Concept

One of the principles of artistic production is the reinvention and reinterpretation of the methodology used by previous artists. The criticism that 'art is about art' is actually fundamentally true and the interpretation of ideas, concepts and methods have a central role in the contemporary art scene. We can start by considering the work of Richard Hamilton, Sam Taylor Wood and Leon Kossof who throughout their careers have intermittently analysed the work of past artists through practice. Picasso, the towering art figure of the last century, reworked the art of others repetitively returning frequently to different stages of artists' work such as Velasquez and Delacroix. Picasso has himself been the subject of reinterpretation by many artists of the mid to later twentieth century, directly and indirectly referenced by among many others, Ceri Richards for example. Visual Art operates in state of permanent flux reinterpreting and redefining through material and process.

 

In Re-take, Re-invent there is inherently an examination of the ideas behind the art work, the theoretical, historical or conceptual context. In this respect and what separates the project from any previous, is the focus on the process of making new art from a preceding art work; the actual thinking through interpretation and the development of new ideas manifested perhaps in sketches, studies and work books. Thinking through interpretation is therefore, the main focus and as such the outcomes will be exploratory and open ended rather than conclusive. The artists in Re-take Re-invent are interpreting their chosen work from the critical standpoint of their current practice and thereby considering how the art work from the collection can be reinterpreted and redefined within contemporary fine art practice.

 

The project is moreover seeking to explore during the two year production time the inherent qualities of studio practice. Thinking and developing ideas through making and handling. Working with materials, stone, paint or charcoal involves creative thinking through the use of materials. Process such as photography, printmaking and painting require the same determined pursuance of handling of tools, equipment and materials. An exposure of the methodology of making within the context of the artist studio is therefore the main aim of this project. Whilst the studio is part sanctuary, a place where art and philosophy can be considered in perhaps solitary situation, the studio also functions as the main base for exploratory projects involving collaboration and participation. The artist’s role is today one of an entrepreneur, organiser, administrator and communicator (in many different guises) adept at negotiating media and effective strategies for networking. Yet, the central function of studio practice remains constant; the fundamental connection with making and trying to understand our place in the universe through creative application. This project celebrates the visual artistic practice that artists by necessity have to be engaged with and rather than analyse this to nullification rather explores the territory of visual creative thinking and meaning as perhaps highly significant part of practice based research.

 

Process

The working process and studio practice is emphasized as an important part of the project and is as important as any ‘final piece’ of artwork.

For the 15 artists taking part in the project there is a valuable opportunity to promote their progress through the working process. Participation in the project encourages a focused approach to making under a practice based research culture; experimental certainly and perhaps parallel to existing practices but questioning of existing paradigm. The project explores subjective interpretation (the actual artwork chosen) and the wider issue of visual thinking through an exposure of the studio practice. The project nurtures discourse around fine art practice within the professional, educational, academic and public domains, fostering discourse on art and producing a comprehensive survey of visual practice and this will be achieved during the two years of production by contributions to the project blog, website and discussions with community, schools, students and groups through organized activity and on an individual and informal basis.

 

AIL-WNEUD / AIL-DDYFEISIO RE-TAKE/RE-INVENT Project Blog:

http://retakereinvent.blogspot.co.uk

 

The outcome of involvement in the project will mean that each of the 16 practitioners throughout the region will impact on their specific communities. For example, by the end of 2015 some of the work would have been completed and participants may present work in regional and national exhibitions thereby increasing audiences for the project. This is one example of the practice being available to the public in different situations and it is expected that dissemination by individual participants will be varied and considerable. The project has specific strategies for the dissemination of studio practice.

 

Films

During the time when each participant is making the work a visit will be made to each participant’s studio for a filmed interview. This will be developed into individual artist films and a main project film. This will be available for public viewing in exhibitions and on line.

 

Photographic Portrait

During the year of production the photographer, Graham Hembrough will visit each participant’s studio and make a photographic portrait of the artist and studio. This will form part of the exhibition, publication and on line presence.

 

Schools Workshops

The project presents an excellent opportunity for school groups and community groups to engage with the creative visual process during the years of production. To this end, three main primary school workshops have been undertaken with Gwynedd, Ynys Môn and Conwy schools. Artist facilitator Rebecca F. Hardy has developed and delivered three two day workshops with Ysgol Yr Hendre, Caernarfon; Ysgol Pen y Bryn, Colwyn Bay and Ysgol Y Graig, Llangefni. In addition, participants have involved community groups in talks and visits to their studios and in several cases further in depth collaborations have taken place, for example by Gareth Griffith and Marged Pendrell.

 

Exhibitions

The first exhibitions will take place concurrently from September 2016 at the main partner venue Oriel Ynys Môn, Llangefni with Storiel, Bangor and the Royal Cambrian Academy, Conwy. This tri-partite presentation is ambitious and will maximise the exposure of work developed throughout the project by each individual artist.

 

Timeline

1. The Working Process and Studio Practice

October 2014 to June 2016, launch October 2014.

2. Main Schools workshops

May to June 2015.

3. On line Presence

Project Blog.

Websites - bilingual

4. Exhibition

Oriel Ynys Môn - 24 September to 6 November 2016

Storiel Bangor - 24 September to 12 November 2016

Royal Cambrian Academy - 10 September to 15 October 2016