I am catching up with the news this week including fully nosing at the recent Art Council England cuts http://bit.ly/aF4v4N and wondering how ‘cutting’ the emergency budget will be this week. As ever have enjoyed A-N magazine’s Tweets from numerous events and conferences. That really is the power of Twitter, to inform you in 140 characters what is happening now…this includes journalists from the broadsheets reporting directly from the World Cup of course!

As I am sitting here cappuccino in hand penning a ‘to do’ list for the week ahead trying to master my juggling of time in a absurdly confident ‘structure’, I have realised that this process is something which is exact in my approach to work. Perhaps the more prominent role of admin has usurped my approach to ideas – the approach being I seem to write down thoughts as text rather punctuated with drawing. Anyway, I visited Lewis department store in Liverpool which has recently closed this week.

Amazingly they were selling all fixtures and fittings of the shop, something which naturally jumped at the chance to view. Walking through the 1970′s soaked internal corridors – complete with neglected staff boards, grim beige walls and horrendous stained carpets, you were allowed on the shop floor where staff carried on their duties moving old stock. You were submerged in an environment which subverted the set hierarchy and relationship between goods, display and the customer. I was fascinated by the display of the vehicles of display and their new position within this situation. Spatially, it was one of the most engaging experiences I have had for a while. Perhaps I am reading far too much into this, but it has prompted me to produce work on the experience. Also, still waiting for website to be modified updated and new sections added. Will add recent work images when this happens.

JW

Went to the opening of Everyday People at the Lowry in Manchester last Friday. Was struck by the building which looks like a hybrid insect heavy on shell and metallic metal panels. The surroundings are undeniably impressive. Waterfront and new shopping complex tick all the regeneration boxes alongside some pleasing shipping monuments.

Inside a brisk walk through the galleries dedicated to the man who inspired the complex and one of Manchester’s most famous sons, you reached the main exhibition gallery. I realised at this point why I have never frequented this museum. I see enough Lowry at the City Gallery in central Manchester. Frankly, I am not a Lowry enthusiast. It was therefore a great relief to see some very slick contemporary art galleries where the Spencer Tunick show was held.

It was one of the shows of the year so far for me. Photography normally leaves me somewhat indifferent and struggles to raise emotions in me. However these large c-print photographs, depicting composed masses of naked volunteers in Manchester earlier this year, engaged me in an unexpected way. I found myself very aware of the delicate nature of the human body via the imperfections of the nameless subjects in the photos. These anonymous flagbearers become representatives of us as beings, our relationships to each other and as relevant as a 16th century portrait. The dictated space and composition of the photographs are naturally intertwined with these facets and the overall direction – there is a tension between the environment of the images and Tunick’s authority as the artist.

Affecting this reading was the massive logistical operation needed to ensure this project happened. Whilst this project should be celebrated it was interesting for me to read the operation as part of the work, how the most simple and natural human state becomes one of the most difficult projects to achieve. Perhaps that’s what Everyday People and Tunick commanded press coverage, simple but effective projects engage the most. especially when executed as well as this.

JW

Best entrance to a gallery ever?

It could of been the start of a thriller. Stepping off the train on to a platform on a balmy summers night to be greeted on a platform by a smiling invigilator handing you an exhibition leaflet. Perhaps it could have been (although I doubt that the train would have been Merseyrail if it was) yet it was the 2010 Liverpool Art Prize run by the industrious artinliverpool.com.

It was the first time I have been to Metal since it reopened and the gallery impressed me on the occasion. It has the aura of a church onside with imposing stone walls coupled with a quiet modern support structure. The work itself was, well, I don’t really know! The private view was packed and there was absolutely no room to comprehend any of the work realistically. I am going to go back as it made enough impact to convince me so. Reminds me why I loathe private views so much. Personal negativity aside, the event ran smoothly and certainly has the scope to continue to grow.

I think that Ian and Minako Jackson who run artinliverpool should be applauded for their boundless energy, with the LAP being just facet of their ongoing efforts. The work they do in and for Liverpool is fantastic. Liverpool based artists such as myself are lucky to have such a resource and someone who makes the happenings in Liverpool accessible. They are appreciated and hopefully they will have enjoyed their big night…and woke up with a twat of a post private view hangover!

Jack