub. Proper forms to fill in when you start working there. Your wages paid into an account, and a proper landlord that actually does his job. Has a proper closing time and a chuckin out time. Doesn't stay open till the last man standing stumbles out the pub. Also there's more than, well, me an Fred who work behind the bar. (I'll come back to him but in brief, he works tuesdays cause his old friends come in for a shindig, and thats about all he can do cause of his heart. Although a huge one, it's a bit touch an go, more on that later) At Jimmy's pub, there's proper rotas and set shifts and that sort of thing. The hours are put into the computer, not come to work, work longer if its busy and then right your hours on a bit of paper when you leave, before asking when your next on. Nope Jimmy's place was company run. Arthur and Ernie pubs they were. Staff under paid and overworked and made to follow rules right down to how to welcome people into the pub. Very proper. Had to watch stock an all that. Weren't allowed a bag of crisps without payin for it and puttin it through the system. Not run with common sense. However with Jimmy the assistant and Paddy the landlord (who we soon made friends with when he took over the place about 2 years back) theres no doubt in saying its a fanatstic institution to be apart of.
NAME: Jimmy
AGE: 21
DRINK: Pint lager and after that anything alcoholic
JOB: Assistant manager and my best mate
STORY: A top lad. Having known him four years after meeting him at 6th form, I couldn't ask for a better mate. Like a brother. After living in Sheffield for most of his life since moving up from Luton where he was born, Jimmy left school at sixteen and went onto do A-levels and worked in the pub part time to fund the partying of 6th form life and other dossing activities that we so often took part in as a way of escaping lessons. A young, fit and healthy lad at the time, playing football at the weekends and that sort of thing. However, after leaving 6th form, started at the pub full-time, and spent most of his days there. Choosing to spend the odd evening and day off with the local blokes, of which group me and the rest of us joined as well, sat drinking, laughing, watching the footy and playing pool or golf when it wern't raining. Often these times turned into full on sessions involving becoming extremely drunk and stumbling home calling for a fantastic greasy kebab on the way. Gambling also became apart of day to day life, wether it was between each other or nippin in the bookies for the accumulator for the weekends football fixtures. We loved it, he loved it, I loved it, and still do to be honest. Its not very often we'll pass up the chance for a session. His only downfall, not that drinking copious amounts of alcohol is any way to argue against the lad but he smokes. I'm not the biggest fan of the subject. Anyhow, what a mate. Good times. He doesn't do relationships.
NAME: Paddy
AGE: 34
DRINK: Pints lager or real ales and again anything alcoholic after that
JOB: Landlord
STORY: Another top bloke. Always suited when behind the bar. Came into the pub around 2 years back. Works for the company as a relief manager, traveling the city and standing in till they find another, more permanent manager for whatever pub it is he's in. His last, a bar in city centre. A totally different ball game, and quite clearly less enjoyable cause having only been there a matter of months he requested a move to us in the pub, and hasn't shifted since. Irish, brilliantly hard working and fantastic at his job, a looks after the beer. Allows lock ins which are a great laugh and is always around for a drink with the customers. Together with Sandy his girl, they live in the house next to the pub, with there staffy-bull-terrier called Locai. A monstrous piece of dog but soft as a brush and mad as a hatter. Paddy is a legend, always up for a session but although a great laugh, doesn't let things drop like when Jimmy comes in late he knows about it. Loved by all in the pub. Wouldn't be the same without him.
session - noun
1. a term used by 'us' in our pub to describe a period time in which a number of around 8 or more pints are consumed by each participant, normally ending in some rather funny activity taking place
So again, a little bit of information to set the scene if you like, and thats just some of the staff. I'd like now to introduce you to some of the customers, the locals.
NAME: Billy Bones
A.K.A Cote du Bones
AGE: 68
DRINK: Magners then Gin an 'slim line' tonic due to high blood pressure ice and lime, glass of red wine (Cote du Rhone) with meal
JOB: Architect
STORY: At the ripe old age of 68, Billy's a fantastic man, a fairly average height at about 5'10", a wonderfully large beer belly, short grey hair and a bright red, round face, one give away that he drinks to much which he knows. Always smiling although a few problems with his blood pressure. Comes to the pub 2-3 times a week. Monday evening without fail, most
Oreyt billy what we havin'?
Magners lad, to start with anyhow.
THE BONEFOLDER - An e-journal for the book binder and book artist
pub·li·ca·tion –noun
1. the act of publishing a book, periodical, map, piece of music, engraving, or the like.
2. the act of bringing before the public; announcement.
3. the state or fact of being published.
4. something that is published, esp. a periodical.
[Origin: 1350–1400; ME publicacioun < L pūblicātiōn- (s. of pūblicātiō) a making public, confiscation, equiv. to pūblicāt(us) (ptp. of pūblicāre to make public) + -iōn- -ion]
Now I'm a little puzzled as to what I am going to do here. Do I choose an already published book, periodical, map, piece of music, engraving, or the like, or do I look at this from a more exciting view point? Like make my research on a publication become the research on the actual publishing process. You see over the last couple of years I have been involved in the art of book binding. The hand made process of binding in different styles, techniques and materials is something astonishing to me and certainly something I enjoy doing. So I feel that personally, researching something like this would be much more exciting than researching a specific publication and its contentsor whatever. I feel this is an option.
Either that or make my chosen publication a particular method of publishing. For example, 'book arts'. Another interest of mine which is something new to me that I have only recently become aware of. Having looked into only a small section of the 'book arts' scene, it would be something I would definately be interested in researching, and also, the art of re-using books in such a way I feel is itself surely a form of publishing, or if there is such a thing, 're-publishing'. Again, an option and definately something to consider.
Publication - 'THE BONEFOLDER - An e-journal for the bookbinder and book artist'
Now, after a sit down and a look at various forms of the 'big dic' (the Dictionary), I have come to the conclusion that if I was to chose my categories on the basis of definitions, then I could quite frankly pick just about anything. However, after searching the web for information on the books arts scene that was my original idea for my publication, I very conveniently stumbled upon this,
http://www.philobiblon.com/bonefolder/index.html
Now this my friend is quite frankly the ticket to what I need to carry out my intended body of research on the book arts scene and book binding as a way of publishing. 'THE BONEFOLDER - An e-journal for the bookbinder and book artist', is exactly what it says it is so I started by downloading copies the online magazine, and after looking further into them, I feel like I have discovered a gold mine. Each article bursting with information on the book arts and book binding techniques which are going to be an absolute treasure for me to keep binding.
After finding out about this e-journal, and reading briefly through a few issues, I decided that I could use this as a source of research for the idea on researching book binding and book arts, but not only use this but use other sources of information. Also use the e-journal and rather than building up an archive of information, use 'THE BONEFOLDER' e-journal to learn more ways of binding and not just find out about it.
Up until now, my knowledge of book binding techniques stretches no further than that of the traditional and hardback binding techniques. I searched the e-journal for some other techniques and began with this, the 'Twined binding' by 'Roberta Lavadour'. Although apparently after reading through this technique it seems considerable more complex than any of the binding I've done in the past, I still feel confident in learning the technique and producing in this way.
TWINED BINDING
- 'Roberta Lavadour'
STEP 1
As with traditional binding, using the cardboard and the leather or what ever material chosen for the cover, begin to assemble the cover, only gluing over the flaps of one cover (either the front or the back), and leave a long length of material instead of attaching the other cardboard piece. For this technique, a spine piece is not required as the weaving holds the covers together. Leave this over night in the clamp and resist the temptation to begin until completely dry.
STEP 2
With the excess material (where the other piece of cardboard would be) make cuts along the top and bottoms of the cover material, perpendicular to the top and bottom edges of the already fixed card cover. Then turn over the edges of the cover material round the fixed cover card, completing the first half of the cover by filling in the space on the inside of the cover with any excess material.
STEP 3
Make a number of shreds in the cover material, making an even number of sewing stations down the spine of the paper block and on the shreds, evenly spaced, every 3-4 shreds.
STEP 4 - 'The Binding'
Collect your 2 different colour threads of about arms length, tying a needle to the end of each one. Then tie the other ends of the thread together leaving about an inch and a half spare.
Loop one thread around the first piece of shredded material, and begin twining so the spare tail ends are positioned between the first and second shred. The thread ends will be hidden under the twinings.
Continue to the end of the shredded material cover and one line is complete. At the end, loop the top thread under the bottom thread, pulling the bottom thread till the top thread loop is positioned between the 1st and 2nd shred. (see diagram - step 3-4)
Repeat this process until you have completed 6 lines.
STEP 5 - 'The Gathering'
When your ready to make the first gathering, twine down the line to the first sewing station. Enter the station in the paper block with the thread that would have gone to the back of the shred, and exit through the next sewing station. When the first gathering has been added, use a bone folderto compress the folded pages, helping the bulk of the thread to be absorbed.
Continue twining and adding rows and gaterings. Each line of gathering spaced depending on the thickness of the thread and the pages. About every 4 rows. Once completed, tie off the ends leaving a tail long enough to attach a needle and then thread the needle and thread under the block of pages, snipping off at the other side.
STEP 6 - Adding the back cover
Attatch the back piece of cardboard to the piece of cover material that is around 2 cm larger than the cover board piece.
Create staggered slots in the cover material down the side nearest the spine. Then thread the shreds through the slots, before trimming them down, over lapping them in pairs and then gluing them to the inside of the piece of cover board. Cover these with a spare piece of material, before folding the edges of the cover material round the cover board. Finish off any edges and compress under clamps till dry.
Having now learnt this technique, and produced a twined bound book, I want to continue and look at some other methods and techniques of binding, some of which I will use to produce some pieces for my stall in Portobello road market.
1. the act of publishing a book, periodical, map, piece of music, engraving, or the like.
2. the act of bringing before the public; announcement.
3. the state or fact of being published.
4. something that is published, esp. a periodical.
[Origin: 1350–1400; ME publicacioun < L pūblicātiōn- (s. of pūblicātiō) a making public, confiscation, equiv. to pūblicāt(us) (ptp. of pūblicāre to make public) + -iōn- -ion]
Now I'm a little puzzled as to what I am going to do here. Do I choose an already published book, periodical, map, piece of music, engraving, or the like, or do I look at this from a more exciting view point? Like make my research on a publication become the research on the actual publishing process. You see over the last couple of years I have been involved in the art of book binding. The hand made process of binding in different styles, techniques and materials is something astonishing to me and certainly something I enjoy doing. So I feel that personally, researching something like this would be much more exciting than researching a specific publication and its contentsor whatever. I feel this is an option.
Either that or make my chosen publication a particular method of publishing. For example, 'book arts'. Another interest of mine which is something new to me that I have only recently become aware of. Having looked into only a small section of the 'book arts' scene, it would be something I would definately be interested in researching, and also, the art of re-using books in such a way I feel is itself surely a form of publishing, or if there is such a thing, 're-publishing'. Again, an option and definately something to consider.
Publication - 'THE BONEFOLDER - An e-journal for the bookbinder and book artist'
Now, after a sit down and a look at various forms of the 'big dic' (the Dictionary), I have come to the conclusion that if I was to chose my categories on the basis of definitions, then I could quite frankly pick just about anything. However, after searching the web for information on the books arts scene that was my original idea for my publication, I very conveniently stumbled upon this,
http://www.philobiblon.com/bonefolder/index.html
Now this my friend is quite frankly the ticket to what I need to carry out my intended body of research on the book arts scene and book binding as a way of publishing. 'THE BONEFOLDER - An e-journal for the bookbinder and book artist', is exactly what it says it is so I started by downloading copies the online magazine, and after looking further into them, I feel like I have discovered a gold mine. Each article bursting with information on the book arts and book binding techniques which are going to be an absolute treasure for me to keep binding.
After finding out about this e-journal, and reading briefly through a few issues, I decided that I could use this as a source of research for the idea on researching book binding and book arts, but not only use this but use other sources of information. Also use the e-journal and rather than building up an archive of information, use 'THE BONEFOLDER' e-journal to learn more ways of binding and not just find out about it.
Up until now, my knowledge of book binding techniques stretches no further than that of the traditional and hardback binding techniques. I searched the e-journal for some other techniques and began with this, the 'Twined binding' by 'Roberta Lavadour'. Although apparently after reading through this technique it seems considerable more complex than any of the binding I've done in the past, I still feel confident in learning the technique and producing in this way.
TWINED BINDING
- 'Roberta Lavadour'
STEP 1
As with traditional binding, using the cardboard and the leather or what ever material chosen for the cover, begin to assemble the cover, only gluing over the flaps of one cover (either the front or the back), and leave a long length of material instead of attaching the other cardboard piece. For this technique, a spine piece is not required as the weaving holds the covers together. Leave this over night in the clamp and resist the temptation to begin until completely dry.
STEP 2
With the excess material (where the other piece of cardboard would be) make cuts along the top and bottoms of the cover material, perpendicular to the top and bottom edges of the already fixed card cover. Then turn over the edges of the cover material round the fixed cover card, completing the first half of the cover by filling in the space on the inside of the cover with any excess material.
STEP 3
Make a number of shreds in the cover material, making an even number of sewing stations down the spine of the paper block and on the shreds, evenly spaced, every 3-4 shreds.
STEP 4 - 'The Binding'
Collect your 2 different colour threads of about arms length, tying a needle to the end of each one. Then tie the other ends of the thread together leaving about an inch and a half spare.
Loop one thread around the first piece of shredded material, and begin twining so the spare tail ends are positioned between the first and second shred. The thread ends will be hidden under the twinings.
Continue to the end of the shredded material cover and one line is complete. At the end, loop the top thread under the bottom thread, pulling the bottom thread till the top thread loop is positioned between the 1st and 2nd shred. (see diagram - step 3-4)
Repeat this process until you have completed 6 lines.
STEP 5 - 'The Gathering'
When your ready to make the first gathering, twine down the line to the first sewing station. Enter the station in the paper block with the thread that would have gone to the back of the shred, and exit through the next sewing station. When the first gathering has been added, use a bone folderto compress the folded pages, helping the bulk of the thread to be absorbed.
Continue twining and adding rows and gaterings. Each line of gathering spaced depending on the thickness of the thread and the pages. About every 4 rows. Once completed, tie off the ends leaving a tail long enough to attach a needle and then thread the needle and thread under the block of pages, snipping off at the other side.
STEP 6 - Adding the back cover
Attatch the back piece of cardboard to the piece of cover material that is around 2 cm larger than the cover board piece.
Create staggered slots in the cover material down the side nearest the spine. Then thread the shreds through the slots, before trimming them down, over lapping them in pairs and then gluing them to the inside of the piece of cover board. Cover these with a spare piece of material, before folding the edges of the cover material round the cover board. Finish off any edges and compress under clamps till dry.
Having now learnt this technique, and produced a twined bound book, I want to continue and look at some other methods and techniques of binding, some of which I will use to produce some pieces for my stall in Portobello road market.
Drawing
Next word was 'medium'. Now what I found here was something special. As it can quite honestly be anything then i'm not going to post the whole selection of definitions I found but here's the link if you do so wish to sift through them yourself, this I don't recommend.
http://dictionary.reference.com/browse/medium
What I feel I should take from this selection however is this,
me·di·um – noun...
...11. Fine Arts.
a. Painting. a liquid with which pigments are mixed.
b. the material or technique with which an artist works: the medium of watercolor.
Interesting so it is that 'me·di·um' be technique aswell as material. This my friend is brilliant.
Medium - 'DRAWING'
The easiest one of these to choose I think was the medium, although there were many things I could have chosen. I decided after great deliberation that 'drawing' was going to be my chosen medium, and in particular the meaning of drawing and the personal qualities that drawing holds for me and also how others see drawing. I was once part of a group who were asked to write a manifesto on drawing and this is something that has already re-ignited an interest in the topic and a number of questions.
- What is drawing?
- Why do we draw?
- What do we get from drawing?pan>
I started with this, a bit of history. Interesting.
The human being has always felt the need to represent all that surrounds him, finding in drawing, the most interesting means to carry out this desire. The first drawings goes back to the Superior Paleolithic , 35.000 years ago, when the Homo sapiens represented on the cave surfaces of the caves or on the skin of the coats, animals that he hunted. An example of this artistic manifestation can be found in the cave paintings of the caves of Altamira, in Cantabria (Spain).
Later, the Egyptians knew how to take profit of this art to decorate the most imposing constructions in the history; the pyramids. It had passed thousands of years and the drawing had evolved substantially. From the single-coloured and static composition of the prehistory, a new stride had been made to the balance, thoroughness and coloring of the theological representations in temples and sanctuaries. There was a need to detail the figure of gods to thank them the splendor of the Egyptian empire
It was necessary to advance to the sixth century BC to find in the Greeks the maximum representatives of the balance in drawing. Worried to center in the human candid expression, they denude it from any ostentation or supernatural connotation, they are able to achieve their target and they obtain what was considered to be the harmonic balance.
The Romans, 500 years later, contributed to the diversity it was lacking . And army and an discipline was required to maintain an empire on such an extensive territory in order to subdue so many diverse cultures under the same authority. That facilitated, in certain part, the abandonment of the artistic and ornamental stuff to come closer to a more practical and more useful doctrine for that time; Solid constructions were necessary to maintain the authority from the continuous attacks of the invaders. They obtained in the drawing the means to reflect what the useful constructions needed to be . The first maps arose and with them the architecture was born. The technical drawing required a bigger technique and mathematical knowledge about what had been forged until that moment.
A greater number of complete works is preserved from the Middle Ages. During this period, vivacious representations prevail. Spectacularity and garnish is imposed without giving any opportunity to colour to act ; Line is in charge of standing out the detail. The Arab invasion introduces a revolutionary support to drawing and painting: the paper. This is a Chinese invention that will facilitate illustration to stop being an exclusive activity which monks did on skin and cane parchments. The general population can achieve it. Starting from that moment, it can be shown the radiance of color. It is also necessary to highlight the introduction to the general use of the metallic fountain pen and the ink as we know it at the moment.
From Italy, and advancing among the Gothic period ,(second half of XV century ), the Renaissance is disarticulated of the religious stuff. Now the important thing is to recognize the beauty and to know how to express it . Being based on the Greco-Roman artistic civilization (the old thing revives), the natural and concise is imposed again. The magnates allow their busts to be reflected in multitude of portraits. Of the mere forgotten decoration, the feminine nude begins to appropriate of the main topics in the creations and one returns to the study of the human figure. The drawing ascends to the volumetric thanks to the new techniques of colouring . The game of lights and shades, together with the perspective, makes reality nearer to drawing. A manifestation of artists demonstrates this new development: El Greco, Miguel Angel, Sandro Boticelli, Leonardo da Vinci.
The last one stands out from the others because of his investigation desire. He picks up under his works anatomy studies, invention of devices and a new way of using the illumination in drawing. The " esfumato" dissipates the closed line of the contour of the drawing to increase depth and what it will pursue from then on: the approach to the natural thing. Therefore the drawing stops to be something spontaneous and subjective to become a true discipline.
The Baroque stretches out until the VII century. It uses exaggeratedly all the resources contributed by the Renaissance to express a wide range of attitudes, from the calamity of poverty until the splendor of wealth. Rightness and uniformity are broken in the pictorial representations and it is tried to the maximum to move and to attract the spectator.
From the XIX century onwards the continuous uniformity that had followed the history of drawing is broken. It forks in multitude of styles: romanticism, realism, impressionism, expressionism, fauvism, cubism, futurism, surrealism... Nevertheless, all they make use of what had so far been contributed as a tool to express new approaches of the society they were living in.
http://www.dibujosparapintar.com/english_activities/drawing_course_history.html
Drawing for me
I draw because I find in drawing something nothing else can provide. The time spent drawing is my time. My time in which I can relax under no pressure to fill any one elses needs. I find myself being entranced by my own ability to draw, focussing not always on my drawing but often on my style and technique which I find very odd that I sit and anylise my drawings. To me my drawings are not complete until I am personlly happy with how they look. If it doesn't look right its no good. It has to look right to be a self satisfactory piece.
The time and the place to draw is also a big determining factor as to wether I enjoy a drawing or not. You see personally I find that to enjoy a drawing, you shouldn't have to be looking at it. I think that the process of the drawing is as much enjoyable as looking at your finishes drawing after. The place, usually I can only draw indoors, in my studio space or at a lifedrawing class and I have to plan. I have to plan ahead, deciding in myself when I am going to be able to produce. Alone is often the way I have to be and in no distraction from voice. I am helped a lot by having music playing, and find it detrimental to have others around me talking.
In any case, I have to be copying from either direct observation or a photo, using such images not to create a carven copy but to use as a reference point for my drawing on the page, I can't create a drawing out of my head an I often use the photo's or drawings and paintings of other artists to make my piece. Either this or I'll take from my other previous drawings and give to my new piece elements of other drawings I have done on the past.
http://dictionary.reference.com/browse/medium
What I feel I should take from this selection however is this,
me·di·um – noun...
...11. Fine Arts.
a. Painting. a liquid with which pigments are mixed.
b. the material or technique with which an artist works: the medium of watercolor.
Interesting so it is that 'me·di·um' be technique aswell as material. This my friend is brilliant.
Medium - 'DRAWING'
The easiest one of these to choose I think was the medium, although there were many things I could have chosen. I decided after great deliberation that 'drawing' was going to be my chosen medium, and in particular the meaning of drawing and the personal qualities that drawing holds for me and also how others see drawing. I was once part of a group who were asked to write a manifesto on drawing and this is something that has already re-ignited an interest in the topic and a number of questions.
- What is drawing?
- Why do we draw?
- What do we get from drawing?pan>
I started with this, a bit of history. Interesting.
The human being has always felt the need to represent all that surrounds him, finding in drawing, the most interesting means to carry out this desire. The first drawings goes back to the Superior Paleolithic , 35.000 years ago, when the Homo sapiens represented on the cave surfaces of the caves or on the skin of the coats, animals that he hunted. An example of this artistic manifestation can be found in the cave paintings of the caves of Altamira, in Cantabria (Spain).
Later, the Egyptians knew how to take profit of this art to decorate the most imposing constructions in the history; the pyramids. It had passed thousands of years and the drawing had evolved substantially. From the single-coloured and static composition of the prehistory, a new stride had been made to the balance, thoroughness and coloring of the theological representations in temples and sanctuaries. There was a need to detail the figure of gods to thank them the splendor of the Egyptian empire
It was necessary to advance to the sixth century BC to find in the Greeks the maximum representatives of the balance in drawing. Worried to center in the human candid expression, they denude it from any ostentation or supernatural connotation, they are able to achieve their target and they obtain what was considered to be the harmonic balance.
The Romans, 500 years later, contributed to the diversity it was lacking . And army and an discipline was required to maintain an empire on such an extensive territory in order to subdue so many diverse cultures under the same authority. That facilitated, in certain part, the abandonment of the artistic and ornamental stuff to come closer to a more practical and more useful doctrine for that time; Solid constructions were necessary to maintain the authority from the continuous attacks of the invaders. They obtained in the drawing the means to reflect what the useful constructions needed to be . The first maps arose and with them the architecture was born. The technical drawing required a bigger technique and mathematical knowledge about what had been forged until that moment.
A greater number of complete works is preserved from the Middle Ages. During this period, vivacious representations prevail. Spectacularity and garnish is imposed without giving any opportunity to colour to act ; Line is in charge of standing out the detail. The Arab invasion introduces a revolutionary support to drawing and painting: the paper. This is a Chinese invention that will facilitate illustration to stop being an exclusive activity which monks did on skin and cane parchments. The general population can achieve it. Starting from that moment, it can be shown the radiance of color. It is also necessary to highlight the introduction to the general use of the metallic fountain pen and the ink as we know it at the moment.
From Italy, and advancing among the Gothic period ,(second half of XV century ), the Renaissance is disarticulated of the religious stuff. Now the important thing is to recognize the beauty and to know how to express it . Being based on the Greco-Roman artistic civilization (the old thing revives), the natural and concise is imposed again. The magnates allow their busts to be reflected in multitude of portraits. Of the mere forgotten decoration, the feminine nude begins to appropriate of the main topics in the creations and one returns to the study of the human figure. The drawing ascends to the volumetric thanks to the new techniques of colouring . The game of lights and shades, together with the perspective, makes reality nearer to drawing. A manifestation of artists demonstrates this new development: El Greco, Miguel Angel, Sandro Boticelli, Leonardo da Vinci.
The last one stands out from the others because of his investigation desire. He picks up under his works anatomy studies, invention of devices and a new way of using the illumination in drawing. The " esfumato" dissipates the closed line of the contour of the drawing to increase depth and what it will pursue from then on: the approach to the natural thing. Therefore the drawing stops to be something spontaneous and subjective to become a true discipline.
The Baroque stretches out until the VII century. It uses exaggeratedly all the resources contributed by the Renaissance to express a wide range of attitudes, from the calamity of poverty until the splendor of wealth. Rightness and uniformity are broken in the pictorial representations and it is tried to the maximum to move and to attract the spectator.
From the XIX century onwards the continuous uniformity that had followed the history of drawing is broken. It forks in multitude of styles: romanticism, realism, impressionism, expressionism, fauvism, cubism, futurism, surrealism... Nevertheless, all they make use of what had so far been contributed as a tool to express new approaches of the society they were living in.
http://www.dibujosparapintar.com/english_activities/drawing_course_history.html
Drawing for me
I draw because I find in drawing something nothing else can provide. The time spent drawing is my time. My time in which I can relax under no pressure to fill any one elses needs. I find myself being entranced by my own ability to draw, focussing not always on my drawing but often on my style and technique which I find very odd that I sit and anylise my drawings. To me my drawings are not complete until I am personlly happy with how they look. If it doesn't look right its no good. It has to look right to be a self satisfactory piece.
The time and the place to draw is also a big determining factor as to wether I enjoy a drawing or not. You see personally I find that to enjoy a drawing, you shouldn't have to be looking at it. I think that the process of the drawing is as much enjoyable as looking at your finishes drawing after. The place, usually I can only draw indoors, in my studio space or at a lifedrawing class and I have to plan. I have to plan ahead, deciding in myself when I am going to be able to produce. Alone is often the way I have to be and in no distraction from voice. I am helped a lot by having music playing, and find it detrimental to have others around me talking.
In any case, I have to be copying from either direct observation or a photo, using such images not to create a carven copy but to use as a reference point for my drawing on the page, I can't create a drawing out of my head an I often use the photo's or drawings and paintings of other artists to make my piece. Either this or I'll take from my other previous drawings and give to my new piece elements of other drawings I have done on the past.
Michael Landy
Started first from the beginning, always a good idea. I've decided that the dictionary is going to be the basis for my investigation.
art·ist – noun
1. a person who produces works in any of the arts that are primarily subject to aesthetic criteria.
2. a person who practices one of the fine arts, esp. a painter or sculptor.
3. a person whose trade or profession requires a knowledge of design, drawing, painting, etc.: a commercial artist.
4. a person who works in one of the performing arts, as an actor, musician, or singer; a public performer: a mime artist; an artist of the dance.
5. a person whose work exhibits exceptional skill.
6. a person who is expert at trickery or deceit: He's an artist with cards.
7. Obsolete. an artisan.
[Origin: 1575–85; < MF artiste < ML artista master of arts. See art1, -ist]
—Synonyms
1. Artist, artisan are persons having superior skill or ability, or who are capable of producing superior work. An artist is a person engaged in some type of fine art. An artisan is engaged in a craft or applied art.
http://dictionary.reference.com/browse/artist
When I was reading about 'art·ist', I came across another word I found absolutely hilarious. The word 'art·less'.
art·less – adjective
1. free from deceit, cunning, or craftiness; ingenuous: an artless child.
2. not artificial; natural; simple; uncontrived: artless beauty; artless charm.
3. lacking art, knowledge, or skill.
4. poorly made; inartistic; clumsy; crude: an artless translation.
[Origin: 1580–90; art1 + -less]
—Related forms
art·less·ly, adverb
art·less·ness, noun
—Synonyms
1. naive, unsophisticated, guileless, open, frank, plain, unaffected, candid, sincere.
—Antonyms
1. cunning.
http://dictionary.reference.com/browse/artless
or,
art·less - adj
1. free from deceit or cunning: artless generosity.
2. natural or unpretentious. artlessly adj
After finding this I sat for a moment in thought. You see now I'm not sure what art or an artist or the truth really is? Rob said this might happen. Finding something I wasn't looking for. Question one, 'is art therefore a lie?' Hopefully you can understand my concern. If to be 'artless' is to be '...free from deceit or cunning...' and '...natural or unpretentious...' then what are we as artists or at least members of the art society? Well I figure we are in fact un-natural, pretentious, cunning and deceitful, personally none of which I particularly want to be, but anyway I thought a while longer to no avail and then continued.
Artist - 'MICHAEL LANDY'
After studying Michael Landy's work at foundation level, I think he was the only choice for me as I was influenced so much not by his work in general, but in particular one piece which I found incredibly inspiring. Michael Landy's performance/ installation piece 'Breakdown' was something amazing. In this piece as you may be aware, the artist has collected together each and every single one of his 7,226 possessions and listed them in a series of categories.
-art
-clothing
-electrical equipment
-furniture
-kitchen contents
-leisure
-perishables
-reading material
-studio contents
-motor vehicle
What Landy did then was something that I quite honestly couldn't do, and I'm sure many of us couldn't either. Setting up a conveyor belt and platform on the ground floor of an old C&A building on oxford street, equipped with a team of dismantling volunteers, he systematically destroyed everything he owned. For two weeks he performed the process of becoming 'free' and leaving the most sentimental things till the end, he proceeded to simply destroy what seems like his whole identity and existence. Even his birth certificate and passport were destroyed. Some say I'm crazy for thinking this was an impressive piece, declaring that they think Landy was 'stupid' to do such a thing, but I can honestly say that this is personally the most fascinating, inspiring, and without a doubt interesting art piece I have come across, and I have the upmost respect for what he did.
Michael Landy
'Breakdown' - 2001
The reason I have chosen Michael Landy as my artist however is not to find out more about 'Breakdown', or to find out about his previous works but more so to find out what happened to Landy after his performance of 'Breakdown'. Where did he go? What did he do? In particular what was his next work? Since studying 'Breakdown' I have not heard anything about what Landy has been producing. I started online and came across a couple of articles discussing his whereabouts, the links to which follow. I then continued through various books and online to build my archive.
The first thing I found were these images of etchings or prints from etchings of weeds that Landy did in 2002, and the piece he did (below) 'Dragon Fly' which for me are magnificent.
Michael Landy
'Common Dandelion' - 2002
.............................................................................................
Michael Landy
'Bristly Ox-tongue 2' - 2002
.............................................................................................
Michael Landy
'Nourishment' - 2002
.............................................................................................
Michael Landy
'Dragon Fly' (detail) - 2004-05
.............................................................................................
I then went on to find what has again backed up my reasoning behind Michael Landy being one of my favourite artists. This exhibition that he did at the 'Thomas Dane Gallery' called, 'WELCOME TO MY WORLD - built with you in mind' (2005) after his earlier 2004 commission piece 'Semi-detached' (image to follow), is one of great inspiration for me and relates perfectly with my manifesto behind drawing, as is what seems to be the case for all Landy's work since 'Breakdown'.
(Unfortunately I couldn't find the names of all the pieces but they were all taken from the same link and I have put them in the Bibliography under the exhibition title, 'WELCOME TO MY WORLD - built with you in mind' (2005), and gallery name ' Thomas Dane Gallery'. Can be found in 'Bibliography - Images')
.............................................................................................
.............................................................................................
.............................................................................................
Michael Landy
'Daily Mirror' - 2004-05
.............................................................................................
.............................................................................................
Michael Landy
'Barbie comb' - 2004-05
.............................................................................................
Although Landy's work since breakdown has been a lot different to what he has done in the earlier part of his career, moving away from the idea of large scale installations, and working with much smaller, drawing type pieces, I did find out about this installation he did for commission at the Tate Britain.
Installation at Tate Britain
Photo © Tate, 2004
Michael Landy
'Semi-detached' - 2004
............................................................................................
This piece for me, again thinking back to how Landy made me feel when I came across 'Breakdown', is something magnificent. The complete house itself, a carven copy of his parents house in Essex, is a fantastic structure, built from original materials and dipicting the exact details of the original house right down to rusty nails in the walls and bird muck on the tiled roof. An amazing explosion of detail blooming with asthetic quality. I watched a film about the making of the installation and something was said in the film that again set me off with a burst on inspiration. One of the people involved in the making of the installation were interviewed and commented,
"...sometimes the difference between a good installation an a bad installation is simply the detail...",
and looking back at the film and images of the installation its clear that the detail is what makes the piece. Quite incredible and although I really like Landy's different drawing type works, I was pleasantly surprised to see he is still producing on such a challenging scale, something I wish to push forward in my work.
I have added below the link to the film should it be required.
http://www.tate.org.uk/britain/exhibitions/landy/makingof.htm
art·ist – noun
1. a person who produces works in any of the arts that are primarily subject to aesthetic criteria.
2. a person who practices one of the fine arts, esp. a painter or sculptor.
3. a person whose trade or profession requires a knowledge of design, drawing, painting, etc.: a commercial artist.
4. a person who works in one of the performing arts, as an actor, musician, or singer; a public performer: a mime artist; an artist of the dance.
5. a person whose work exhibits exceptional skill.
6. a person who is expert at trickery or deceit: He's an artist with cards.
7. Obsolete. an artisan.
[Origin: 1575–85; < MF artiste < ML artista master of arts. See art1, -ist]
—Synonyms
1. Artist, artisan are persons having superior skill or ability, or who are capable of producing superior work. An artist is a person engaged in some type of fine art. An artisan is engaged in a craft or applied art.
http://dictionary.reference.com/browse/artist
When I was reading about 'art·ist', I came across another word I found absolutely hilarious. The word 'art·less'.
art·less – adjective
1. free from deceit, cunning, or craftiness; ingenuous: an artless child.
2. not artificial; natural; simple; uncontrived: artless beauty; artless charm.
3. lacking art, knowledge, or skill.
4. poorly made; inartistic; clumsy; crude: an artless translation.
[Origin: 1580–90; art1 + -less]
—Related forms
art·less·ly, adverb
art·less·ness, noun
—Synonyms
1. naive, unsophisticated, guileless, open, frank, plain, unaffected, candid, sincere.
—Antonyms
1. cunning.
http://dictionary.reference.com/browse/artless
or,
art·less - adj
1. free from deceit or cunning: artless generosity.
2. natural or unpretentious. artlessly adj
After finding this I sat for a moment in thought. You see now I'm not sure what art or an artist or the truth really is? Rob said this might happen. Finding something I wasn't looking for. Question one, 'is art therefore a lie?' Hopefully you can understand my concern. If to be 'artless' is to be '...free from deceit or cunning...' and '...natural or unpretentious...' then what are we as artists or at least members of the art society? Well I figure we are in fact un-natural, pretentious, cunning and deceitful, personally none of which I particularly want to be, but anyway I thought a while longer to no avail and then continued.
Artist - 'MICHAEL LANDY'
After studying Michael Landy's work at foundation level, I think he was the only choice for me as I was influenced so much not by his work in general, but in particular one piece which I found incredibly inspiring. Michael Landy's performance/ installation piece 'Breakdown' was something amazing. In this piece as you may be aware, the artist has collected together each and every single one of his 7,226 possessions and listed them in a series of categories.
-art
-clothing
-electrical equipment
-furniture
-kitchen contents
-leisure
-perishables
-reading material
-studio contents
-motor vehicle
What Landy did then was something that I quite honestly couldn't do, and I'm sure many of us couldn't either. Setting up a conveyor belt and platform on the ground floor of an old C&A building on oxford street, equipped with a team of dismantling volunteers, he systematically destroyed everything he owned. For two weeks he performed the process of becoming 'free' and leaving the most sentimental things till the end, he proceeded to simply destroy what seems like his whole identity and existence. Even his birth certificate and passport were destroyed. Some say I'm crazy for thinking this was an impressive piece, declaring that they think Landy was 'stupid' to do such a thing, but I can honestly say that this is personally the most fascinating, inspiring, and without a doubt interesting art piece I have come across, and I have the upmost respect for what he did.
Michael Landy
'Breakdown' - 2001
The reason I have chosen Michael Landy as my artist however is not to find out more about 'Breakdown', or to find out about his previous works but more so to find out what happened to Landy after his performance of 'Breakdown'. Where did he go? What did he do? In particular what was his next work? Since studying 'Breakdown' I have not heard anything about what Landy has been producing. I started online and came across a couple of articles discussing his whereabouts, the links to which follow. I then continued through various books and online to build my archive.
The first thing I found were these images of etchings or prints from etchings of weeds that Landy did in 2002, and the piece he did (below) 'Dragon Fly' which for me are magnificent.
Michael Landy
'Common Dandelion' - 2002
.............................................................................................
Michael Landy
'Bristly Ox-tongue 2' - 2002
.............................................................................................
Michael Landy
'Nourishment' - 2002
.............................................................................................
Michael Landy
'Dragon Fly' (detail) - 2004-05
.............................................................................................
I then went on to find what has again backed up my reasoning behind Michael Landy being one of my favourite artists. This exhibition that he did at the 'Thomas Dane Gallery' called, 'WELCOME TO MY WORLD - built with you in mind' (2005) after his earlier 2004 commission piece 'Semi-detached' (image to follow), is one of great inspiration for me and relates perfectly with my manifesto behind drawing, as is what seems to be the case for all Landy's work since 'Breakdown'.
(Unfortunately I couldn't find the names of all the pieces but they were all taken from the same link and I have put them in the Bibliography under the exhibition title, 'WELCOME TO MY WORLD - built with you in mind' (2005), and gallery name ' Thomas Dane Gallery'. Can be found in 'Bibliography - Images')
.............................................................................................
.............................................................................................
.............................................................................................
Michael Landy
'Daily Mirror' - 2004-05
.............................................................................................
.............................................................................................
Michael Landy
'Barbie comb' - 2004-05
.............................................................................................
Although Landy's work since breakdown has been a lot different to what he has done in the earlier part of his career, moving away from the idea of large scale installations, and working with much smaller, drawing type pieces, I did find out about this installation he did for commission at the Tate Britain.
Installation at Tate Britain
Photo © Tate, 2004
Michael Landy
'Semi-detached' - 2004
............................................................................................
This piece for me, again thinking back to how Landy made me feel when I came across 'Breakdown', is something magnificent. The complete house itself, a carven copy of his parents house in Essex, is a fantastic structure, built from original materials and dipicting the exact details of the original house right down to rusty nails in the walls and bird muck on the tiled roof. An amazing explosion of detail blooming with asthetic quality. I watched a film about the making of the installation and something was said in the film that again set me off with a burst on inspiration. One of the people involved in the making of the installation were interviewed and commented,
"...sometimes the difference between a good installation an a bad installation is simply the detail...",
and looking back at the film and images of the installation its clear that the detail is what makes the piece. Quite incredible and although I really like Landy's different drawing type works, I was pleasantly surprised to see he is still producing on such a challenging scale, something I wish to push forward in my work.
I have added below the link to the film should it be required.
http://www.tate.org.uk/britain/exhibitions/landy/makingof.htm
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