Tate Britain

BP Spotlight: Frank Auerbach: Paintings and Drawings from the Lucian Freud Estate

Another first for me, and I immediately became a fan loving the textures and colours creating a richness in his work.

In particular I liked the black and white sketches, these gave me some inspiration for my self portrait for the Peter Prendegast Prize.

http://www.tate.org.uk/whats-on/tate-britain/display/bp-spotlight-frank-auerbach-paintings-and-drawings-lucian-freud-estate

The Guardian says “shocking and Brilliant… Get smacked in the face by the terrifying glory of the world Auerbach is stunned by every morning.”

BP Spotlight: Jo Spence

Jo Spence’s photography challenges the way that women continue to be represented, in a way that relates to women of all ages from different generations.

Her work showing her relationship with breadt cancer in particular show a painful reality of an all too common disease which all women hope and pray never to experience.

Like a women walking through a hall of mirrors, her timely portraits reflect the surreal and the painfully real aspects of identity that remain relevant today.

British Journal of Photography

http://www.tate.org.uk/whats-on/tate-britain/display/bp-spotlight-jo-spence


BP Spotlight: Tracey Emin & Francis Bacon

My Bed by Tracey Emin, winner of the 1999 Turner Prize is a piece that everyone can relate too and find a piece of themselves, a reminder maybe of past experiences. The pieces by Francis Bacon, selected for this room by Tracey Emin also have a strong sense of the here and now and remembered personal moments.

I was at a point in my life when I was pretty low – I hadn’t got out of the bed for four days, I hadn’t eaten properly for maybe a few weeks and had been drinking like an absolute fish – Couldn’t sleep because I wasn’t eating and I went out and got absolutely paralytically drunk, came home and didn’t get out of bed for four days. I thought ‘If I don’t drink water soon, I’m going to die’ but I was in a weird nihilistic place where I thought if I die it doesn’t matter. But because I didn’t want to die I got up, and then fell over, and crawled to the kitchen and managed to get some tap water and then kinda crawled back. When I looked at the room I thought ‘Ughh!’ it was disgusting – it was so vile what I was looking at- it seemed so incredibly ugly. But then when I looked again I saw all of these things out of that room in a different place in my head and I thought – ‘That’s closed, that’s finished’ and then once I had transported that death bed and took it somewhere else in my head it became something incredibly beautiful.

Tracey Emin, The South Bank Show, 2001

http://www.tate.org.uk/whats-on/tate-britain/display/bp-spotlight-tracey-emin-and-francis-bacon


Vanilla & concrete

http://www.tate.org.uk/whats-on/tate-britain/display/vanilla-and-concrete

Susan Philipsz war damaged musical instruments

I found the recordings created by some fourteen damaged brass and wind instruments damaged in conflicts over the past 200 years haunting and thought provoking. The Dunvern galleries provides the perfect backdrop for this piece with amazing acoustics helping the sounds to become all encompassing. You can’t help but hear these notes from anywhere in Tate Britain.

http://www.tate.org.uk/whats-on/tate-britain/exhibition/susan-philipsz-war-damaged-musical-instruments

Chelsea School of Art

I found the Chelsea School of Art to be quite inspiring. The facilities are superb, however the number of students per tutor (in the region of 70) I find incredible and this has re-iterated how lucky we are to be in such a small group. The standard of work seen at the Chelsea School of Art is not a million miles away from the standard of work in Coleg Menai. For me, this was a worthwhile part of the trip and it gave me some insight into how I might move on to an MA after I complete my degree.

http://www.arts.ac.uk/chelsea/courses/undergraduate/ba-fine-art/

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