Very pleased to be one of the featured artists in the first FEATURE-PROJECTS by Artist/Curator Dan Auluk. More info here PressReleaseFeature.docx
Belmacz would like to announce the screening of-
The Act of the Spartan Boy, 2015
Will be on view at Belmacz from
15th April 2016
Digital video with 5.1 surround sound. Runtime 10mins.
‘The Act of the Spartan Boy’ is a moving image work combining both found and purpose-shot footage of numerous small towns that, collectively, constitute the “Black Country” – my childhood home, an area in the West Midlands given its name due to the soot and smoke produced by the numerous foundries of the Industrial Revolution. Growing up here during the 80’s one was witness to the death of British industry, and the subsequent transformation of the area and it’s people into a Welfare State, mass unemployment and social decline replacing the soot and “beating drums” of the forge drop hammers. Returning to this place after a long hiatus, I seek out the stories, anecdotes and folk tales of those that remember a much different time. The film aims to operate not as document but rather as a transient, fragmented vision, free and fleeting as the fallibility of memory itself. Lines between fact and fiction are blurred by way of broken narratives that are weaved within the fabric of the images, during which slippage occurs, and indeed is encouraged in the hope of leading to some undiscovered ‘other’. This sparked a renewed interest in my heritage that I had overlooked, perhaps actively attempted to escape for a number of years.
Stuart Layton was born 1972, Walsall, England. He graduated with a BA (Hons) in Fine Art from the University of Worcester in 2012 and a MA in Painting (Moving Image Pathway) from the Royal College of Art in 2015. Recent solo exhibitions include You Never Wash Up After Yourself & Other Observations, Three Gallery, BPN Architects Birmingham, (2014), You’ll Never Work in this Town Again, Wolverhampton Art Gallery, (2013).
Selected group exhibitions/ screenings include Lux Scotland Artist Moving Image Festival, Glasgow, Film Open, Spike Island, Bristol, Mono2, Courtyard Theatre, London, RCA show 2015, London, Small Worlds, New Art Gallery, Walsall, Film Open, Whitechapel Gallery, London, (2015). Now & After, International Video Art Festival, Moscow, (2014). New Art West Midlands, Birmingham Museum & Art Gallery & Grand Union, (2013). Stuart lives and works in Worcestershire.
For more information please contact Rebekah Standing at Belmacz: firstname.lastname@example.org or call +44 (0)20 7629 7863
Belmacz Ltd ▪ 45 Davies Street ● London W1K 4LX
Tel: +44 (0)20 7629 7863 ▴ Fax: +44 (0)20 7318 1575
Email: email@example.com ▪ http://www.belmacz.com
We entered an immense low-ceilinged room and followed a vista of dead swine, upon their backs, their paws stretching mutely towards heaven. Walking down to the vanishing point, we found there a sort of human chopping machine where the hogs were converted into commercial pork. A plank table, two men to lift and turn, two to wield the cleavers, were its component parts. No iron cog-wheels could work with more regular motion. Plump falls the hog upon the table, chop, chop; chop, chop; chop, chop, fall the cleavers. All is over. But, before you can say so, plump, chop, chop; chop, chop; chop, chop, sound again. There is no pause for admiration. By a skilled sleight of hand, hams, shoulders, clear, mess, and prime fly off, each squarely cut to its own place, where attendants, aided by trucks and dumb-waiters, dispatch each to its separate destiny—the ham for Mexico, its loin for Bordeaux. Amazed beyond all expectation at the celerity, we took out our watches and counted thirty-five seconds, from the moment when one hog touched the table until the next occupied it place. The number of blows required I regret we did not count.
Frederick Law Olmsted, A Journey through Texas (New York: Mason Brothers, 1860)
I often need to write something down quite spontaneously. Sometimes a paragraph, sometimes a line from a overheard conversation or a lyric, sometimes even a single word. This led to words scattered across numerous resources, whatever I had to hand at the time, for example a journal page, shopping receipt,letter or envelope and numerous note taking apps spread across numerous phones.
Over time I began to take these random words a bit more seriously, trying to uncover some sense or reason behind them. Then last year towards the conclusion of my MA I realised that they were actually a very important part of my work. And rather than finding ways to accommodate them in a different media, perhaps they should just be allowed to exist as words.
Over the ensuing months since I’ve meandered, with no clear direction as to how to present/prepare these texts. The problem being there is no set style or form of writing, part novella, part poetry, theoretical,critiquing and some utter nonsense.Today I made the decision to gather what I have, see how it might fit together, or if it needs to be categorised and split into seperately projects (categorization is something that I try my best to avoid). This is not going to be easy sure to my scattergun ethos of documentation. Bits of paper are lost, others filed away in that safe place that I s so secure I have forgotten its location.shots have been deleted, phones changed, lost, and broken. Hard drives have crashed, backups failed, passwords forgotten and don’t even mention the ☁
Very pleased to have excerpts from my MA thesis published on Strawberry Blue.
*Taken From strawberry.blue*
SPECIFICALLY EMERGING FINE ARTISTS. WE RESEARCH WHAT THEY DO, INTRODUCE THEM TO OTHER ARTISTS OR PATRONS WHO MAY SHARE THE SAME INTERESTS, HELP THEM SHARE INFORMATION ABOUT THEIR PRACTICE AND OBTAIN THE RESOURCES TO COLLABORATE AND SHOW THEIR WORK. WE TRY TO KEEP IT AS SIMPLE AS THAT.
SB is shaping up to be a fine resource for practitioners, researchers and anyone interested in contemporary fine art.