Cassie Beadle and Rachel Chudley from Guts for Garters
have teamed up with Victoria Williams and Polly Stenham of The Cob Gallery
to sell art, clothing, interiors and miscellanea under the third theme of 'Anatomy'
. Doing away with the rules of what constitutes as a 'traditional art gallery', Guts for Garters
have curated diverse body of work delivered by fashion designers, jewellers, and artists.
Cassie Beadle, one half of Guts for Garters
, gave us a personal tour of the exhibition.Talk about some of your favourite artists exhibiting for the theme AnatomyJulian Walker
is a great representation of the theme, in that his work fitted into the theme of Anatomy
. He is on permanent display at the Wellcome Collection and at the Natural History Museum. He's sort of a polymath, academic artist. He's just incredible and we have four pieces from his collection which are reasonably priced. We've got 'Eggs of the World' here, Julian was particularly interested in bird eggs and randomness of the ink patterns that appear on quail eggs. Actually when quail eggs are laid, they have no patterns on them, it is the reaction with air that makes the ink patterns appear. Another piece by Julian is 'A Hundred Headaches', these are a hundred brains carved out of headache pills. 'Lifetime' is a watch that has been taken apart, and he discovered that every component of the watch can correlate with every function in the respiratory system. In the Wellcome Collection, he has an enormous wall, displayed with lots of random objects on stems like 'Lifetime' that relate to human functions in the body.
Here we have David Courts
, who we're very proud to include as part of the exhibition. He designed Keith Richards' skull ring, so he's most famously known for his jewellery design but he's a painter by trade and is very shy about his paintings.Martha Todd
, who's been with us before, she's a Royal College of Art graduate and she works with porcelain china, this is her Thumbskull, and there's lots of Martha's work that's dotted around the show.
Judy Clark is a pre-feminist movement feminist, who's very famous and very controversial and this is her menstrual cycle from 1972, which puts people off but I think it's fabulous. When you read up about Judy Clark, she always gets cited in feminist theory, but really was a precursor at that time, so she's pretty amazing.Gisele Ganne
who's exhibited with us before, she's a jewellery designer, she also designs for Stephen Webster. These are her knuckle dusters and the animal skulls are actually inside the ring, they're not craved or set in gold.
Then we have Cristina Sabaiduc
, who's a London College of Fashion graduate, she's made a magnetic dress, it's displayed with a magnetic corset when worn, can change the shape of the dress. So that's her take on anatomical structures of clothing. This is her ready to wear collection, a lot of the seams have been replaced with magnets so you can alter the shape of the garment as you wear it. How do you and Rachel go about choosing a theme?
We had a stockpile of themes and we felt Anatomy was broad enough to bring in a bigger range of artists. The first theme we choose was The Royal We, which was completely ridiculous how much it coincided with the royal wedding, by complete fluke. That was all royalty based, parodies on royalty, we looked at Victorian mourning and Victorian clothing. Then we choose the theme of Surreal Women which by fluke coincided with the anniversary of Surrealism, and in particular British surrealism. Surreal Women was great because it had something to say about British art, it was subversive and celebratory enough to involve a broad range of artists. Also we could play with the idea of it not being a 'white cube' aesthetic/mode of display. And The Royal We and Anatomy have been broad enough to involve a plethora of artists.
But for the next couple of themes we'll be honing them in in terms of limiting the kinds of artists we can show. So we've got a Soviet theme coming up and we're talking about a Light theme. We've also got a collection of Vietnamese art that's directly linked to the Vietnam War, and there's never ever been an exhibition about it so we're very lucky to have that collection. So we don't really have a way of choosing specifically, whatever interests us and whatever we feel we can lend our aesthetic to. We love themes that have a tongue-in-cheek/subversive character to play around with, which in Anatomy is cocks and fannys!In terms of the work how much of it is pre-existing pieces and newly commissioned work?
In this show, it's probably about 50/50, but in the last show there was a lot of new work. It just depends on the theme and the artist, like when we approach someone like Heather Barnett, who has so much work, we just want it all. Then other artists who have been in one thing before and want to produce something new for a new theme. We usually tell them the themes at the beginning of the year. It's a great way of establishing a relationship with artists and they really like it as well, particularly Martha Todd who's always producing new work for us. For most of them they're really excited about pushing themselves, what they make, what materials they use. I think it's a bit of fun for them, if they want to, it means they can exhibit three times a year. It's nice for them and thats the kind of relationship we want to establish with artists as well.Anatomy
at Guts for Garters
is open at The Cob Gallery
till February 2012.
13:40 - 27/01/12
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