Ciprian Grigorescu

Morning Exchange – Binaries

Series of 13 looped 15 second animations – variable formats 2020.

Morning Exchange is a collaboratively run project that organises research meetings, conversations, workshops and artist talks. One key rationale behind them is to better acquaint current students and staff with practitioners working beyond the walls of the SoA. An online record of the weekly meets is available online at themorningexchange.cargo.site, through which reading lists and notes gathered in the meets will be more broadly available.

The website acts both as an online platform archiving our previous meetings and collaborations and as a place to engage with resources, projects and reflexive practice; a news source for upcoming events and a home for a platform that is based around the previously mentioned core beliefs – organising meetings, research groups, collaborative projects and commissioned artworks.

The project Binaries stems from research conducted through the activity of Morning Exchange combined with personal investigation into foundational principles that sit at the core of organising collaborative structures. The binary notions function as building blocks for figuring out positions and points of reference, some appear to be in opposition, others in a state of complementarity; all presenting symbiotic relations that are considered through reflexive thought.

The looped 13 videos take inspiration from the idea of a deconstructed visual essay. They are designed to easily be disseminated online, adapting to different forms of representation – from screensavers to vertical video for mobile devices and even print formats. Freely available for download – their purpose is to be experienced independently on personal devices without the need for gallery / exhibition space access.

Binaries is a personal perspective, presented in a state of liminality – between an ambiguous generative viewing experience and investigative reflection – between artwork and online resource.


To view all 13 videos visit Morning Exchange here.
To download the videos click for horizontal or vertical.
To download A4 print files click here.

Statement

I define my practice as existing at the border of artistic gesture, design process and research.
It often stems from investigative research into subjects that puzzle and challenge my own perspective, adding to that ideas and conclusions derived from collaborative projects, conversations, workshops and interviews.
Roles such as organiser, mediator and producer take a foundational role in the direction projects take.
Between all of these, self referential traces can be found, distant connections and juxtapositions of ideas and visuals that act as generative content for a larger conversation.

Jessie Lavie

www.yasjessie.com
@yasjessie

Empowered Women: An Illustrated Quilt

My creative practice connects craftivism, feminism, and socially-engaged art. I look to drive positive social change by engaging diverse groups of people in the processes of creating collaborative projects whilst allowing space for conversation and exchange. I use illustration and visual art as a tool to strengthen social movements including body positivity, gender equality, and wellbeing. I take inspiration from everyday thoughts, conversations, and events and how they affect us. I am influenced by local communities who are an integral part of my research and play a fundamental role in my projects.

This project brought together women to talk, draw, and stitch. During online workshops, women were provided with prompts themed around empowerment and self-reflection for which they illustrated and stitched their responses. Participants recognised that embroidery has its power and can be used as a gentle and profound method of protest. The collective act of sharing thoughts, experiences, and emotions whilst embroidering them resulted in an improved sense of self-empowerment and fostered a greater self-awareness.

Everything we create empowers us.

Jennifer Linsdell

Statement

My practice aims to expose the truth of our teachers’ lives while actively seeking ways to use the arts and creativity to support mental wellbeing within education. Through interviews, artwork and critical self-reflection, I’m taking you into the unknown world of Further Education, a forgotten place left behind by our government. A place of anxiety, fear, institutional conditioning and un-restrained pressures.  

I hope you drift through this multi-disciplinary practice with an open mind; listen, learn and reflect on what is currently happening in this world. Take your time, allow yourself to fill this space with memories, thoughts and opinions. Write, draw, paint or simply just give yourself time to think. This is for you, to be part of. Your story is remarkable too. Recognise that one person can change the world, no matter how big or small that world is.  

After all, creativity is fundamental to the human condition.

Contact

jennifer.linsdell@live.co.uk
@jnfrktprints
@jnfrlinsdell

Degree

Arts and Education Practices

One Person Can Change The World

A reflective project, 2020

Dear Reader,

Today, I am letting you into a secret world within Education. One, which is often considered to be taboo, an unspoken truth which flows through each and every member of this sector in some way. Mental Health is something which effects everyone in the world in some way. But in Further Education, it’s almost as if we are still stuck in the 1800’s, whispering about our educators being crazy, forcing them out of their roles, into asylums and putting a plaster over the cracks in the sector.

This project is built to show why our approach to mental health has to change. The detrimental effect this is having on our Educational workplaces, and the world within it. It seeks to show you, to make you listen to real stories of this impact. It is here to share with you how creativity and the arts can be used to support our staff and students. It is here to make you see, to make you understand why. It is here for you to reflect yourself, and join the advocacy for change with both art education, and mental wellbeing.

This project is not only here to allow you to see the truth, and the need for change. This work wants to create a space for you to realise your own connections with mental health in Education, and to continue to support the need for change.

This isn’t the end; this is just the beginning…

Thank you.

Hayley Ash

Bio

With a longstanding background in youth work, I am interested in experiential learning, spaces of informal education, participation and a continued examination of the intersections between art and youth practices.

Through practitioner interviews, photographic inquiry and critical reflection, hidden narratives in youth work are presented in Decentred Disclosures for consideration of potentiality in future practice.

Contact

www.hayleyash.com hayley-ash@outlook.com

Degree

Arts and Education Practices

Decentred Disclosures

Digital PDF, 210 x 297mm, 202

Photography can tell a story of the undercurrents present in the places we pass through.

Returning to a pivotal moment for Youth Practice in the United Kingdom when services faced devastating cuts, historical political re-imaginings are explored through the act of reflexive photography, questioning hidden narratives, revealing the layers of governance and the socio-political disparities of the local.

www.relationalyouthpraxis.com

Larissa Shaw

larissaeshaw.com
ris@larissaeshaw.com


Interested in ungoverned libraries and non-hierarchical education, my work playfully documents common concern as places of sanctuaries, balancing trust and cooperation over competition and anything else. I use self-documentation and lists of useful things said to me to orientate my practice in its own self-governed and non-artist prescription, working solo and collaboratively. Through whichever material takes my interest at the time, generally somewhere between: textiles, metal and text.  

I lean into learning something new, using machines and process to illustrate research, navigating personal, transgenerational and socio-historical narratives. Presented as installations, webs of [re]imagined engagements surrounding language and knowledge [re]production – which is [un]written, [un]performed, made [in]visible. 


Publications are also are occasional extension of my practice.

A closeup detail image of a grey curtain. In the centre is a yellow panel in an curved, irregular shape. All around the edges of the yellow panel is a bright green fluffy embroidered detailing. In the bottom left of the image is the corner of another yellow panel, edged similarly with embroidered detailing in bright hot pink. Above this detailing is a clear panel with no embroidered detailing.
Goldfish, Common Interest Amongst Other Sancturies/Empires, 2020

“The graveyard feeling is caused by an unsuccessful submersion. Like when you go fishing under water; there, too, you dive into a new element, the water. If you leave the water without having caught a fish you feel a chill, you get a cold, whereas after a successful catch you are content and get the impression that the water warms your spirit. But if you are not a practical person and have never had the inclination, or the time, to work with your hands or to learn new skills, turn to page 88. There you will find a list of addresses of various organisations that will put you in touch with good, local draughtsmen and builders.”

Poster Work, 2020. [Digital posters]

[A list of useful things said to me since the first day of 2020, phone notes.]

Ahhh those Eames chairs are total fuckers, like some sort of masculine nightmare. – CW

People wearing sunglasses in London on really overcast days really get to me, it’s like, OKAY I GET IT – GB

Be a parasite within an arts organisation, but be careful not to destroy the host, or you won’t get paid. DK & CDP

Artist run galleries have had to adopt less transparent ways of functioning than commercial galleries in order to get funding and survive. SL

Most of the time it’s good you don’t have a clue why you’re doing something until the very last minute – CW

There’s nothing more depressing than repairing damaged artworks. You should try to avoid that. CC

Drag me to hell, credentialism is rife – LO’C

If you ever struggle to read a thousand plataus, just read the last page, CW

I’m mad everyday that I paid for a new contemporaries application once – ES

Parasitic, algae, tardigrades, aspects of life that can survive in epically tricky conditions. Boil them, deep-freeze them, crust them, dry them out or blast them into space; tardigrades will survive it all and come back for more – CW

What’s the point in playing Sims if you don’t know the cheats? I have to go to work to earn money? It’s like I do that shit in real life, I don’t need it in a game too – AS

Rowley Regis belongs to no one. ES

I also think the idea of accessing space gets very bleary and confusing when it comes to this sort of art-based-professional-social thing and you sometimes can’t work out if you’re welcome – ES

The poem is in the public domain – KB

I really want to facilitate new public structures for art, that don’t pedestrianise these monuments as some sort of gatekeepers of your own understanding – LO’C

Time as commodity, what happens when bus timetables in other countries aren’t really a thing? – HA

Art-world-creating-artists with more divide than unanimity, urgh – RD

How do I know I actually want to do something, or if it’s just because we’re in quarantine? – LS

I spend all day on Monday redesigning the course criteria, and I’ve never been so disinterested in all my life because this thing was so dominating – CW

‘Gardens, Allotments, and other Sanctuaries/Empires’ – TE

Today you’re exhausted by all the emotional to-ing and fro-ing. There is lots to be grateful for and so much to look forward to, but honestly, even thinking about this stuff is giving you the shits. Embrace denial, it’s not like anyone knows what day it is. – MK

Work should not have a life expectancy, and it should exist after its life in a gallery – CW

Talking into a vacuum / nobody is working in a vacuum – CW

Have you ever gone to any art thing ever and thought “wow I’m glad I woke up and got out of bed for this”? LS – // I can honestly say no. Watching any sort of art that exists via the internet in lockdown in bed has actually been quite revolutionary – ES

Are you being persecuted or prosecuted? DC

If no mapping of the swamp is possible, then what to do with the co-ordinates? Are they even necessary? RS

I’m like a guppy at feeding time. I don’t think that far ahead. GS

Do I really need to distinguish between various stages of research, more or less advanced, and the question of realised work? What the hell is realised work?! – LS

Student’s are paying for the most expensive video calls ever known to humankind – CW

International art language is the only language I want to speak and I’ve been speaking it since I was about 3 – CW

Art Licks Weekend 2019, London. Installation shot at 4Cose, South Hackney.
Collaboration with GU Womxn; Laura Onions, Sophie Huckfield, Emily Hawes & Larissa Shaw
A Manifesto, 2020. Self published, printed by Dizzy Ink (Nottingham)
Soft Spaces for Seizures, 2020.

Recent 2019-20 activity has included (hyperlinks): writing with BLCKHLCLB, Art Licks Weekend with GU WomxnCoventry Biennial, catching caterpillars and making my website into a self-library index.

I work with Black Hole Club 2020, Masters of Something, Matters of Interest, The Morning Exchange & goldfish.

Sandberg Instituut, Amsterdam NL. 2019.
Garden Brickwork (1971) Mike Lawrence.
Two power-coated car suspension springs at Bourne’s, Bissell Street, Birmingham.
A scan from a page in a book, ‘Garden Brickwork’ (1971) found in my Grandad’s house whilst looking through his belongings.