Listen to an audio interview with the third occursus resident at Site Gallery, Jérôme Grivel.
occursus is pleased to announce that Maud Haya-Baviera, who was our second artist in residence at Site Gallery, will be speaking at an event at Site Gallery on December 7th. She will also be screening one of the new works she made during the residency.
More information will follow here soon. In the meantime, please note the date in your diaries!
Jérôme is now in his second week as the third occursus artist in residence at Site Gallery.
Inspired by underground culture and artistic vanguard Grivel has developed a transdisciplinary practice that includes sound installation, sculpture, video and performance. As an interrogation of the extreme, his practice sails between silence and saturation, violence and quiet.
As an artist he has exhibited in group shows and festivals including Instant d’écoute, Le dojo, Nice, France (2011), 1975-2011, 6/6, Galerie Catherine Issert, Saint Paul De Vence, France (2011), City Sonic #7, Mons, Belgium (2009), 54e Salon de Montrouge, Montrouge, France (2009). As a musician he has played internationally with his band Sugar Pill and he has collaborated with several bands and musicians.
Jérôme will be leading the next reading loop (November 2nd) and, towards the end of his residency, will be screening one of the video works he has made during his time in Sheffield.
occursus welcomes its third artist in residence at Site Gallery, Jérôme Grivel, a graduate of the prestigious Villa Arson art school in France.
While he is in Sheffield, Jérôme will be exploring the possibilities of collaboration with Sheffield-based artists and musicians including Adam Denton (Trans/Human & Pandemic) and will also be developing two new video works.
Jérome Grivel, Galerie Cathérine Issert, September 2011
More information will be published about Jérôme’s residency throughout October.
Nearly two weeks into the residency and I am still following my scheduled plan.
The residency is short, four weeks, and the time scale doesn’t allow much daydreaming. I felt, before starting, that if I wanted to gain anything from this experience it would need to be prepared and planned ahead. I wanted to ensure I would keep focussed and busy.
I decided I would use the residency to shoot one video, to start editing this video and to get enough footage to begin an additional work. Everything was written before I started working at Site Gallery and therefore my ambition was to use the residency as a privileged time for the realisation of new work. I wanted my research to be shaped by the acquisition of new technical skills while benefiting from the knowledge Site encompasses as a leading Gallery for new media.
So far this ambitious plan has worked out well.
On Saturday the 17th of September, after Site Gallery helped me gain access to a green screen studio, I shot the first video. I am now in the process of editing this work, which is revealing a complex but enriching process. I am also preparing the next shoot and arranging appropriate locations while having a constant dialogue with the actresses who will feature in the video.
I feel a little stressed but mainly excited and joyful to be working at a furious pace.
Maud Haya-Baviera, 2011
I’m very pleased to undertake this four-week occursus residency at Site Gallery. This exciting opportunity will allow me to focus exclusively and intensely on the realisation of a new video project.
The first time I worked with Site Gallery was in 2005 when I was commissioned to create a new work for the exhibition Immediate 3. One year later I worked for the first time with Amanda Crawley Jackson, when she invited me to take part in the exhibition Channel, which she was curating. It is a great pleasure for me that my work will once again be associated with the highly reputable Site Gallery and with Amanda’s ability to move mountains coupled with her enthusiasm for thriving intellectual exchanges.
At this point I wish to keep the details of the work I will create secret. I am only willing to reveal that it will be my most ambitious work to date and that I will use Site Gallery’s technical resources to support myself in this aspiration. I also want this new work to remain sufficiently simple in order to incite an immediate and strong appeal along with an eerie curiosity.
Maud Haya-Baviera, 2011
Today is my last day as Occursus artist-in-residence.
Mainly, it has been a month of re-visiting. Re-visiting ideas, photos, texts, videos. And it has flown by. I haven’t revisit all I wanted to. But the end of this residency is not the end of the process. Simply a change of location, a pause for recollection and gathering before moving forward. Re-visiting is my continuous and endless way of working, sometimes is unconscious and others it is the very core of the work. But it never ends and it is never complete.
Looking back at my posts during these weeks, I realize that there is some form of surfacing going on in my images. There is a dialogue (or it could be an argument) between two images that are forced to share a sole surface, and therefore have to fight for prominence. Or two images that contradict, negate or hide each other. When I look at found postcards I can’t decide if it is the front or the back what holds the message, I am not even sure there is a message. So I try to merge both sides. Or even if I promote one side over the other, it will refuse to be separated and will find a way to implicate and reference the other.
There are perhaps multi surfaces, the surface of the screen, the surface of the found photograph, the surface of the landscape. And to me they all seem to be both remote and found at the same time, distant but inseparable from each other. The model and the reality fused and confused. At times, one surface is removed and the rest have to be rearrange, redefine or re-imagined. On other occasions, a new surface is incorporated, invited to bridge two non-communicating surfaces.
I have been tracing maps, doilies and fragmented wallpaper patterns. The doilies are broken and the blank areas designate a polar vision of the northern hemisphere. I have re-visited my work Mappa. The land is in negative, missing. The drawn areas cover what has to be identified as the ocean. It is a doily for a map, or a map for a doily. I have enlarge their scale. No they are wall maps. More image than instrument. The lines suggest a certain topography but the repetition exposes the doily, and both subjects are yielded to the off-white surface of the paper. From a distance the paper seems to be all there is, it is only on close inspection that the drawing can be discerned.
I mentioned at the beginning of my residency that one of my main objectives was to complete a new video work, for which I was writing a dialogue in collaboration with artist Markus Lantto. This work is still in progress. We wanted to write a fictional dialogue for two characters. In the process I realized I was feeling detached from these fictional characters and their dialogue, and I needed to incorporate ourselves in the work in a more direct way. So the piece will fluctuate between the fictional dialogue and our own correspondence about the work. And I realized also that this work could not be rushed and it would have to flow freely and take its time, so its development will continue beyond my stay at Site Gallery.
It has been a strange and enriching experience. I am already based in Sheffield, and I have my studio in this city, so it was not about making work of the place itself but to look back and revisit my work. Being in a temporary blank space always prompts the need to fill up the walls with work quickly with new images. But in this case, after the first days’ awkwardness of adaptation and expectation, the blankness of the walls has provided some relief from my cramped studio. Spending time just looking at one’s drawing or starting at a blank paper allows for new lines of thought to push through. It has given me the time and mind-space. And sometimes priorities get confused and experimentation and play take a secondary role, for which I am convinced the work always suffers. So this residency has provided both, time to play and think, and space to experiment.
A house. A house surrounded by a white fence, lush trees and a small path leading to its white door. A woman leaning over a child, probably saying goodbye before he leaves for school. A borrowed setting, a found photograph. A tiny image removed from its original context, history or time.
And I can’t decide if I am too big or the house too small for me to visit. The landscape is either too small or too far to define myself in it. But If I look at it close enough, it becomes immense, greater than my own scale. And I am there somehow. I inhabit the image better than anything else, precisely because I can’t inhabit it.