"Y’Barbo works with technical, technological, evidently computer-generated imagery, speaking of the way we try to quantify and even commodify our lives. But he doesn’t argue against the computer's lack of humanity so much as he tries to humanize it, to bring it down – or up – to our scale.”

Peter Frank - Critic for the Huffington Post, Senior Curator at the Riverside Art Museum, and former Editor of THEmagazine Los Angeles.

Friday, 21 April 2017

Return to Printmaking and Design

Hello,

I recently put information together on my printed practice for a show. I disregarded print during my postgraduate study at Chelsea College (2008-2010) and recently have returned to the driving force behind my social based creative practice.













  

Monday, 20 June 2016

Wednesday, 27 November 2013

Kupambana / Chelsea College Exhibition: Cookhouse

Hello All,

This month has seen two projects that i've been working on over the past 6 months come together. 

The first is 'Communicating Values' a Chelsea College of Art & Design / Kupambana Art Foundation Collaboration. The project aimed to create an exchange of dialogue between Lewis PR employees and students and alumni at Chelsea College. The culmina



First thing I have to say about this project is that I regret not giving the title more thought. It came out of back and forth emails as well as questions of value and value structures that had arisen within my research at the time of the start of this project. I think a more appropriate title would be 'Limits of Language' or maybe 'Do We Know More Together?' 

Anyhow, the 6 month project ended with what I thought to be a successful exhibition that showed what we'd been doing in our discussions with one another and also art practice based responses within groups.










The second project that i've been working on over the past 6 months was 'Not Knowing: APG / CCW / Chelsea Salon'.




I've post more details about this project here:
http://chelseasalonseries.blogspot.co.uk/2013/11/not-knowing-apg-ccw-chelsea-salon.html






Saturday, 3 August 2013

Plasticity - Tropical Lab at LASALLE College of Art

The work posted below is in response to the theme of TROPICAL LAB 7 and took place between 24th July to 7th August 2013.






video




ECHO: The Poetics of Translation
Walter Benjamin once compared translation to hearing an echo in a forest. Such a 
metaphor for the act of translation suggests the sonic if not oral dimension of language 
and reminds us of the way in which there is a space between the original and its 
repetition. Translation then is a rich terrain of exploration for the arts. 
Tropical Lab 7 draws together student artists from all over the world, bringing them together to learn about Singapore and that of its neighbors. At the same time, it 
provides these artists with the opportunity to collaborate and work across the 
boundaries of country, bringing together differences. While, on one hand, translation 
allows for the discovery and creation of connections between two or more positions, it 
also makes evident a gap. This unbreachable gap reveals the limits of translation - the 
echo is not the original sound, and the copy is not the original. We see shadows, 
supplements or hybrids that appear to relate back to some point of reference and yet, at 
the same time, take on their autonomy and life after the fact.
Duration

The aims and objectives of TROPICAL LAB are to expand the views of the participants, 
to exchange experiences and to stimulate creative thinking through a collaborative 
approach. In addition, to create a positive environment that will stimulate and cultivate 
minds, imaginations, emotional (intuitive) consciousness and cultural sensibilities of the 
emerging generation of young artists and students.
At the same time, we are aiming to establish LASALLE College of the Arts as an 
institution that offers an environment for regional and international students to carry out 
research and advance their art practice in a short period. This will strengthen the value 
and potential of having a programme that is culturally relevant to a range of local, 
regional and international students. 



Wednesday, 24 April 2013

1st Year PhD Exhibition - Salon Adverts


Salon Advert (tree III)
digital print on raw canvas
50 x 50 cm
2013






Salon Advert (tree IV)
digital print on raw canvas
50 x 50 cm
2013



Above are two digital images that i had printed on raw canvas for a recent exhibition at Chelsea College. The exhibition was for 1st Year PhD Students who's research is practice-led. 


This is a tricky area for me as i mainly work in participatory art (creativity and learning through community engagement i.e. Chelsea Salon Series) which tends not to result in material objects.


However, these works were created as advertisements for the Chelsea Salon Series. I combined images of individual practices and documentation of salon events and the resultant images roughly take the form of a tree. The images were selected randomly with only the overall hue, colour and tone of the image as a uniting factor. The combination of individual practices can be seen to form a network - a networks that is based on interaction and creativity which can result in new relationships and ideas.


For more details on the Chelsea Salon Series, please visit www.chelseasalonseries.blogspot.co.uk

Bussey Building June 2012






HEAT,
SMOKE, 
KITCHEN UTENSILS, 
SOUND,
SOUND INSULATION, 
DETERGENT,
3-D and 2-D work'. 
Some of the works in this exhibition concentrate
on the use of senses other than sight. This not only refers
to works producing or dampening aural sensations (a.k.a sound-art),
but to the 'clean' smell of detergents and the hotness of a heater.
How much are we willing or prepared to invest in a
work that is not only 'in front of our eyes'?
There are other themes emerging from the clutter of this seemingly eclectic mix of art work : “experiments” that might remind one of
high-school science classes, diy sound insulation that
could look like an empty canvas, collapsed cardboard structures that
could get more attention than the ones next to a bin, organised
detergents in the style of dot painting or a religious ritual,
painting and drawing a picture, buying a heater from Argos, 
mimicking a guitar body or stacking clay.The materials used reflect 
what is readily available.

Monday, 9 May 2011

Terror in Reproduction

This project focuses on the role of terror in reproduction and the phantasmic illusion of communication and the media, citing Jean Baudrillard’s The Spirit of Terrorism in comparison to the duality of representation in Jasper John's Corpse & Mirror and the silent exasperation of restrained communication in Jim Dine’s Car Crash(1960). 
           What is the commonality between the spectrum of America (which maybe by itself the epicenter but not the embodiment of globalization) and the spectrum of Islam (which is conversely not the embodiment of terrorism)? I hope to create work that attempts to help all of us to come to terms with this now-current recent history.
           The realisation of this project is achieved through the use of silk screen prints and digital reproductions of John’s Corpse & Mirror in relation to video work of news footage from 911. By comparing Johns’ work to footage of the 911 attacks, I intend to draw a parallel to two seemingly identical forms and the doubling morbid truth of the falling towers.
In addition, I will reference Jim Dine’s Car Carsh where Dine plays a mute automobile locked in frustrated communication, evoking anxiety around memory and shared cultural artifacts. During Dine’s performance, laughter was an element used to relieve anxiety in the same way that frenzied, child like celebration is used to alleviate the social misunderstandings of the traumatic event of death. By using media footage of Americans celebrating Osama’s death, Muslim celebrating 911and reproduced elements of Dine’s work,  I’ll attempt to convey the anxiety in misunderstood and impeded communication.
  The use of found footage and screen printed elements secure the mechanized means of reliving these events and denotes the mechanisms through which we understand horrific events as central to human subjectivity, which describes a history of visual representation. Using media footage and examples of reproduced materials captures a thick stream of loaded symbols that are apt to go off at a moment’s notice.


Jean Baudrillard’s The Spirit of Terrorism
http://www.egs.edu/faculty/jean-baudrillard/articles/the-spirit-of-terrorism/


Celebration III Online Footage, 2011


Celebration I Online Footage, 2011


 Celebration II Online Footage, 2011

Celebration IV Online Footage, 2011


Reference to Jim Dine's Car Crash Documentation, 2011