Posts from the “West Dorset News & Views” Category
01/06/2012 No comments

Carolyne Kardia opens up for Dorset Art Weeks

THE SCUPLTOR and painter Carolyne Kardia is taking part in Dorset Art Weeks every day (except Thursdays) between Saturday, May 26 and Sunday, June 10. To mark the occasion here is a piece about her first published in 2002 in a handsome little booklet produced as part of a project called TM1 (short for tenminusone). TM1 featured nine artists based in West Dorset, each of whom had a little essay written about them by Sara Hudston, although her name didn’t appear.

The scheme (as far as I can remember) had two aims. First, to try to promote the careers of individual artists. Second, to improve the economy of West Dorset by showing it to be an attractive, creative place – somewhere worth visiting and worth doing business.

The scheme was funded by West Dorset District Council, South West Arts, and the South West of England Regional Development Agency.

The whole project has now been almost entirely forgotten, and the TM1 booklets are extraordinarily rare pieces of printed ephemera.

Now, clearly I’m biased, as I’m married to Sara Hudston, but it’s long seemed to me that her short essays were excellent pieces of work that deserve to be re-published and read. Jonathan Hudston

Scarlet, green, puce, violet, orange, blue, fuschia, jade, pink, crimson, lime, rose, yellow, black, sapphire.

Carolyne Kardia’s paintings challenge the eye. Bursts of hot colour swirl and dance, splinter and explode. Abstract shapes push out against their boundaries, barely contained within square formats. These energetic paintings concentrate on the present instant, endeavouring to capture the immediacy of the physical interaction between artist and painting.

Carolyne Kardia: Genesis of Spring (Painting, Acrylic)

Kardia’s fragile site-specific sculpture shares this characteristic emphasis on working in the here and now. In both practices she creates moments of crisis when artistic choices have to be confronted and decisions made.

The uplifting exhilaration of Kardia’s paintings contrasts forcibly with the more meditative mood of her sculptural installations. These are cast from high-grade white plaster, which is mixed, poured into sheets and then lifted and formed as the material begins to solidify. Kardia has little time before the plaster sets completely, cracks and breaks. She works against the limits of the material, accepting failure as an inbuilt part of the process.

All Kardia’s installations are made on site in response to the characteristics of their settings. One recent commission was for a prison cell in a former courthouse. Although purely abstract in form, the overlapping curved sheets of plaster built arouind the cell bench gave a powerful impression of departed presence, conveying an almost psychic imprint of the emotions that the room had once contained.

Kardia refrains from colouring her sculptures and is content to let the plaster’s matt surface assume subtle, ambient tints from the surrounding light. She often displays paintings alongside her three-dimensional forms and it is illuminating to see the two together. The installation establishes a spatial dialogue with its setting and offers refreshing respite from colour, while the paintings provide a multi-coloured explication of the shapes and themes present in her sculpture.

Carolyne Kardia: Changes In A Moment - Through Dance (Painting, Acrylic)

Kardia trained as a sculptor and first began to use colour in 1987 with the concurrent expansion of her painting practice. She continues to experiment  with a variety of materials, mainly pastels, oils, watercolour and acrylic on paper, canvas and wood. Each provides an opportunity to explore how individual pigments respond to different methods of application and their proximity to other colours. The results are comparable to a dance or song where rhythms emerge and change, never stable, never still.

Carolyne Kardia: Bold user of pigment

Carolyne Kardia studied at St Martin’s School of Art and then the Royal College of Art in London, receiving an MA in Sculpture in 1977. She also completed a postgraduate diploma in art and psychology at Hertfordshire College of Art. Her early work took the form of sculptural installation with cast components made in response to the architecture of particular gallery spaces. Painting became a central part of her practice once she began to work in colour.

She continues to make site-specific sculpture, often in conjunction with two-dimensional work. Of her bold use of pigment, Kardia says: “The colours aim to speak of themselves, to be disassociated from their method of application and soar above themselves, but equally they are rooted in the materiality of pigment and surface.”

Carolyne Kardia: Through The Forest (Oil Painting)

Carolyne Kardia and Dorset Art Weeks

Open from 11am – 6pm, every day except Thursdays betweeen May 26 and June 10, at Fir Tree Farm, Bridport Road, Broadwindsor, West Dorset, DT8 3LA. From Bridport take the B3162 towards Broadwindsor, and three-quarters of a mile before reaching the village turn left up a track. Look out for the yellow sign!

The new oak bench made for Tudor Arcade in Dorchester by Simon Thomas Pirie Furniture of Dorset has been installed and is now “officially open”, as a smiling John Beaves tells a smiling passer-by at the end of this video.

Click here to see how the bench was steam-bent and scorched, and read why.

Note: this video was filmed and edited by Stephen Banks (“Dorset Scouser“) with me (Jonathan Hudston) chipping in from the sidelines in a manner that I like to think was sometimes useful.

When we there, we were approached by a rather belligerent old man who pointed at the bench and said: “I hope this isn’t being paid for on the rates.” Momentarily, it was tempting to say YES, to see his reaction, but it was obvious what it would have been, and anyway,  it wouldn’t have been true. It’s paid for by the private owners of the arcade.

Personally, I think it’s good to have features that add character to a place.

One of the reasons that Lyme Regis has fared well in recent years is that the resort has been able to secure some eye-catching and distinctive street furniture; the famous ammonite lamp-posts, for example.

 
04/05/2012 No comments

Dorset maker Guy Martin opens up for Dorset Art Weeks

THE SCUPLTOR and furniture maker Guy Martin is taking part in Dorset Art Weeks every day between Saturday, May 26 and Sunday, June 10. To mark the occasion here is a piece about him first published in 2002 in a handsome little booklet produced as part of a project called TM1 (short for tenminusone). TM1 featured nine artists based in West Dorset, each of whom had a little essay written about them by Sara Hudston, although her name didn’t appear.

The scheme (as far as I can remember) had two aims. First, to try to promote the careers of individual artists. Second, to improve the economy of West Dorset by showing it to be an attractive, creative place – somewhere worth visiting and worth doing business.

The scheme was funded by West Dorset District Council, South West Arts, and the South West of England Regional Development Agency.

The whole project has now been almost entirely forgotten, and the TM1 booklets are extraordinarily rare pieces of printed ephemera.

Now, clearly I’m biased, as I’m married to Sara Hudston, but it’s long seemed to me that her short essays were excellent pieces of work that deserve to be re-published and read.

The first piece to reappear on this site was about Amanda Wallwork. Next up, after Guy Martin, will be Carolyne Kardia, who is also taking part in this year’s Dorset Art Weeks. 

Parnham College, incidentally, was just outside Beaminster. It was set up by the furniture maker John Makepeace, who now lives in Beaminster itself and, yes, is also taking part in this year’s Dorset Art Weeks. In fact, he pretty much started them, if I remember right, but that is another story. Jonathan Hudston

Guy Martin: A “beautiful thriftiness”

Good design should serve the needs of humankind and the interests of the environment, believes furniture maker Guy Martin.

Using renewable local materials and ecologically sound methods of manufacture, Martin produces pieces that reject market-led criteria in favour of the needs and desires of individual people. His entire philosophy of making is founded on his belief in the value of purity and integrity. Martin’s faith in sustainable practice is governed by a strong sense of spirituality and service as exemplified by vernacular craft communities.

A chair called Cathedral made by Dorset furniture maker and sculptor Guy Martin from ash and stripped willow. It has a rounded bottom.

"Cathedral" by Guy Martin. Ash, Stripped Willow.

For six years Martin was design tutor at Parnham College in Dorset. His time there brought him into contact with desgners and business theorists of international repute, inspiring change and a rigorous reappraisal of values that enabled him to develop a unified philosophy of lifestyle and artistic practice.

Bench made by the Dorset sculptor furniture maker Guy Martin from lime-waxed birch and stainless steel

Bench by Guy Martin. Lime-Waxed Birch, Stainless Steel.

All Martin’s woods are sourced locally from renewable supplies. Cultivated willow from the Somerset levels was one of his favourite materials but supply difficulties have prompted him to make greater use of ash thinnings. He harvests the ash himself, selectively thinning as an essential part of woodland management. This choice of material displays a beautiful thriftiness since these small diameter poles would ordinarily be wasted or burnt for firewood.

Martin’s awareness of environmental issues also influences his practice in the workshop. He avoids using adhesives or other harmful chemicals and never disguises his core materials with veneers. Embellishment is restrained by functionality, emphasising the essential honesty of every piece. The result is a quality product where function has controlled the form, but works in balance with the possibilities of modern technology and other small-workshop constraints.

Storage tower made by the Dorset sculptor and furniture maker Guy Martin from lime-waxed ash and stainless steel

Storage Tower by Guy Martin. Lime-Waxed Ash, Stainless Steel.

Although Martin’s work is rooted in traditional English methods and influenced by the historic precedent of the medieval craft guilds, there is nothing sentimental about his approach. He uses machine processes where necessary and is not afraid to let the effects show on the finished item. He rightly views over-emphasis on hand techniques as an irrelevant attachment to suspect notions of authenticity, rather than a properly informed craft choice.

It is a measure of Martin’s range and skill that his elegant and original pieces avoid parochialism and yet speak so distinctly of a particular rural area. A recent development is the inclusion of stainless steel, which has made his work less explicitly rustic and lent his structures added modernity.

Guy Martin: Brought up on a converted torpedo boat

Guy Martin was brought up on a converted motor torpedo boat moored at Hayling Island. He studied at Portsmouth School of Art and St Martin’s School of Art in London, where he took a BA Hons in sculpture. In 1984 he started a contemporary furniture design practice. From 1988-94 he was design tutor at Parnham College in Dorset, during which period he developed a strong interest in ecology and global environmental concerns.

He has since established his own independent practice in Dorset, making interior domestic furniture, as well as teaching and lecturing. He says: “Design is a listening process, a responsibility and a service and it should take account of the environment and its resources.”

Guy Martin & Dorset Art Weeks 2012

Guy Martin’s Crown Studios at Old Crown Cottage in Greenham on the B3162 near Drimpton in the far west of Dorset are open every day during Dorset Art Weeks from 10am – 5pm between Saturday, May 26 and Sunday, June 10. On May 31, June 1, June 7 and June 8 he’s also open from 6pm to 8pm.

Mr Martin is putting on a joint show with Anne Quick – number 190 in the Dorset Art Weeks (DAW) brochure.

“Please come and enjoy our studios, garden and home with a cup of tea,” says the DAW entry. But note: no wheelchair access.

For more information, call 01308-868122, email or visit his website at http://www.guy-martin.com

Anne can be contacted via email on or visit her website at http://www.annequick.co.uk

In total, 100o artists are taking part in Dorset Art Weeks at 360 free venues: http://www.dorsetartweeks.co.uk

Or look out for a free printed brochure (actually, more like a book these days): Tourist Information Centres normally have a good supply.

 
30/04/2012 No comments

New Dorset bench is A: throne? B: love seat? C: question mark? D: fun?

Or E: All of those things and more? The answer, of course, is E, certainly in the eyes of its makers – the team at Simon Thomas Pirie Furniture at Briantspuddle near Bere Regis in Dorset. The oak bench they’ve steam-bent and scorched is going to be installed in Dorchester’s Tudor Arcade, outside of Waitrose and Fat Face, at the start of May.  So how does Simon Pirie hope his creation will impress the eyes of its beholders and the backsides of its users?

He said: “I hope people will get a sense of fun out of it, I hope it will be visually stimulating, and I also hope it will spark conversation, because in a sense it is a conversation piece.

“It’s a practical piece of furniture with a few quirks, but it is first and foremost a conversation piece, somewhere people can meet and talk and people watch.”

In the video above Simon explains that the bench is partly inspired by traditional love seats, in which people sit side-by-side but back-to-back, so the bench is divided into a series of separate chairs.

Simon said: “The chair that you see as you walk down the arcade towards the supermarket will be face on towards you and the idea is that it will feel quite throne-like. The person who gets that seat is going to feel quite important because they are going to have the whole vista of the shopping arcade coming towards them. I’m looking forward to getting that kind of long shot down the arcade to see who’s got that prime seat.

“It might be me on occasions, I suppose.”

Simon Pirie trained in the 1990s at Hooke Park College near Beaminster in West Dorset. The college was set up by the internationally renowned furniture maker John Makepeace to encourage a generation of “entrepreneurs in wood”. Simon has been running his own fine furniture business for 12 years, until now working largely with individual clients.

The Dorchester bench is different. The result of a public art commission, it’s a significant new venture.

Simon said:  ”We wanted to create something special for this. I mean, we’re known as fine furniture makers. Public art is relatively new for us, and it’s an area we’re looking to expand into.

“This is the first piece that will actually go in situ, so it’s an important job for us.

“We’re working with architects and commercial companies rather than individual clients and that’s a little bit different for us, so it’s a groundbreaker.

“It also manages to encompass lots of other areas of interest, like steambending, like high-tech manufacturing techniques, and like scorching, so there’s lots of elements in there which are very exciting for us as furniture makers.

“And I guess the slightly quirky joke from my perspective is that, if you look at it from above, it’s actually in the shape of a question mark.

“So, there is that kind of question – What should it be used for? How can it be used? Hopefully it has that sense of fun about it, because you don’t want want to be too po-faced and serious.”

Simon said that he has always had a hankering to do outside furniture, and the chance to fulfill that wish in Dorchester has been gratifying.

“It’s our county town, it’s where local and regional government is based, so it’s good to do it in Dorchester.

“It’s a gem of a little town, it’s a beautiful place, and the arcade where it’s going to be the visual centrepiece is having a refresh.

“Despite the general air of gloom about the economy there’s actually quite a lot of optimism in Dorchester, there’s new projects and new buildings, so it’s an exciting place to be.

“It’s our local county town, six or seven miles away from our workshop; it feels very nice.”

Editor’s Note: I’ve been interested in Hooke Park College and people associated with it ever since I first went there about 18 years ago. Simon Pirie is part of the group of people who’ve spread out from there across Dorset… I made the video above with Stephen Banks (“Dorset Scouser“).

 
16/02/2012 No comments

Lush Places: a love letter to our local

OUR PUB re-opens next week and we’re getting very excited.

Oh how we’ve missed it. A couple of months ago, when it seemed all hope was lost, Lush Places penned its very own community poem, each person contributing one or two lines and egged on by that Wondermentalist, the performance poet Matt Harvey, as part of an Artsreach show.

If, like me, you’re a lover of brevity, this poem is no haiku or limerick. But it’s well worth a read to the end. We’ve passed this love letter to our local to Palmers Brewery who say they have never seen anything quite like it.

So here goes…

An ode to the White Lion

In the bar the lion sleeps tonight

They say the White Lion roams on Lewesdon Hill