Group exhibition in which I participated, Februrary 2014. The work that was shown in ‘Live in your Dreams!’ was a performance and installation entitled, ‘limn reveries’.
in Live in your dreams! exhibit at The Crypt Gallery, St Pancras
From 26 February through 2 March 2014, I’ll be doing a drawing/performance piece called “limn reveries”, in a group exhibition “Live in your Dreams!” at The Crypt Gallery, St Pancras Church, Euston, London. The exhibition is curated by Stéphane Verlet-Bottéro, whose research and interests are focused on curation as well as making his own work related to art and science.
Which is just an old fashioned way of saying, I’m recording dreams… Basically, what I’ll be doing is attempting to achieve a quasi-meditative state under which I’ll conduct “automatic” (or subconscious) drawing. The thinking behind the exercise is to listen to meditation sound tracks, whereby I can “open up” my subconscious and access the rich imagery there, and then record or draw what I see.
Or click the link to see a short film documentation of the performance/installation on opening night (26 Feb 2014).
Some of the drawings from the performance and installation:
More links and information
- Overview of the exhibition:
“Underground gallery becomes a dream vault – The Crypt at St Pancras, London” – kelise72.com
- Stephane’s microsite “Live in your dreams!” on myblog.arts.ac.uk
- Curator/artist/writer Stéphane Verlet-Bottéro
- Read more about automatic drawing as an artist’s tool to unlock creativity:
“Artist’s block? Try idea generator no 1: automatic drawing” – kelise72.com
- More info about some of the meditation sound tracks I use when I draw-meditate, including:
Shinka Zen meditation collection by Ilias Glenis (I purchased the set of CDs yonks ago, and unfortunately, at this time, I think the original website http://www.mymonkbuddy.com is closed/down, because I can’t find it anymore! So I have no further info about the “Shinka” programme, or its creator, Ilias Glenis…)
Music for the Mindful Brain by Dr Jeffrey Thompson I’ve found these on Amazon. From info and reviews, these soundtracks seem to have a similar “technology” as the Shinka Zen collection.
‘taxi driver dialogue, on Highway 1 halfway between Jerusalem and Tel Aviv’
2013, installation and digital audio with subtitles, duration 00:30:00 minutes
The listener becomes the conveyor of an unlikely conversation between two taxi drivers that starts and ends somewhere between Tel Aviv and Jerusalem and back again.
Watch an excerpt on Vimeo (with subtitles): Chapter 1: Borders and Checkpoints
More links and information about ‘taxi driver dialogue’:
- “‘Taxi Driver Dialogue’ joins ‘Hype’ exhibition at Chelsea College of Arts, London” – 9 September 2013 on kelise72.com
- “‘Hype’ exhibition opens Fresher’s week at Chelsea College of Arts, London“– 22 September 2013 on kelise72.com
Kelise Franclemont, ‘broken window’, 2013, charcoal-drawn digital animation, duration 00:00:22s (looped)
A brief memory of a broken window in Nablus, Palestine. What can be broken, what can be fixed, neither remains.
More links and information about ‘broken window’
- “Drawing is highlighted at Wimbledon BA Summer Show 2013” on kelise72.com – 14 June 2013 by Kelise Franclemont.
- View “broken window” on Vimeo [22 seconds]
a two-part project/installation curated by Dominic Head, showing new work by artists:
Dominic Head, Debra Singh, and Kelise Franclemont.
Digital Subversion 1: 5 March 2012
Wimbledon College of Art (PSR)
Click here to download the exhibit guide: DigitalSubversion0001
“Kelise Franclemont’s practice expresses the predicament of art in the digital age through a witty manipulation of canonical works of art using the tools available to digital technologies. Internet Killed the Gallery Star (2012) is a subversion of Da Vinci’s iconic Mona Lisa, displayed at the Louvre Gallery, Paris, whereby the figure is morphed, rotated and stretched to appear as a corruption of already broken data streams. Franclemont reduces the size of the portrait to that of a postcard, embellishing it with a frame that one would consider kitsch, given the content and context of the piece. She asks us to consider the relationship between canonical works of art and exclusivity, and points to notions of ubiquity in the understanding of ‘high art’.”
see Head’s blog for more on the exhibit:
Digital Subversion 2: 14 March 2012
Wimbledon College of Art (Room 213)
Click here to download the exhibit guide: DigitalSubversion0002
“Kelise Franclemont’s second work is at the threshold between canonical works of art and all-encompassing cyberspace. The QR Code has become a common marketing device in the consumption of Western products. Franclemont here uses it as a tool for viewing works of art, making the distinct correllation between the art object and the marketplace. Viewers must ‘activate’ the work through the technologies of the smartphone, in turn raising concerns as to the ‘exclusivity’ of art and the identity of its audience. The QR Code becomes therefore a barrier to the truth of the artwork, it becomes the promise of something greater than itself, a link to another world, another space with unforeseeable consequences.”