October: work has begun at the British School at Rome, where I am very happily living and working until the end of the year as the Derek Hill Foundation Scholar (picture of marble cabinet here, which I am currently spending quite a bit of time exploring).
Anneka French has written an essay on my Body/Building polaroid works for Photomonitor this month and there is also a four-page feature on my work by Robert Preece in the October issue of Sculpture magazine with a small extract available online here.
From 1st October until the end of the year I will be the Derek Hill Foundation Scholar at the British School at Rome.
I shall be looking into ruptures of time visible in the buildings of the city as well as the architecture and town planning commissioned by Mussolini and their relationship to Romanitas.
New Watercolour Painting
Gordon Dalton, Lois Gardner Sabet, Anneliese Krueger, Yelena Popova, Oliver Raymond-Barker, Beth Shapeero, Emily Speed, Oliver Tirre
24 July – 19 September 2014
STRANGE BUSINESS is a group exhibition of new watercolour painting presented by SYSON in Nottingham. This exhibition features works using a traditional yet versatile type of painting, which is often overlooked or perceived as old fashioned. Watercolours in this exhibition comprise studies of opacity and transparency, and explore colour saturation, site specificity, found objects and sculptural forms. Often drawing upon highly personal subjects and areas of interest, works featured include preparatory studies, explorations of natural materials, installations and film and video – attempting to explore what JMW Turner recognised the activity of painting to be; ‘a strange business’, and artists undertake the task of painting with water and colour in the broadest sense.
CITIES OF ASH
Rob Voerman, Colin Booth, Emily Speed, Hannah Waldron, Isabelle Hayeur, James Moore, Robin Tarbet
12 July – 13 September
Flexing the architectural imagination, the artists in Cities of Ash offer the god-like experience of model city panoramas found in civic museums or on observation decks of towering skyscrapers. They each engage in the pursuit of obscuring the urban experience with a fantasy veil, leaving glimpses between its brushstrokes.
A series of my drawings photographed against specially made backdrops appear over ten pages in the next edition of Ambit magazine and on the cover. Issue #216 is available now, buy a copy here.
This new installation work is a commission from Plymouth Arts Centre and it opens tonight! The exhibition is on until 25th May so do pop in if you’re in the area.
“In thinking about proxemics and repetitive behaviour Speed began this piece of work by visiting the south Devon coastline. Observing beaches as a site of constant change and regeneration, she related this back to human efforts at building and creating territory; forming an idea for a filmed performance at South Milton Sands (also known as Thurlestone Sands).
Now edited, looped and integrated within the installation, multiple projections hint at the attempt, by a locally recruited group of volunteers, to build a temporary suburb. Battered by the wind and fighting with the customised and awkward windbreaks they hammer away in a Keaton-esque fashion to create a space of their own making. Equally impermanent, Speed has designed a structure comprised of a series of dividing walls for the gallery, creating liminal spaces that mirror those we see in the films. These walls never allow the viewer to be inside or outside, but always in-between.”
A massive thank you to Gillespie Yunnie Architects for their sponsorship.
I made this film. Essentially a valentine’s card, it’s short but has a sexy soundtrack and features the ultimate erotic architecture; several ‘crotch shots’ where walls and ceilings meet in the pavilions in the Giardini della Biennale in Venice.
Architecture is the Ultimate Erotic Act, 2014 (2 mins 15 seconds), made especially for Sex Shop.
Available at Sex Shop for £2 from 14th February or for £3 by post. Email me if you’d like one.
The Land Has Many Parts
January 15 – February 15 . 2014
Jane Deering Gallery, Santa Barbara, CA
Silence Unbound: The Artist’s Lexicon in the Making
January 17, 2014 – March 29, 2014
Center for Book Arts New York
Organized by Heather Powell
The artists featured in Silence Unbound often work in familiar forms, but have at some point been driven to create or conceive of an object that incorporates their language into a book-like design. The juxtaposition of the book next to an artwork- painting, print, photograph, or performance ephemera- is meant to delineate a space that considers the translation of the artist’s aesthetic vocabulary into writing systems. Featured Artists include: Dean Ebben, David Hammons, Candace Hicks, Christopher K. Ho, Jenny Holzer, Alison Knowles, Jessica Lagunas, Matthew C. Lange, Dani Leventhal, Barbara Rosenthal, Buzz Spector, Emily Speed, and Kristen Tordella-Williams.
Last week, I was building, tiling, painting and gardening in Bristol at the incredible Tyntesfield, a National Trust property making a new work for ‘STILL/life ecologies of perception’ the inaugural exhibition from Trust New Art Bristol.
The exhibition runs from 8th September until early November and the bumpf about the new work is here:
Lady Garden is a new installation which takes its name from an intimate walled area adjacent to the Orangery at Tyntesfield known as Lady Wraxall’s Garden. The structure, which can be entered, encases a micro garden of plants typical to an Orangery. It is able to move between various locations in the Jubilee Gardens and once settled, becomes part of this constructed landscape, a hybrid garden and folly structure. On close inspection the structure mimics a range of architectural, ornamental and design motifs from the house, such as the Turret Room, Minton floor tiles, floral wallpaper and the coloured gloss paint found in some utility areas.
The structure provides shelter in a compartment that is just big enough for one person. This compartmentalization makes reference to the strong gender division of roles and division of rooms in Tyntesfield which was usual in Victorian country houses. The Morning Room, Drawing Room and Mrs Gibb’s Sitting Room (now Lord Wraxall’s sitting room) were primarily female spaces, while the Oak Room and Billiard Room were chiefly used by the men of the house. The architectural and decorative divide between male and female spaces would serve to enforce role distinctions, much as the growth of plants and flowers in Lady Garden are contained and controlled within its structure.
‘Lady Garden presents its best face to the public but that contains a leafy, wild garden inside’ Emily Speed 2013