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Underground gallery becomes a dream vault – ‘Live in your Dreams’ at The Crypt, St Pancras, London

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’.

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‘limn reveries’, 2014, drawing/performance/installation

in Live in your dreams! exhibit at The Crypt Gallery, St Pancras

Kelise Franclemont, drawings from 'limn reveries', 2013. Image courtesy the artist.
Kelise Franclemont, drawings from ‘limn reveries’, 2013. Image courtesy the artist.

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.

“limn reveries”

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:

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More links and information

Kelise Franclemont, in ‘Limn Reveries’, 2014, performance and installation, in ‘Live in your Dreams!’ at Crypt Gallery, St. Pancras, London. Photo credit: Thomas Butler.

 

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‘taxi driver dialogue, on highway 1, halfway between Jerusalem and Tel Aviv’, installation for BA Summer Show 2013

From ‘Taxi Driver Dialogue’, 2013, audio and installation, 30 minutes, in 2013 BA Summer Show at Chelsea College of Arts, London. Image courtesy Kelise Franclemont.
From ‘Taxi Driver Dialogue’, 2013, audio and installation, 30 minutes, in 2013 BA Summer Show at Chelsea College of Arts, London. Image courtesy Kelise Franclemont.

‘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’:

 

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‘broken window’ charcoal-drawn animation is part of 2013 BA grad show – Wimbledon College of Art

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’

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‘Digital Subversion 1 and 2’, 2012, a two-part project curated by Dominic Head

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 'Internet killed the gallery star', 2012, postcard print on paper. Photo credit Dominic Head.
Kelise Franclemont ‘Internet killed the gallery star’, 2012, postcard print on paper. Photo credit Dominic Head.

Head writes:

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:
http://runninginsquares.wordpress.com/2012/03/05/exhibition-digital-subversions-part-1/

 

 

 


Digital Subversion 2:  14 March 2012
Wimbledon College of Art (Room 213)
Click here to download the exhibit guide:  DigitalSubversion0002

Kelise Franclemont, 'QRitique', 2012, hand-drawing QR code on paper, framed. Image courtesy the artist.
Kelise Franclemont, ‘QRitique’, 2012, hand-drawing QR code on paper, framed. Image courtesy the artist.

“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.”

 

 

Installation View:  
http://www.flickr.com/photos/kelise72/sets/72157629591760079/show/