Intimacy and distance

Mikey Cuddihy

Intimacy and distance

Mikey Cuddihy

University of Brighton

Research output: Other contribution

Abstract

Intimacy & Distance: In 'Spirit Drawings'’, an on going series of large scale drawings which I’ve shown both in this country and abroad, I moved away from the complex layering of earlier canvases, to a simpler more pared down approach. Based on notes and doodles, a small, intense area is selected and transcribed through simple enlargement, and then projected onto large sheets of semi transparent paper, or canvas. I showed these works at: 1. Hackney Forge in 2005, and Seven Seven Contemporary Art in 2007 2. 2009 Seol, Korea, Museum of Art, Drawing the World. 3. 2009 Encounters with Scale (specially commissioned work) the Portman Gallery, Morpeth school East London. 4. 2011 Fraternize at Beaconsfield Gallery, Vauxhall) a group show, which included Franko B, Damien Hirst etc. 5 The Drawing Room, London – a bi-annual invited exhibition and auction, where I showed alongside artists such as Paula Rego and Tracy Emin, small-scale notes and doodles that inform my larger works. 6. 2010 'Golden Rain’, curated by Michael Petry, I contributed a small scale drawing, with a painted paper work attached. Golden Rain has been bought by Palm Springs Art Musuem, and my work can be viewed in their archive. In 2009, I was invited by University of the Arts, London, to contribute a paper on ‘The Processes of Painting’ at Swedenborg Institute, London. In my symposium lecture, titled ‘Magenta Pool’, I spoke about coming back to painting after a long time spent writing; how I embraced the things I had missed (colour, scale, space, the visceral), how I found it exhilarating and terrifying at the same time. I cited several women artists – myself included, who all use strategies of intimacy, or ‘being in’ their work when they paint. I looked at the way image is imbedded in their process, and how this process is inextricably linked to the body. I asked: How does one keep that intimate relationship with the subject (the painting) while at the same time, standing away from it? What value does this approach bring to the painting, to the viewer when the painting is finished; when it's all over? . ICFAR University of the Arts – The Processes of Painting http://ualresearchonline.arts.ac.uk/2132/ Fraternise – The Salon, 2011 Catalogue: http://beaconsfield.ltd.uk/wp-content/uploads/2011/05/Frat-the-Cat-LoRes.pdf

Original language	English
Publisher	Drawing Room
Place of Publication	London, UK
Publication status	Published - 1 Jan 2009

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Mikey making her drawing at Morpeth School.jpgOther version, 3.12 MBLicence: Unspecified
Mikey making her drawing at Morpeth School.jpgOther version, 34 KBLicence: Unspecified
Mikey making her drawing at Morpeth School.jpgOther version, 657 KBLicence: Unspecified
Mikey making her drawing at Morpeth School.jpgOther version, 1.42 MBLicence: Unspecified
Mikey making her drawing at Morpeth School.jpgOther version, 19.1 KBLicence: Unspecified

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title = "Intimacy and distance",

abstract = "Intimacy & Distance: In 'Spirit Drawings'{\textquoteright}, an on going series of large scale drawings which I{\textquoteright}ve shown both in this country and abroad, I moved away from the complex layering of earlier canvases, to a simpler more pared down approach. Based on notes and doodles, a small, intense area is selected and transcribed through simple enlargement, and then projected onto large sheets of semi transparent paper, or canvas. I showed these works at: 1. Hackney Forge in 2005, and Seven Seven Contemporary Art in 2007 2. 2009 Seol, Korea, Museum of Art, Drawing the World. 3. 2009 Encounters with Scale (specially commissioned work) the Portman Gallery, Morpeth school East London. 4. 2011 Fraternize at Beaconsfield Gallery, Vauxhall) a group show, which included Franko B, Damien Hirst etc. 5 The Drawing Room, London – a bi-annual invited exhibition and auction, where I showed alongside artists such as Paula Rego and Tracy Emin, small-scale notes and doodles that inform my larger works. 6. 2010 'Golden Rain{\textquoteright}, curated by Michael Petry, I contributed a small scale drawing, with a painted paper work attached. Golden Rain has been bought by Palm Springs Art Musuem, and my work can be viewed in their archive. In 2009, I was invited by University of the Arts, London, to contribute a paper on {\textquoteleft}The Processes of Painting{\textquoteright} at Swedenborg Institute, London. In my symposium lecture, titled {\textquoteleft}Magenta Pool{\textquoteright}, I spoke about coming back to painting after a long time spent writing; how I embraced the things I had missed (colour, scale, space, the visceral), how I found it exhilarating and terrifying at the same time. I cited several women artists – myself included, who all use strategies of intimacy, or {\textquoteleft}being in{\textquoteright} their work when they paint. I looked at the way image is imbedded in their process, and how this process is inextricably linked to the body. I asked: How does one keep that intimate relationship with the subject (the painting) while at the same time, standing away from it? What value does this approach bring to the painting, to the viewer when the painting is finished; when it's all over? . ICFAR University of the Arts – The Processes of Painting http://ualresearchonline.arts.ac.uk/2132/ Fraternise – The Salon, 2011 Catalogue: http://beaconsfield.ltd.uk/wp-content/uploads/2011/05/Frat-the-Cat-LoRes.pdf",

author = "Mikey Cuddihy",

year = "2009",

month = jan,

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language = "English",

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type = "Other",

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AB - Intimacy & Distance: In 'Spirit Drawings'’, an on going series of large scale drawings which I’ve shown both in this country and abroad, I moved away from the complex layering of earlier canvases, to a simpler more pared down approach. Based on notes and doodles, a small, intense area is selected and transcribed through simple enlargement, and then projected onto large sheets of semi transparent paper, or canvas. I showed these works at: 1. Hackney Forge in 2005, and Seven Seven Contemporary Art in 2007 2. 2009 Seol, Korea, Museum of Art, Drawing the World. 3. 2009 Encounters with Scale (specially commissioned work) the Portman Gallery, Morpeth school East London. 4. 2011 Fraternize at Beaconsfield Gallery, Vauxhall) a group show, which included Franko B, Damien Hirst etc. 5 The Drawing Room, London – a bi-annual invited exhibition and auction, where I showed alongside artists such as Paula Rego and Tracy Emin, small-scale notes and doodles that inform my larger works. 6. 2010 'Golden Rain’, curated by Michael Petry, I contributed a small scale drawing, with a painted paper work attached. Golden Rain has been bought by Palm Springs Art Musuem, and my work can be viewed in their archive. In 2009, I was invited by University of the Arts, London, to contribute a paper on ‘The Processes of Painting’ at Swedenborg Institute, London. In my symposium lecture, titled ‘Magenta Pool’, I spoke about coming back to painting after a long time spent writing; how I embraced the things I had missed (colour, scale, space, the visceral), how I found it exhilarating and terrifying at the same time. I cited several women artists – myself included, who all use strategies of intimacy, or ‘being in’ their work when they paint. I looked at the way image is imbedded in their process, and how this process is inextricably linked to the body. I asked: How does one keep that intimate relationship with the subject (the painting) while at the same time, standing away from it? What value does this approach bring to the painting, to the viewer when the painting is finished; when it's all over? . ICFAR University of the Arts – The Processes of Painting http://ualresearchonline.arts.ac.uk/2132/ Fraternise – The Salon, 2011 Catalogue: http://beaconsfield.ltd.uk/wp-content/uploads/2011/05/Frat-the-Cat-LoRes.pdf

M3 - Other contribution

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ER -

Intimacy and distance

Abstract

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