This week, Ironbbratz Studios took over Central Station, posting featured work and blogs. This, their last post, is about Black Cherry Studio.

Black Cherry Studio is a Textile Print Design Studio set up by two graduates from The Glasgow School of Art. They design and create beautiful exclusive Print Designs for the Womenswear Fashion Market keeping their worldwide client base in mind. Their print designs are created for clothing, accessories, swimwear and lingerie and are produced using traditional hand painting techniques along with cutting edge computer technology. This, coupled with inspiration drawn from current catwalk trends, allows them to create a product which is one of a kind and appeals to everyone from high end to high street companies.

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This week, Ironbbratz Studios takes over Central Station, posting featured work and blogs. This post is about The Telfer Gallery which they support.

The Telfer Gallery opened its doors in Glasgow’s city centre one year ago, exemplifying a wide range of exhibitions and events with a focus on experimentation and cross-disciplinary practice. The diverse nature of The Telfer Gallery’s 2012 programme enabled the committee to explore the potential of the physical space and the wider environment. Within this time, the gallery hosted two residency programmes; one exploring the established modes of arts presentation – questioning the exhibition format itself;  another saw the team assemble an arts collective, Colour Deaf, to produce an alternative experience in visual art and live music through installation art and sonic design. The gallery also produced a number of exhibitions – from sculpture, printmaking and cross-disciplinary collective shows both across the design and fine art sector, and the summertime saw a collaborative project between The Telfer Gallery and Leeds-based initiative Test Space resulting in a series of workshops and an interactive exhibition as part of the Merchant City Festival.

Colour Deaf at The Telfer Gallery, 2011

Now heading into its second year, The Telfer Gallery is about to launch a new programme responsive to the experimental and diverse programme concluded last month. In 2013, the gallery will maintain the diversity of the previous year’s ethos whilst allowing each artist space to focus on the dialogue surrounding the respective body of work and conclusively, enabling the audience to understand the development of work in the gallery situation.

Aesthetic Error by Kel Glaister at The Telfer Gallery, 2012

The Telfer Gallery 2013 programme invites four creative practitioners from across the board of fine art and design to engage our audience in critical dialogue and exhibit beautiful work. We aim to provide a space of production and presentation for these practitioners through engaging with the processes of production unique to each individual. We will provide a platform for focused experimentation within a studio environment and allow time for a productive and critical dialogue to occur organically.

A Billow, a Hunch by Emily Shepherd at The Telfer Gallery, 2012

The Telfer Gallery will launch a new website in correlation with the 2013 programme in February 2013. To join our mailing list, please send an email to gallery@the-telfer.com and be sure to check in with our website, Facebook and Twitter for programme updates, or just to say hello.

Find out more:
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Portrayal of the Sun by Trent Kim, Dec 2012
Made using a canvas (24 x 20) and a video projection of a recording of the sun.

This week, Ironbbratz Studios are taking over Central Station with featured work and blogs. Today’s featured work is by Trent Kim who has has been a theatre practitioner for a number of years, in a variety of areas including directing, production management and stage lighting design. Trent now attends the MRes programme at the Glasgow School of Art where he explores the medium of light beyond its theatrical framework.

Alongside his research, Trent is a founder of Lmotif, where he works as a theatre projects consultant, managing Korean language programmes and cultural events in Glasgow. He is currently working on producing a musical, a theatre training programme, and a couple of small exhibition pieces for 2013.

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Pedro Brito

Pedro was born in Brazil and graduated from the BA (Hons) Sculpture and Environment Art at Glasgow School of Art in 2012. He is currently developing a new series of work investigating perceptions of nature. He plans to use his time at Ironbbratz to develop his studio work and to instigate new discussions with the creative community.

Lisa Catterson

Lisa was born in Scotland and graduated from BA (Hons) Silversmithing & Jewellery Design at Glasgow School of Art in 2012. During her time at Ironbbratz she is planning to investigate more durable materials for her extremely delicate but beautiful paper jewellery.

“Lisa creates sculptural paper jewellery in a new and innovative way, combining use of new technology with old. Her pieces are made mainly of handmade paper with traditional metalwork. Her work is fuelled by a constant attraction to repetition in nature. The focus is on the delicate layers of gills she finds within mushrooms. She creates her beautiful pieces from many layers of paper, allowing her to recreate the repetition she finds so fascinating. The work echoes the layers of gills within mushrooms, one of her pieces contains over 2,000 layers which she hand-cut to build up the unusual form of changing contours.” (Text courtesy of Lisa Catterson)

See more of Lisa’s work here.

Alejandra Contreras

Alejandra was born in Mexico and graduated from the MRes Creative Practice at Glasgow School of Art in 2012. During her time at Ironbbratz she is keen to develop her concept of ‘conviviality’ as a research methodology and establish new partners for collaborative working.

“She is interested in making visible and seeking to find refreshing ways of rearranging our positions within the encounters society has available for us. Through collaged images she intends to evidence the multiplicity of meanings derived from rearranging our social connections.” (Text courtesy of Woodlands Community Garden)

Luna Jungeun Lee

Luna was born in South Korea and graduated from the Master of Fine Art at Goldsmiths College, London in 2011.  Most frequently her work is based in print-making but she is looking forward to exploring the potential for educational workshops and critical seminars.

“Luna Jungeun Lee applies traditional western printmaking techniques and historical Korean compositional rules to the mass of amateur imagery that has bloomed with the newest digital distribution networks. Every morning, while still half-asleep, Lee has a discipline of spending an hour trawling the Internet for new images, appropriating anything that catches her attention as she slowly shifts from a semi-dream state to full waking consciousness – a process that might be understood as a contemporary equivalent of the surrealists’ automatic writing technique.” (Text courtesy of David Barrett, associate writer for Art Monthly)

See more of Luna’s work here.

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Oliver Braid is an artist living in Glasgow. He studied at Falmouth College of Arts and Glasgow School of Art. He has recently exhibited I’ll Look Forward To It at Collective, Edinburgh as part of their New Work Scotland Programme (2011) and My Five New Friends, his first large scale solo exhibition, at The Royal Standard, Liverpool (2012). Throughout 2012 he co-hosted the weekly pop-philosophy radio show with the artist Ellie Harrison, the Ellie & Oliver Show, through CultureLab Radio, Newcastle. As part of the Ellie & Oliver Show in 2012 he co-presented five special radio shows for Edinburgh Art Festival and co-curated a special radio show festival for Glasgay. He was a founding member of the therapy group for artists, Artists Anonymous. In January 2013 he will present a new solo exhibition, Snorlax Beanbag, for the Intermedia Gallery at Centre for Contemporary Arts, Glasgow and embark on a four-month long production residency at Triangle, Marseille, sponsored by Patricia Fleming Projects and Creative Scotland.

In the lead up to his new exhibition Oliver has been reflecting on his last fifteen years of making artwork and how his theory of art and human relationships developed synchronically between the ages of 13 to 28. For the past ten weeks Oliver has been presenting short weekly essays through his Tumblr that examine the ‘Top Ten’ most important artworks that he produced between 1997 and 2012, their impact on his studio work and their influence on his life. For Central Station, Oliver has selected an edited version of these texts and images, presenting an overview of his process to date of ‘becoming an artist’.

Full copies of these essays, along with regular updates on Oliver’s other work, are available through his Tumblr, whilst a more studio-centric overview of his current practice can be found on his website.

Extracts from Oliver Braid’s Top Ten (1997-2012)

Number 10. Hot Dogs. 1998. Oil on canvas board.
“In order to correctly capture the forms of the women featured in this painting my mother and I undertook a life model field trip (a package holiday to Spain) where she took photographs of me on the beach, slyly positioned in front of larger ladies enjoying the hot weather… Around the time that I was making this painting I had an argument with one of my best friends over a piece of fried chicken. I had been at my friend’s house for dinner and her mother had served an unequal portion of chicken wings.  As I was the guest it was decided by my friend’s mother that I should receive the additional wing. Arriving at school the next day I discovered my friend was no longer speaking to me, leaving me to speculate that the harsh treatment had its roots in my unquestioning chicken consumption. Upon recounting this event to my mother that evening she decided a just retribution must occur, suggesting I should take a bag of frozen chicken wings into school the following day to throw at my friend. She may even have gone specifically to Co-op that evening to purchase the reprimanding wings required for the action.  The next day, as instructed, I left the house with a bag of frozen chicken wings, but en-route to school I ‘chickened’ out (or arrived at a saner solution) and threw the wings away in a dustbin.”

Number 8. Fake Tattoo Drawings. 2004. Felt-tip pen on skin.
“At this stage in my life I was still quite scared of men. One of the reasons I never made larger or more solid artwork was that I was trying to avoid the workshop, where I would have to explain my ideas to (and maybe work with) a male technician. It wasn’t really until late 2006 that I developed ‘strategies’ to enable me to cope with and talk to men without feeling scared or needy… One evening, when I must have been drinking, I persuaded a couple of my male friends to allow me to draw tattoos on their bodies in felt-tip. I have tried to obscure their identities in the images. One of them allowed me to go as far as drawing on his chest and I even seem to have a vague memory of him wearing only his boxer shorts. This was part of another very elongated period of my life during which I was catastrophically bad at distinguishing between acts of male friendship and inclinations towards homo-romanticism… These difficulties with relating to other men and my occasionally unethical attempts to combat this came to greatly motivate several of my more recent works between 2009 and 2012. As I move towards 2013, where I hope to replace pre-determined rational ‘strategies’ with more intuitive and passionate approaches to experience, it seems appropriate to mark this earlier work; a small, drunken gesture that was the butterfly to the hurricane.”

Number 7. Second Year Studio. 2005. Studio.
“Quite early on into the first term I began to notice that neither of the other two students that were allocated this studio seemed to use the space. After becoming accustomed enough to the spacious settings, I quickly began to display work and build experiments over every surface available in the room, every desk, every wall; I built an installation on the ceiling and moved a large blue paddling pool into the centre of the floor space.

Occasionally I would come into the studio and find one of the other students in there. I would find him sitting amongst all of my things and I would always apologise for how outrageously I had advanced over the space. He would always tell me it was fine and things would carry on as normal.  This relationship was working out perfectly until one day, without my knowledge, this other student had a tutorial in the space with the head of third year. Afterwards the tutor came to find me to say that he wanted to talk to me about the studio. I was flattered to hear he had been admiring my ambitions until I quickly realised that he was actually very angry with me. Apparently I had dominated the space to such an extent that other students felt they could no longer work in there. I tried to reason with him, explaining my theory that allowance of space should really be relative to the amount of time spent in the space. As Cher from Clueless would say, I was ‘brutally rebuffed’.”

Number 3. Jamie Radcliffe: The Exhibition. 2009. Ultimate Romantic Gesture.
“Continuing to respond to Quentin Crisp’s provocation that art did not help people to express themselves I wanted to try and find a way that ‘being an artist’ could help me better improve my own relationships with other people. I had probably also been watching the film Never Been Kissed and was inspired by the closing scene where Reese Witherspoon waits for the man of her dreams to rescue her from a baseball pitch. So, yes, when the exhibition came out I described it as an ‘Ultimate Romantic Gesture’. Despite this, I can’t pretend that I went into Jamie Radcliffe: The Exhibition completely innocently. At 24, how could I ever have thought that sending a PowerPoint of Jamie’s photographs and personal information (secretly downloaded from Facebook) to 100 artists and asking them to make a work in response to him was going to go down well? My only defence is optimism – but I was not unaware of the ‘naughtier’ side to this work.

It’s important for me to admit that, because after this exhibition I began to use words such as ‘naughty’ and the excuse of ‘misguided optimism’ and ‘failed seriousness’ as a way to behave exactly how I wanted. Over the last year I have been trying to face up to this lapse of responsibility and address it seriously, before this approach to working ruins my personal life completely.

Where to find out more:
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Transition Collective #002, 2012
Screenprint on Metallic paper, Perspex (46 x 47 x 15cm)

This week, Ironbbratz Studios are taking over Central Station with featured work and blogs. Today’s featured work is by Luna Jungeun Lee who is working at Ironbbratz as part of the Graduate Residency Programme 2012/13.

Luna Jungeun Lee applies traditional western printmaking techniques and historical Korean compositional rules to the mass of amateur imagery that has bloomed with the newest digital distribution networks. Every morning, while still half-asleep, Lee has a discipline of spending an hour trawling the Internet for new images, appropriating anything that catches her attention as she slowly shifts from a semi-dream state to full waking consciousness – a process that might be understood as a contemporary equivalent of the surrealists’ automatic writing technique.
- by Art Critic, David Barrett (Associate Writer, Art Monthly)

Website

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