Crit 70 @ Shape Arts, 4 April 2018
Crit 70 @ Shape Arts
Wednesday 4 April 2018
The Art Pavilion
Mile End Park
This crit takes place in partnership with Shape Arts and is BSL (British Sign Language) supported.
Watch a video of Q-Art Crit 59 @ Shape Gallery here
Please RSVP via Eventbrite
Camberwell College of Arts / Book Arts
Library Assistant & Bookseller
I work with drawing, printing and text, and am interested in the gaps between the words we use to narrate or describe things and the things themselves. My subject is often documentation, taking received historical objects or landscapes, trying to explore their structure. I studied and work in book arts and so the physicality of text and image in the book are important for me as a way to create an experience, as is sequence, repetition and narrative. Drawing, notebooks and sketchbooks are important aspects of my practice. I view the research process as important as the finished work.
I’ve recently moved from working in books to working in sequenced prints or drawings, and I’m interested in people’s reactions to these two different ways of working. My work is often very subject specific, but I don’t show my sources
in the final piece. I am interested to see if in this new way of working, which can be more fragmentary, the work can stand on its own without footnotes and explanation. As I often intentionally work from fragmented subjects, I’d like to see how much the fragment and openness of the work intrigues or irritates.
Producing the work of dyslexic storymakers
DYSPLA is an award winning arts organisation producing and developing the work of dyslexic + neurodivergent storymakers.
DYSPLA is a Tottenham based studio, funded by the Arts Council England and an associate artist at the New Theatre Royal, Portsmouth.
We work internationally in film, immersive theatre, installation & digital art.
Incorporated in 2013 to shed light on the Dyslexic Aesthetic, DYSPLA is at the forefront of neurodivergent creativity.
• is the political context clear?
• will the story resonate with a non disabled audience?
• does ambiguity have value in political work
I create visual installations that span sculpture, video and photography.
They reflect my mood, my environment and the people I gather around me.
I open small windows into my mind for people to duck down and clamber through.
I make metaphors from viscerality.
I craft the mental into physical; expressions of questions from Who to Why
perspectives, impressions, readings.
Anahita Harding has a background in Fine Art; Philosophy and History of Art. Harding is a mixed media artist, predominantly working with text, paint, objects and occasionally performance. Harding’s main themes are lines, language, communication and disabled access. Harding has exhibited in London and Stoke-on- Trent, but has additionally performed in Manchester streets and galleries for impromptu solo pieces. Harding has performed and exhibited with Camden People’s Theatre, SOAS, Staffordshire University and The Exchange, Hanley. Anahita Harding most recently collaborated with Nina Thomas at the Tate Exchange (Tate Modern) with the piece “We Interrupt our Disappearance”.
I want to discuss the concepts behind the work, namely individualism and collectivism- what do viewers think?
In addition I would like to discuss the values we ascribe to an artwork as artists, viewers and curators.
A discussion on the gallery space being white- in contrast with the Coat Rack which has been painted black.