The Liverpool Mountain

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Does the luminosity of the latest contemporary public art form in Liverpool turn you on or off?

Ugo Rondinone, the Swiss-born, New York-based artist has gifted his work to the Royal Albert Dock in Liverpool.

The multi-coloured stack of rocks finished off with a T section had been sited on the waterfront, nestled beside the Tate Liverpool for almost four weeks now. The sculpture was commissioned to mark ten years since the Capital of Culture, twenty years of the Biennial and thirty years of Tate Liverpool.

Other works by the artist have included seven mountains, simpler luminous rock stacking forms, located just outside Vegas. Initially unpopular, Sixteen million visitors later its safe to say it has won over the public. Will the Liverpool mountain win the hearts of the art-loving Scouse city dwellers? Will it become an icon of the city like the initially revered Superlambanana?

The form is said to be based on a combination of ancient totem poles, medieval rock balancing and hoodoos. Hoodoos being rock spirals formed from weathering over centuries, commonplace in the desert of the United States. So do the seven mountains in Nevada seem fitting in their location in ways the Liverpool Mountain does not?

Do the aesthetics of the colour choice resemble the artistry of a primary school pupil first being given luminous paint in the eighties then deciding all the colours must be used at once?

The verdict: It certainly does brighten up a drizzly day on the docks. Let’s wait and see if the luminosity of the Liverpool mountain turns on the cities art lovers.

Photos Credits to Jamie Pickering.

Ugo Rondino

Liverpool Biennial

Tate Liverpool

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Ensigns make a mark at the Museum

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Last Saturday saw a line of children and adults, tots and basically those mortal getting involved with the fun of flag making. The last weekend of the Liverpool Irish Festival took the Rags Boutique workshop to the contemporary interior to the Museum of Liverpool.

A wonderful day spent with a colourful bag recycling project on the iconic waterfront. We saw identities being identified through the Greens of Ireland, the Red, White and Blue of Britain and the Purples of Feminism.

Flagpoles on the hole of the day and adults which showed us they still knew how to play dress up!

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Sylvia Pankhurst

 

Mural pres

The mural commission was proposed by Alison Little for the Trafford House in Manchester.

Commission proposal

Sylvia Pankhurst

The mural design incorporates elements of Sylvia’s work and beliefs which represent a life which was truly courageous. Towards the lower section, we have the icon slogan ‘VOTES FOR WOMEN’ and the colour bands of green and purple which were used throughout the Sufferage Movement. Sylvia’s mother, Emmeline Pankhurst was the leader of the Movement and her daughters followed in her footsteps. The top logo is an adaption of the ‘Angel of Freedom’ motif designed by Sylvia for the Women’s Social and Political Union (WSPU). Central to the design is the grid, an adaption of the Holloway Brooch, symbolising how she was imprisoned more times than any of the women involved with the reform work. The dove image reflects her views towards pacifist, the traditional symbol of peace. Her philanthropic work is shown through the milk bottles and the distribution centre she set up in London’s East End. Sexual freedom is presented through the red ring, symbolising how she never married. The final image is of an Ethiopian women carrying a child on her back, the last years of Sylvia’s life were spent in the country, again helping the needy. 

‘VOTES FOR WOMEN’ is the most iconic slogan of the Suffrage movements fight for equality. The initial slogan was in fact:

‘Will the Liberal Party give votes for women.’

However, the initial banner produced with this phrase was too cumbersome to carry on protest marches so it was reduced into a shorter format. The colour bands of green and purple present around the slogan and to the upper section reflect the colours used by the WSPU. Their colours were purple, white and green, purple as regal colour showing the Royal blood which ran through the veins of every Suffragette, purity is indicated by the white and green be present as an emblem of hope and the symbol of spring. Sylvia’s mother, Emmeline Pankhurst was the leader of the WSPU and the radical campaigner iconic for women winning the vote in Britain. All three of her daughter were strongly involved in the movement and continued to work toward equality after the passing of their mother. They were lifelong campaigners and a truly remarkable family.

The top logo is a simplified adaption of the ‘Angel of Freedom’ designed by Sylvia in 1911 to promote a demonstration to be held at the Royal Albert Hall. Sylvia was initially at Manchester School of Art, located not far from the intended location of the mural, then she travelled down to London the attend the Royal College of Art. Much of her early works reflect her philanthropical interests through the painting of working-class women. As an artist, she was presented with numerous awards, however, inevitably her visual arts work was overshadowed by her Political career and her writings on these subjects. The logo has been minimalised due to the height it is intended to be between 30-35 meters at the top of the mural and the detail will not be seen from ground level. The slight misprint where the purple ring is to one side as opposed to central is to be replicated, this reflects the printing processes of the period where this was commonplace. 

The central grid of the mural is a depiction of the Holloway Brooch designed by Sylvia. As a campaigner, Sylvia was imprisoned more times than any of her contemporaries enduring the process of being force-fed. By 1906 she was working full time for the WSPU resulting in months spent in Holloway Prison taking a leading role in the Hunger Strikes. The Holloway Brooch was originally cast in silver, the gates depicted where to represent the Houses of Parliament. It was awarded to WSPU party member who had served sentences in prison and often described as the;
‘Victoria Cross of the Union.’
Be awarded the brooch rewarded to the courage of the women who often spent long sentences in prison, and commonly the women’s prison: Holloway.

The four squares of the gates show images of Sylvia’s beliefs and life’s work. The top image is that of a dove, taken again from a brooch designed by Sylvia to promote peace. She was a dedicated pacifist and from 1910 was continually concerned with the growing levels of militancy used by members of the WSPU and argued with her mother in regards to the mater. This resulted in her braking from the party in 1913 after an arson campaign where the intention was to set fire to the houses of several high profile Politicians. Notably one of these was the Stately home of Lloyd George the current Chancellor of the Exchequer. She was opposed to the break out of the war in 1914 and horrified by her mother and sisters support for the war effort. Speaking at the International Congress of peace held at the Hague in 1915, from this she helped form the Women’s Peace Party. In the years after the First World War, she became a committed anti-fascist: supporting the Republicans in Spain, helped Jews evade Nazi occupation and campaigned against the Italian presence in Ethiopia. 

The representation of milk bottles reflects the philanthropic work in which Sylvia threw herself, a notable project being the milk distribution centre for babies who could not digest food in the East End of London. She continually campaigned for better maternity services and for rights for one parent families. During World War One she helped to set up low-cost restaurants in poorer parts of London. To provide jobs for women who had become unemployed by the war she open a toy factory, this also helped to fill the gap for playthings from Germany. More time was committed to campaigns to help poverty-stricken wives of Soldiers at war. The second initiative with milk played an important part in her work in Ethiopia. UNICEF had been giving milk tokens to mothers but these were simply being sold at the market as they were unsure of how to make the milk from formula. Sylvia made arrangements for making the dried milk with UNICEF, the children queue up as a result of efforts. Continuing into the modern day, the Pankhurst and Manchester Women’s Aid centre in Manchester continues this work today with groups of women suffering from domestic abuse. 

The image of a red ring, almost scraped on in terms of texture, a ring which does not meet at its ends. This represents the sexual freedom which Sylvia experience in an era where this was socially unacceptable. When studying at the Royal College of Art in London she began an affair with Keir Hardie, a leading Politician for the newly established Labour Party. Although his relationship with his wife looked to have disintegrated the bond he formed with Sylvia still in her twenties would have been considered scandalous. Their relationship continued into the First World, after a series of stokes he died after contracting Pneumonia in 1915. Sylvia was then to meet an exiled communist, Silvio Corio, they became lifelong partners and moved to village-come-suburb of Woodford Green together. Sylvia gave birth to a son at the age of forty-five, her mother tried to persuade her to marry Silvio but she wanted to keep her birth name. They argued over the matter and never spoke again. Other motives may have been that during that period women lost their British Nationality if they were to marry someone from outside the UK. If Sylvia and Silvio had been deported to his native Italian they would probably have been executed on grounds of being anti-fascist protestors. The red ring has always been used as an anti-symbol and the manner in which the ring, potentially a wedding ring, does not join represents her desition not to marry.

An Ethiopian mother and child are pictured in the last image of the Gate, this shows the work Sylvia did for the East African country. In 1935 the Ethiopian Emperor, Haile Selassie met with Sylvia in the city of Bath. He was in exile from Ethiopia as they were subsumed by Fascist Italy. Italy had begun building a military presence in East Africa, as a devoted anti-Fascist Sylvia was opposed to this and became a great supporter of Ethiopia. After the Second World War, she raised further objections to Britain’s administration of the South Eastern Ogaden, Ethiopia. Although Britain departed in the mid-fifties she continued to spread the anti-colonial message, moving out to Ethiopia in 1956. She spent her time visiting schools, hospitals and development projects. Dying at the age of seventy-eight and was given a State Funeral being made an Honorary Eithiopian.

The mural is to be completed using artists acrylics after an initial cream coat of masonry paint. This finish to be completed with yacht varnish, preferably brush coated. The artist’s fee would be £1000.00 for the design but would need to be completed by a street artist. The design is ready for delivery but modifications may take several weeks.

Silvia Pankhurst was a revolutionary campaigner which is reflected through this mural and the themes which it covers. It will be in keeping with the modernist aspects of the structure but equally, remind us of the rights which were fought for to give us the better world in which we live. Sexual freedom was a liberty which had to be won, how it is acceptable in contemporary society not to marry and to raise children as part of a one parent family. It will inspire feminist ideological thinking and help us move towards equality for women. Artwork which can motive creativity, thoughts around rights towards incarnation and what is occurring in these institutions which is still as relevant today as it was one hundred years later. Thoughts around pacificism, humanitarianism and Britain’s role as a Nation. Philanthropy and how we can give to others more in need in this country and abroad in countries struck by poverty. Equally, the potential to become was Sylvia truly was: a citizen of the World.

A mural which will inspire, motivate and make a real difference.

References:

Sylvia Pankhurst, A crusading Life
1982-1960
Shirley Harrison
Aurum Press
London
2003

http://www.sylviapankhurst.com
A Comprehensive information source
Susan Homewood for Hornbeam Publishing Limited
2008

Mural in location

Fluctulation

Fluctulation Image copy

Fluctulation is a poetic form written for National Poetry Day, 2018 around the subject of change.

Fluctuation

When I am up I am alive
Answer every question, phone call, email
Positive moves forward I strive
Bounce and jump, free I sail

When I am down I hide away
Into bed, into covers, I crawl
Unpeel my skin in disarray
In the darkness, hide, two feet tall

On a high, I paint and draw
Forwards I roll
Content reading, write some more
Ten feet tall

Falling lower, bottom of the glass
Nicotine on hand
Clutter surrounds on mass
Swollen gland’

To the sky, I want to fly
In love with life, I seek romance
Absorb, with joy I cry
Excitement, sing and dance

Fading, grab another beer
Regretting every faceless man I screwed
My confusion, these men sneer
Recalling their attention, lewd

Rising up I demand success
More desired, fight to get there
Onslaught of thoughts, less
Mind ignores the growling bear

Drawing down I pour to the rim
Regretting every joint I ever rolled
Ecstasy pills that made me grin
Narcotics that made me bold

Well again, head is clear
Visions of beautiful sights
Falling down again I fear
Try to control my minds flights

Up, I am positively ruthless
Down, visions of myself toothless

I will push to control my mind
Not to fall, put positives on downwind

Alison Little

Fluctulation: Early plans for Installation

Small Steps and Art Activism

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Last Thursday saw Small Steps events take over Make on North Liverpool Docks.

Small Steps runs events to highlight social issues through the arts. Last Thursday saw an eclectic mix of performance, a breathtaking visual arts exhibition and engaging workshops drawing attention to Mental Health.

Cork-based artist Ann Mechelinck showed us how craft-based practice can highlight mental health issues with several pieces she exhibited at Make. Mechelinck spent many years living and working in Belgium as an administrator. On her return to Ireland, she decided to re-engage with her creative passions and began a body of study Crawford College in Cork. The most prominent of her works in the exhibition was ‘Release’. In this, she explores the restrictions we face in life by materialism, relationships and expectations. Using a knotted structure which she allows this to
‘Release’ free onto the floor. An exceptional fibre artist using structuring techniques to explore mental well-being.

Rebecca Hancock brought some intensely scratched text art to the exhibition. Hancock is a recent graduate from Central St Martins in the Capital. She uses her work to express; fantasies, hopes and dreams, but equally, vulnerability, anxieties and fears. The work exhibited ‘March 2016-Present Day’ presents hand scribed re-writing of eight months of diary entries. The period covers changes in medication and severe depressive episodes combined with panic attacks and anxiety. Raw, unmoderated, expression of coping and not coping with evolving cerebral turmoil.

We were taken on a journey by Moscow based film-makers Diana Galimzyanova and Artem Gavrilyuk-Bozhko. Galimzyanova’ rapidly expanding collection of award-winning short films have been shown at more than sixty festivals and fifteen countries. ‘Painting the Abyss’ came to Make last week stunning its audiences. The actor begins to paint his face with a light reflection of a cross central to the screen. As black is added the face paints formate into a type of warpaint, a kind of camouflage. As this progresses, old-dated, black and white train travel scenes are superimposed onto the footage. The narrative climaxes as the actor drops his head back and looks towards the ceiling. He marks a cross on each side of his neck indicating where to cut was an assumed knife. This progresses into the removal of the paints from the face. Powerful use of moving image which confronts us with the grim realities of ending one’s life.

Painting the Abyss

Not forgetting the painted works of Philip Chandler identifying with long-term depression. Gender roles were challenged by the embroideries of Jonathan Beavon. The floor space was occupied by another showing of Alison Little’ SV: Sex by Violence in Liverpool.

A remarkable exhibition, a fully engaging evening and evidence that art activism can make a real difference.

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Small Steps

Make

Ann Mechelinck

Rebecca Hancock

Diana Galimzyanova

in the woods

carved squirel cover

‘in the woods’ was a commision proposal for a nature trail to be sited near Alder Hay hospital by Alison Little.

in the woods….
Trail, Woodland Walk, Springfield Park, Knotty Ash

Specifications

The trail looks to present a selection of 15 signs based on an element of nature, wildlife, insects and local history relevant to Springfield Park.

Each signpost to measure around 150meters high in Oak. The top section of posts to be hand carved with either a creature, plant or feature related to the specific sign presented. The services of a woodcarver to be engaged, the finish to be left rough, not finely polished. On the first appearance, walkers may get the impression they have been carved randomly not commissioned craft-works. This is to be complemented by a matt lacquer giving the forms a natural woodland finish.

The signboards are to be A2 and landscape in design. Printed directly to Dibond with an enamel coating to ensure they remain graffiti free. The ‘in the woods…’ logo to be drilled directly into the Dibond then to incorporate the use of small prisms to reflect sunlight either within the holes or on adjacent nature growth structures. The logo has an interactive potential for visually impaired visitors, place braille panels to be added to the lower section of the signs.

Each sign to focus on a different element of the ‘in the woods…’ trail, the design shown has focused on wild garlic. There is great potential to work with local schools and community groups in workshops for slogan generation, image production and using recipes with wood foraged from Spring field park. The results of these workshops to be incorporated within the graphic design of the signage.

carved squirel copySign Board copy

More about Alder Hey in the Park

Newton’ Cradle: Didsbury Arts Festival

Newtons Cradle copy

A look at the proposal put forward to Didsbury Arts Festival 2019 from Alison Little:

Didsbury Arts Festival 2019

Proposal

Alison Little is a visual artist and writer based in Liverpool, she looks to combine her visual arts and creative writing practice. As an artist, she has worked on numerous commissions from Go Superlambanana’s to Kirby Town Centre Renewal. Her creative endeavours are to include the project management of Rags Boutique: a project to open a disused retail unit as an exhibition space and workshop venue.

Working on numerous public art commissions in the North West, the UK and Western Europe. For the Capital of Culture celebrations in Liverpool, she gained two commissions for Super Lambanana to be sited in the colossal Public Arts Trail which was to overtake Liverpool for the celebrations. Her more recent public art commissions are to include work for Kirby Town centre regeneration where she brought the Vikings back to the North West, strong graphical techniques were used for her most recent mural for East Street Arts new location in Garston.

Newton Cradle is an exciting proposal for the Didsbury Arts Festival 2019. The intention is to create a large version of the famed spherical demonstrator for the festival.

Newtons Cradle is the popular system of demonstrating the conversion of momentum and energy devised by Newton himself. This had been made famous over the decades including the well-covered desk toys in the five ball variety.

The intention is to create a giant-sized version of the cradle to be present throughout the festival. Five giant spheres are to be created, potentially from steel sheeting, then rigged onto the system which can be easily dismantled and re-purposed after the event. Each sphere to be designed by different members of the community. A serious of art workshop to take place in schools and community groups, a winning design chosen for each group. The theme to vary around Didsbury as a place to live, culture, arts, history and diversity. The designs to be painted onto the spheres by the artist, preferably in a public space where the process can be viewed as it progresses. After the festival, repair work to be undertaken and the sphere can be returned to the groups which worked on then to display.

Curiosity is represented through the interest in how the spheres interact and allow for active participation of attendees throughout the festival. Secondary interests are in the artwork created through its process and subject matter.

More about Didsbury Arts Festival

A fun, exciting and groundbreaking visual art activity which will bring the festival to life in 2019.