Surface details.





























Kilmartin House Museum, 2013, Bronze Thirteen pieces, overall size 3 m diameter / The Perpetual Plannist, 2012, Artist’s pages for Un Magazine 6.2, December 2012 / Floor Work, 2012, Acrylic, Dimensions of the floor, less 30cm at each edge

 All works by Ash Kilmartin.

I love these three details of works by my clearly talented good friend Ash Kilmartin, which I have blatantly thieved from her website with only the best intentions.  The separate works were made over a  period of two years, but the repeated use of specific colours, shapes and scale create a sense of a continuation or investigation of a larger theme or project; ongoing research which manifests itself in different but familiar ways as her practice evolves.
The considered interferences on floorboards, the oval shape of the front pad of a shoe sole is mirrored in the stripped back paint surfaces which surround the embedded key. All surrounded by a particular shade of orangey pink, which sooner or later could be known as 'Ash Kilmartin Salmon' (which doesn't really sound like a colour at all but hey) in a similar vein to Yves Klein Blue.

Possible colour names for that particular shade welcome.

At Golden Dawn

Kris djing in style in a typically flamboyant shirt at Golden Dawn, Auckland. One of the two occasions he dj-ed there during our trip. The second time also featured a tag-team cameo of Alex and I, recapturing the records in the summertime feeling of living together at Rocky's. Good times all-round.

Lakes of Note


Have at long last been able to hang up my dear friend Claire Cooper's amazing work 'Notable Lakes part iv', a graphically compiled collation of lakes, both real and fictitious. The shapes of the Real Lakes are plotted on one side, and the Fictitious ones on the reverse (or vice versa).

I love the way the semi-transparent paper allows both sides to be visible - the overlapping of the dots creates an interesting variation in tone. After in initial quandary, I decided to hang it with those plastic poster holders, they rather exacerbate the feeling of looking at some kind of high school geography class OHP projection of how the world looked at some point in history.
It does make for an easy and painless transition from Notable 'real' Lakes to Notable 'fictitious' ones however.

Because it does look like a map. Occasionally I will look at it thinking how much lake xxv 'Taal Lake' could almost pass for Brazil. I asked Claire to send me one which she had folded, how she originally envisioned the work. The sharp creases keeps the work from being completely flat, and the poster holders do their job of helping it keep it's shape. The folds give a worn physicality to the work that the flatness and sheen of the paper would have overpowered. I think they give the work more character.

This is the second piece of art I have bought, along with my friend Ash's brilliant piece The Travelling Mime. I look forward to expanding my collection, especially with my works by my exceptionally talented friends.
I would also recommend Claire's various Internet endeavours, Olio Ataxia, as one half of Diamonds & Wood, and not to mention her War and Peace tumblr: dedicated to film stills from the 1968 mammoth adaption of Tolstoy's War and Peace and a personal fave.

EFFEMINACY - Kah Bee Chow






A few slightly blurred images from the opening of Kah Bee's masters show, Effeminacy. I was wandering through the show when a friend of mine came up to me, and as a way of saying hello queried "where's the cat?". Thinking she meant the video of internet sensation Maru, I told her about it. Only to be corrected "No, Kah Bee said there was going to be a real, live cat wandering through the show". I said I had seen no evidence of such an event, but considering Kah Bee, I wouldn't put it past her. When I found the artist, wearing a friend's baseball cap at a jaunty angle and with a long stemmed red rose between her teeth, I asked her to set the record straight on these cat rumours. KBC admitted at some point during the installation's run, a cat would feature. I really hope this was not just the opening night enthusiasm and alcohol intake talking.
With various cylindrical forms and structures covered in carpet it really is a cat-scratching haven. Or a Grecian-meets-Babylonian themed cat café, at the very least.

I noticed your walk changed as you went through the show. The layout, the scattering of objects across floors, strategically placed to dictate movement, forced the viewer to alter their gait to a delicate prowl. Almost like dance steps. One, step, two steps, pivot, crouch down to examine a video or an ikebana oasis, and up again. Repeat. You could almost feel rather cat-like yourself.

In her own words:

"When I was four years old, I came across a pack of crayons on the new lounge suite in the living room. I started testing out what the crayons could do and I learned I could leave markings on the textured upholstery of the sofa; a revelatory assignment. So I got to work that afternoon, I worked hard, attacking the surface with manic and more manic scribblings. I worked to colonize this expansive territory, smearing waxy residue over the entire set of furniture. I would use up one crayon, move onto another and another. It was exhilarating work. I had found my calling.

When my father returned home from work, I don’t recall what happened immediately after – but suffice to say, I didn’t anticipate the response that would come. At some point, I was placed outside the House. I clutched onto the grill of the gate outside our home, wailing like the banished offspring of an all-powerful God.
When I was finally allowed back into our house, I remember my father’s back turned towards me. He didn’t have a shirt on, he was on his knees, sweating profusely, scrubbing the sofa with his life."

and

"I channel the savages when I eat watermelons. Oranges also. They taste better when your teeth tear the flesh off the rind; puncturing the sacs so the juices run and collect into a pool inside your mouth. It doesn’t work with a mediocre orange. I once read: “We love beauty within the limits of political judgment, and we philosophize without the barbarian vice of effeminacy."


Barbarian vice of effeminacy: imagine this paradoxical compatibility.


Effeminacy pours from an excess of refinement not reined in by a soundness of thinking; it rings of aristocratic overkill, a persistent, eternal infantilism afforded by privilege. How does the barbarian; the cannibal fall for the effeminate? Where do they even meet? I could not draw a line around a territory, not because one belongs on the outside and the other within, but because they operate as a kind of corrupting impulse; their shared lack of restraint comes to surface but eludes arrest. They don’t meet up for coffee and they don’t scope out each other’s Facebook profiles; they are criminals on the run, they go chasing waterfalls."



Some Windows / Blinds



































Alex Philip Fitzgerald
Some Windows (2010)


Printed acetate and colored vellum layered on the windows of my studio in Malmö, Sweden.

 




























 RED OAK / FIRST DOG (2010-2011)
An imagined space where Walter de Maria's Broken Kilometer exists as a story of the separation of a boy and his two coon hounds.

alexphilipfitzgerald.com


friends making great art. more to peruse!

Ljus utan skuggor












































































































Kah Bee Chow
Ljus utan skuggor
2011

concrete, glass, cyanotype on silk, broken glass and mirror, globe pendant lamp, sanded floors, blanket, digital print, towel, sawn homeware catalogue, cup, steel chain, steel tube, found rocks.


A glittering array of carefully contructed mountains of polished glass, gently draped printed fabric, stoically robust grey columns and the reflections of plants/chains/crystals/aforementioned items caught in broken shards of mirror, while bright sunlight bears down and casts shadows that perhaps weren't meant to be there.

Kah Bee Chow's installation for the Malmö Konsthögskolan's annual exhibition open days was indeed a highlight. I love the feeling of seeing your friends make great work, which in turn inspires your own efforts.

From a Holiday































Diffust Deren - Sarah Jane Gorlitz / Ubåt U3 at Teknikens och Sjöfartens hus, Malmö / Chilled lobster on the street, Copenhagen / Window display at a Danish Auction House with polar bear and reflected surrounding architecture / Façade of Frederiksborggades Is ice cream parlour, Nørrebro, Copenhagen.

A small collection of photographs taken over Easter, 2011, when friends visited. Travels and adventures in Malmö and Copenhagen, when the weather stayed warm just for them it seemed, and as soon as the last one left, reverted to windy, chilling, and grey.

I prefer looking at holiday snaps in groups of five or so. Too many, and I lose interest, not enough, and I am unable to build up some sort of narrative or aesthetic connection between each image. I like to think of photographs 'fitting' with other photographs, I suppose that is why I have always held an interest in diptychs, jump cuts, film stills and so on and so forth, and the implicit/explicit nature of the pairings or collections - whether it be by colour, light, composition or subject matter, or the background and storytelling behind the images themselves.

One criticism about the referential nature of my art practice is that the audience is not necessarily privy to all the links, hints, references, plays-on-word and in-jokes behind them. Perhaps not, but maybe there is enough to build on by the aesthetic of the image/artwork itself.

Song Choice

On Saturday my friends in New Zealand banded together to celebrate one of my best friend's birthdays in true karaoke style. It pained me not to be there to join in the hours of drunken fun, but at least gave me a moment to ruminate of what I would have sung had I wished to assault them with my strained vocal chords.
It is quite hard choosing a truly worthy karaoke song: you want a song everyone knows, so that they can join in on the chorus or take over if you are truly mutilating the said song. You would not want a song to be too long, with a drawn out guitar solo, as no one goes to karaoke to hear someone sing an instrumental. Preferably the song should have a poignant or meaningful memory associated with it and others present, possibly you have drunkenly listened to at a previous time. I have discovered that the most enjoyed karaoke songs are ones people don't take seriously - its is most likely they have been played on solid gold - perhaps even over the christmas period.

And, if you are someone such as myself, the song should be relatively easy to sing. Therefore, as my now preferred karaoke song of choice, taking all of the aforementioned points into consideration, I can only conclude that next time I am in a karaoke room I shall break into a slaughtered rendition of

Rod Stewart's Maggie May

Studio Visit

April contained a bevvy of exciting experiences, including the start of a new, full time, Swedish speaking job, an amazing Easter sojourn from aforementioned job with visits from three wonderful friends, the commencement of time spent in my new basement studio, and the beginning of a new project mentioned here previously. Hurrah for April, I say, as I still come to terms that today is in fact, the first of May.


























































The white striped shower curtain I am at present embroidering on in my new studio / close ups of the North Pole, which Robert Peary reached on the day of my birth in 1909, and the mystical 'Crocker Land', of which the map claims to have plotted / Ryan documenting the work in progress /studio portrait of the artist with invisible artwork.

Plans for May include afternoons after work sewing white on white, and perhaps fitting a couple of afternoons playing basketball in between.

A Hazy Shade of Winter


[click images to enlarge]

ASH KILMARTIN
'RAIN'
 12.02.2011


A special parcel received in the post today travelled halfway across the world wrapped in paper adorned with colourful donuts. Inside was the eagerly anticipated publication made on the occasion of my great friend Ash Kilmartin's single-handed one day sculptural exhibit 'RAIN', situated in an abandoned lot in Melbourne.

Ash asked if I would contribute a piece of writing to accompany her exhibition as part of a small one-off publication, and I readily obliged. I penned a short piece about my first impressions of snow, (which is hopefully legible in the photo above) and thought about my feelings towards snow in relation to Ash's installation, delicate hand stitched fabrics draped over minimalist wooden frames.

The publication design is by another good friend, Claire Cooper. I am particularly partial to the horizontally bisected green hued centre-fold, opening out to reveal the text and various youtube stills.

A great project to be apart of and one which has already given me ideas of like-minded scenarios.

Rocky's Livs





Mooning around Malmö - autunmal excursions with Alex during her brief 4 day visit over the weekend (the same weekend MFF win the Allsvenskan football league and some city-wide hooning commences) saw us getting up to the usual sort of mischief. Bike rides out to the piers at Ribersborg, sea swans, larking about in the leaves at Pildammsparken, trawling through second hand shops full of tie-dyed t-shirts and scores of Letraset. Galleries and gallery openings, record shopping with novelty 7"s. Stumbling across hilarious shops names and the Malmö branch of Rocky's Superette. Homemade pizza and the best falafel in Malmö.
Who needs to see the sights of Malmö when you can view them in miniature form at the Malmö-themed mini golf in Folkets Park?