Supporting work — Owen Herbert

Falling Practice

writing

Semillero #1: A Reflection on Where We’re Calling From

Semillero is an artist research group emerging from critical reflection sessions. We aim to host regular research and networking ‘salons’. Main organisers are Emma Jordan, Owen Herbert and Dennis Ngan. We meet roughly fortnightly eg. 4th, 17th and 28th May.

Sshhh…, Open Call
Sshhh…, Finissage Booklet

Impromptu, Exhibition Text
Critical reflection - previous draft 3,900 words

Sshhh… Curation, install, experiments

Workshop plans and excercises

A quick note on these excercises - there was no need to do the part 3 outside part, because we generated more than enough interesting new material through careful attention to the first two activities (which also took longer than expected). Adding in an ‘outside’ exercise felt like it wouldn’t be a logical extension of what we had explored or discovered so far, so I abandoned it to come up with the next stage at a later date with more sensitivity.

stills

Curation and Context

further Journalling

Hannah Peschar Sculpture Garden, email exchange with curator and tutorial with ceramics technician
Impromptu, Espacio Gallery. Commercial text (performing commercial?) explainer for invigilators/sales
An attempt to source free noses from Aesop, Islington, email exchange
Self-orientating pre-Copeland, notes to self
Journal in full

Impromptu - Espacio Gallery - ‘Choregoraphic Objects I-IV’

This work started life as a physical barrier, a single modular volume referencing street architecture that would, through blocking, create movement in the audience. The roughly finished surface was meant to evoke the physical movement of its production, so while audience and artist move, the work had an autonomous stillness.

However, in the install, I noticed they began to take on a further, more complex, life of their own. Quadrapedal bodies, rearing and wobbling on improbably thin legs (and perhaps, arms) are arranged in two pairs, like two 'scenes'. One pair, weak at the knees, stand in nuzzlingly close proximity, while small touches like a false finger nail and fabric plaster evoke courtship or care. Opposite, one stands triumphally over a smaller companion, flipped onto it's back, resembling a beetle, or a submissive or playing mammal. While its unclear whether they are fighting or playing, the fourth is clearly a runt, displaying his unpainted belly and slap-dash construction.

There was intention in the production of the material, but still, my process is open to chance. I also, like tai chi principle, need to go big to go small, and consider the relationship to the floor. While retaining references to street life, architecture and construction, these objects also evoke distinct movements, characters, and relationship to the floor, which elicit sympathy and recognition of the body from the viewer.