art writing

07/09
06.09.15 BY Bridget
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The 7th is the final day of my writing project for the Baltic Trienniale. The characters will continue to develop into a short novel, that fingers crossed will be finished by the end of the year.  I hope you will have a look over at Phlegm

 

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Form is a mystery that defies description but brings people joy Bridget Currie (for Sarah crowEST)
29.08.14 BY Bridget
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Sarah Crowest’s exhibition ‘selvedge order rupture’ opens at WESTSPACE in Melbourne on the 4th September 2014. I have contributed an essay/poem/monster to the publication accompanying the exhibition there are around 5 contributing writers and the book is printed in vegetable dye on recycled paper. If you are in Australia get down to Westspace and if geographically challenged I believe Sarah is selling the books via the interwebs from her SITE 

http://westspace.org.au/event/selvedge-order-rupture/

an excerpt from my peice:

Waiting to board I see an earnest pot bellied man in a track suit carrying a bunch of hula-hoops over one shoulder (pink circles). He is in training for what? I see a woman in a salmon -pink silk skirt, close fitting down to her ankles, then flared like mermaid fins. Her hat is also salmon, fat tubes of tarlatan wrappi

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the language of art funding
20.07.14 BY Bridget

 For the last few years I have made the choice to write in my own voice in all art applications I make, as an attempt to resist the dominating bland voice of artspeak. I am fighting a loosing battle. The voice of criticism and interpretation is expected of the artist, and it seems one can no longer speak out of the studio.

Barbara Hepworth writing in Circle: International Survey of Constructive Art, ed. by J.L. Martin, Ben Nicholson, Naum Gabo, London, 1937,

“Full sculptural expression is spatial – it is the three-dimensional realization of an idea, either by mass or by space construction. The materials for sculpture are unlimited in their variety of quality, tenseness and aliveness. But for the imaginative idea to be fully and freely projected into stone, wood or any plastic substance, a complete sensibility to material – an understanding of its

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