Graphic Grey

Wednesday, 15 October 2014

Developing Dylan

This post was written for the Dylanwad 100 blog, part of the celebrations for the centenary of the writer and poet Dylan Thomas.

Whilst working with young people on the Delivering Dylan project I've been struck by the potential of using visual art as a gateway into other, more challenging subjects, and the incredible capacity of young people to rise to any challenge.

I'm a visual artist, primarily a painter, with a background in cross-disciplinary collaboration and experimentation. For the past few years I've been working with an industrial polymer chemist to explore the possibility of using industrial materials and scientific processes to create fine art. This has been fascinating, and has enabled me to collaborate with all sorts of exciting people. Last year I was contacted by the London Science Museum and asked to assist in devising methods of using art to improve access to science. Science, it seems, is viewed by many young people as something inherently boring, bearing no relation at all upon their lives. When the word 'science' is coupled with 'museum' it unfortunately seems to trigger yawns all around the classroom. Interestingly though, when creative activity (art) is used first as a catalyst to capture attention and engage young people in the practicalities of science, then their response is much more positive. You can read about my collaborative projects on my blog: http://ruthmcleesart.blogspot.co.uk/
 
My experience of the Developing Dylan Project has revealed several similarities. Of course I'm not implying that the mention of Dylan Thomas triggers yawns! But what I do know is that the idea of spending time looking at his poetry is not immediately appealing to some young people, particularly those who may be struggling with schoolwork or in pupil referral units. The genius of Developing Dylan therefore is the immersion of literature within other readily-accessible creative arts. And once a young person has been hooked by art (or music, or performance etc), then I think the challenge of poetry seems infinitely less daunting, and they can move on to explore the beauty of the words.

In my workshops I've collaborated with the poet Clare Potter and artist Matthew Britton. We’ve used art and visual activities to introduce, respond to and help remake carefully chosen works by Dylan Thomas, with some very impressive results. And there's a very good reason behind all this. Human beings are 'visually wired'; 50% of our brain is involved in visual processing, 70% of our sensory receptors are in our eyes and we can interpret a visual scene in less than 1/10 of a second. It only takes us 150 milliseconds for a symbol to be processes and 100 milliseconds to attach a meaning to it. Our rate of understanding for text with pictures is 95% compared to 70% for text alone, which is why translating words into images and back again can be so inspiring and revealing when looking at poetry. Importantly too, adding creative activity makes things easier to recall. We remember 80% of what we see and do, but only 20% of what we read, and a tiny 10% of what we hear.

So by joining word and image, my hope is that Developing Dylan has not only contributed to improving access and enjoyment of Dylan Thomas today, but also to creating a lasting legacy. I hope the young people will remember and return to his works throughout their lives, and have the courage to read, enjoy and respond to other literature in their own unique way. I, for one, have definitely been awed by the talent I've seen in all the schools and inspired by the artists I’ve worked with. Dylan Thomas has been revealed to me in a new light; I've even made my own artworks in response!
 
The Green Fuse
 

Wednesday, 10 September 2014

Step by Step Commission


 
A commission from start to finish...
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Tuesday, 15 July 2014

Art for Summer!

I will be showing new work in the gallery/ten Summer Exhibition which opens this week.

My new mini-paintings are of woodlands in and around Cardiff; favourite places I've explored whilst out running this summer.
 
Fforest Fawr 2

Paintings are acrylic with plant pigments, layered on resin and glass.

Visit gallery/ten for more details
Exhibition launch this Thursday 17th July 6 - 8pm

Open Monday to Friday 10 - 6pm
Saturday 10 - 5pm
Exhibition open until 30th August

gallery/ten is at 23 Windsor Place, Cardiff - Map
 

 
 

Monday, 23 June 2014

Halen Mon, Day 3

Friday. My final day with Halen Mon is drawing to a close. It's gorgeous here, and I'd love to stay. I have so many ideas for art, ranging from the semi functional to the more fantastical, but how best to progress? Between us we've decided to start with the practical and work from there.

Halen Mon is a functioning production site, with a soon-to-be built visitor centre on the way. This means the priority for artworks is to serve a function, whether through their placement so they subtly direct visitors, or decorate blank surfaces, or through their content so they educate and inform about the chemistry and production of salt.



I'm taking a massive collection of resources back to my studio, ranging from photos to watercolours to all sorts of items I've found and been given. These will form the inspiration from which I'll work. We've arranged to have a catch up online in a couple of weeks to recap, regroup and consider our progress, so although we're at opposite ends of the country we shouldn't lose too much momentum.

Another visit? Yes, that's on the cards for later on this year. By then both of us will have progressed and we should be able to recombine our ideas with physical elements on site.

 Supported by a bursary from a-n The Artist Information Company.

Friday, 20 June 2014

Halen Mon, Day 2

My second day at Halen Mon has been a day of finding connections and correlation.

There's the fascinating visual likeness between the mountains of Snowdonia visible across the Menai Straight, and the pyramid-like salt crystals produced from the Menai Straight water.



Then there's the intriguing similarity between the colours of the local countryside and coastline and those of the various Halen Mon salts.



And finally there's salt and art, linked together by chalk and gypsum. Chalk is used as a filler in paint and to prepare grounds for painting. Gypsum is crushed and dried to make plaster of paris. Both are formed when seawater evaporates and are by-products of the salt making process.



Seawater > gypsum + chalk > salt

Can this process be reversed somehow I wonder, and art made with all elements rejoined?

Chalk + gypsum + salt + water = ?

Tomorrow will be my 3rd day here before I head back to my studio in Cardiff. These have been a precious few days to me, almost like a mini residency, and have given me time and space to explore new surroundings and thrash out new thoughts and ideas. I can feel my practice developing in new directions which is very exciting, with new artworks begging to be made. However I mustn't lose site of one of my aims for this collaboration which is to work with Halen Mon to produce site responsive art which can also be displayed at this location. And to do this I must keep in mind the use of more robust materials too: slate, stone and perhaps transparent panels to call to mind the sea, water and scenery of this fantastic location. After today there are the makings of some great ideas on the table. Let's see how we can move them on.

Supported by a bursary from a-n The Artist Information Company.

Thursday, 19 June 2014

Halen Mon, Day 1

My first day in Anglesey at Halen Mon has passed by in a blaze of glorious sunshine. As an artist trying to utilise the outcomes of science within my work, my primary aim for today was to discover just how Halen Mon crystallises the local seawater to make their salt flakes. I've been crystallising salts in my studio and they're incredible, but the crystal structure of Halen Mon salts are a in a class all of their own. Truly a thing of beauty.



I was first given an induction and shown the process of salt harvesting, beginning with the seawater filtered through mussel beds on the Menai Straights, through to the concentration of the brine, salt crystallisation, rinsing of the salt flakes, drying and packing. Who knew that so much goes in to producing salt! I've read somewhere that in the past salt was scarce and cost as much as gold, and seeing for myself the care that goes into producing salt crystals of this quality I can truly believe it.

What I've gathered is the pride that goes into harvesting this salt, and the extreme care that is taken to ensure each batch (and indeed each crystal) is perfect. I feel this theme will prove to be a vital part of the collaboration.

I also witnessed for myself the cloudy chalk that's released when salt is rinsed. This is new to me, and explains what the white residue is that I've seen around the edges of pans after boiling vegetables in salted water. Calcium carbonate is naturally found in seawater; organisms such as plankton, algae and molluscs all contribute, but it's considered an impurity in salt and so the more that's removed, the better. I love the fact that a by-product of salt crystallisation is chalk, a substance that I already use within my work..... Is there a way of reuniting the salt and chalk, I wonder?

The remainder of the day was spent taking photos of the area and drawing. Once again the theme of beauty resurfaces; the scenery here is glorious! And the colours! I feel it's perhaps more important to capture the colours rather than the overall forms; again I feel these may prove to be an important element within my work.

So after the first day I have lots of ideas and a brain full of stimuli, but everything is loose and unformed. Tonight will be spent thinking and assessing, and making a list for tomorrow. I hope too to have a good brainstorm with the directors David and Alison and start to steer things in some kind of a direction.



Supported by a bursary from a-n The Artist Information Company.

Monday, 16 June 2014

The Art of Sea Salt Making

I'm delighted to discover my artwork featured on the Halen Mon blog, just prior to my trip to visit them in Anglesey tomorrow.
 

Supported by a bursary from a-n The Artist Information Company.

Thursday, 12 June 2014

Paying Artists

This post was meant to be about my recently begun new collaboration funded by an a-n bursary, but I've been distracted by a-n's #PayingArtists campaign so I'm going to write about this instead...

That artists are paid properly is something I'm passionate about, not only because I'm an artist who wants to get paid, but also because it's vital that art as a profession begins to be recognised and artists rewarded for their vital contribution to society and the economy.
 
It was with despair but not a great deal of surprise that I read that 3 in 4 artists earn less than £5,000 a year, a figure well below the national minimum wage. By hook or by crook I've managed to (mostly) earn a fair bit more than this for each of the ten years I've been an artist since my graduation, and for this I count myself to be very fortunate. It's been hard work, but for whatever reason I've managed to make a reasonable living from my art.
 

Keeping an eye on the Twitter #PayingArtists campaign, I'm not at all surprised the majority of artists have such a tiny income. It just illustrates the horrifyingly entrenched culture of expecting artists to work for nothing (or only expenses) across the breadth of the economy. What I find especially sad is that so many requests for freebies are coming from arts organisations who must be aware of how little artists earn, many of them being run by artists themselves, and one would hope would lead by example by paying artists fairly.

So what does this tell me? Is it that art is not viewed as a real profession, and as a result no one is willing to pay artists a professional wage? Are the incredible, unique and honed skills of the practiced artist worth so little? Or in actual fact is it that society is so used to asking artists to work for free that it now expects little else? Of course we artists do love what we do (mostly) but we all also have mortgages, rent, families and need food! Thus, this whole premise of the work in itself being enough reward must be unpicked and the practice of paying/not paying artists remade from the bottom up. And for this, thank goodness, there's the #PayingArtists campaign.
 
Now I must admit that, like any artist, I've done my fair share of work for free, enticed by the promise of "good exposure" and "looking great on my CV" etc, etc... And yes, maybe, perhaps this was true when I first graduated. But now, ten years later, no way! During my ten years of practice I've built up a solid reputation, exhibited widely, been shortlisted for awards and worked for big private and corporate clients, and my CV already looks pretty good, thank you! However I've only ever been paid once by a public gallery for putting on a solo show.
 
Lately the requests for freebies have been coming thick and fast. I was recently approached by an individual on behalf of an organisation who said "We really love your work and find your research fascinating. We'd love you to work with us on this project..." To which I replied "Great! Fantastic! My fee for a day is £150" (pretty reasonable I feel given my experience). I didn't receive a reply. Obviously they didn't love my work or value my experience enough to pay me. What makes me angry and frustrated here is that the same organisation has probably approached some other artist who has agreed to do the work for free on the unfounded hope that it may, sometime, lead to something paid in the future. As a result of this I'm probably now labelled as a mean, money-grabbing individual in that particular organisation's books too.

Is it too much to ask that I'm paid accordingly for my valuable skills and experience? I work regularly with large organisations (not arts) who contract me to use these skills to problem solve and deliver creative training solutions. These corporate clients value my unique insights and creative talents and are more than happy to pay me accordingly. After all, I have a very special set of skills highly prized but often under-represented within the world of business. And being paid for this (on time too!!) feels great.

Earning a decent wage is directly linked to the perception of self-worth and the value we place on our talents. It's so important that we artists are paid properly to feel respected and enable us to invest in and sustain our practice.

This leads me to my final point. Art is my passion, and being an artist is the driving force within my life. But I've become tired; tired of being underpaid and scratching around for an income; tired of feeling undervalued; tired of feeling my hard work and creative mind is taken for granted; tired of feeling I'm expected to give away my services freely to the lowest bidder. A-n's #PayingArtists campaign is just what's needed to give this country a massive kick up the backside and demand a better deal for artists. I'm backing it 100%, and I really hope it makes a difference. But, I'm not stopping here. I'm a professional and am good at my profession, and I want my income to reflect this. I've embarked on a programme of upskilling myself; studying and taking exams to add professional qualifications to my already impressive but art-centric CV. I suppose what I'm trying to say here is that even if artists do start to get paid a "fair" wage, what will this entail? It may still only equate to minimum wage, and I believe I'm worth a great deal more than this. The many skills of an artist are tricky to define, and perhaps this means it will always be a challenge to get paid fairly because many organisations/clients will struggle to understand exactly what it is they are paying for. So I figure I need to learn the language of business in order to get recognised for my skills and paid properly, because maybe, sadly, this is the only language that everyone understands.

Last month I passed my first project management exam, and I have more lined up for the summer. Immediately this has placed a recognised monetary value upon my skills. As opposed to being scared about how I'll survive I'm now excited by the prospects the future may hold. With the removal of financial pressure I've discovered a new-found energy for my creative art. Perhaps I can now have the best of both worlds?

 

Wednesday, 11 June 2014

New Collaboration with Halen Mon

I'm on my way!

Plans are laid down; train reservations made… just the small matter of sitting an exam and packing before I set off!

Activity towards my a-n New Collaborations bursary kicks off properly next week with a visit to my collaborators Halen Mon in Anglesey. So far we’ve only been dabbling in ideas via email. They’ve sent me packages of salt and I’ve sent images and tentative ideas in return, but it’s not easy having a long distance relationship with a material and a place. I want to investigate and respond, hence the journey.

The activity of harvesting salt requires (obviously) a coastal location with access to the sea to capture the salt water. I live in Cardiff in South Wales, and Anglesey is an island, north and slightly west of Wales, separated from the mainland by the Menai Straight. Next Tuesday I’ll be embarking on a four hour train ride to get there for my rendezvous with Halen Mon.

It’s hard to know what to expect, other than a glorious location and an extension of the hospitality that’s already in evidence in their emails. And the promise of watching the salt harvest take place has definitely got me intrigued!

The scope of our collaboration has yet to unfold, which means I’m finding it difficult to pinpoint exactly what materials I should bring with me. The usual drawing stuff plus watercolours, obviously, and a camera. For a while I contemplated bringing resin, but I don’t think that’s a very user-friendly thing to bring into someone else’s workspace! Oh, and perhaps wellies (although I have my fingers crossed for sunshine).

Over the last month or so I’ve been playing with the Halen Mon salts and have prepared a number of ideas. These I’ll bring with me, as well as some bits and pieces of my other work which relate to the feel of this project and illustrate my practice. So that’s the visual side covered. But how about the project approach? I need to define this in some way prior to my trip so I don’t feel completely lost or overwhelmed when I arrive at Halen Mon.

 
So I’ve made a list. It reads as follows (so far):

Collaboration- putting 2 things together so they have a dialogue with one another. Salts and art; artefact and art etc.

Change meaning of object/art by placing in different context. Salt placed within art/art historical context/room.

Juxtaposition.

Measuring time/recording events (crystallisation).

If I’m curious I’m sure other people will be curious about it too. Revealing crystals, chemistry etc.

What is hidden? Store rooms, old stuff?

Contemporary art transforms lived experience into symbolic forms.

How to isolate/choose things to respond to?

Real human stories.

What do I want to get out of it? Make my work relevant to the context.

How do they see my work fitting in?

Clear objectives and outcomes. What will we all get out of it?

It’s all a bit of a brainstorm, but it’s given me food for thought.

I’m planning to update my blog with thoughts, processes and activities as they crystallise (nice!) over the course of the next few weeks.
 

Tuesday, 6 May 2014

Thoughts on a collaboration

As I see it there are three players in this new collaboration: me, Halen Mon, and the salts in between, and all are unknown factors at this point in time.

Me. I know I'm excited by the prospect of working with Halen Mon, and am excited by the potential of working with the salts, but at this point in time all possibilities are open. The scope of potential achievements is huge but there's also the unknown. I'm pretty sure I can make beautiful art from these new materials conjoining with science, but, as they say, the proof is in the pudding...

Halen Mon. Within the culinary world, Halen Mon and their salts have nothing to prove. But what's their take on the world of art? We've communicated entirely by email until now and so I'm itching to find a mutually convenient time when I can visit them in Anglesey and set out ideas and scope face to face.

The salts. These are truly the unknown factor! I can be sure of their place in my kitchen, but what about as a material in my artist's studio? The crystallisation of various salts is something I've been playing with for a while, and their natural formations are pretty amazing. But is this art? And if not, how can I make it so? The science behind the aesthetic is a driver for me so I hope I can keep it visible to play a part, not only in the creation, but also in the enjoyment of any art I manage to make.

 
Mineral Salts
 
Mineral Salts
 
Mineral Salts
 
Mineral Salts

Wednesday, 23 April 2014

Grains of Salt: a-n New Collaborations Bursary Award

At the heart of both art and science is a desire for the pleasure of understanding something new and of communicating this to others.
Through an award from a-n New Collaborations Bursary I'll be working with sea-salt harvesters Halen Mon over the next few months, to explore the potential of mineral salts in the creation of art.
The discovery of fresh aesthetic potential within unusual materials is paramount, alongside the correlation of the visual with scientific explanation. Results will present a range of possibilities for future developments, utilising these materials in conjunction with the science beneath.
Science will play a role which is both provocative and visually inspiring. My aim is to unite art with science to create something unique and precious; aesthetically beautiful whilst also enhancing understanding and extending our experience of the world.
I'll be charting my progress both here on this blog, and on the a-n website.
 
Supported by a bursary from a-n, The Artist Information Company
 

Work for Sale and Portfolio

Thursday, 17 April 2014

New Graphite Portrait Commissions


2 new graphite portrait commissions finished today. Portraits can be drawn from good quality photos. Message me if interested!
 
 
 

Tuesday, 4 March 2014

A Splott Vista



A Splott Vista. Exhibition of the artwork from Cloughmore surgery, inspired by the industrial heritage of Splott, Cardiff.


Apollo Capital Projects and gallery/ten

invite you to a private view of

A Splott Vista

A selection of prints by Ruth McLees of artwork from Cloughmore Surgery
as part of the gallery/ten Spring Show

On Thursday 6th March
6pm to 8pm
at gallery/ten, 1st Floor, 23 Windsor Place, Cardiff CF10 3BY

Exhibition continues until 29th March
Tues-Fri 10-6; Sat 10-5
Proceeds from sales will go to the Wales Air Ambulance charity
Buy prints online at Kiosk
Cloughmore surgery pictures »

Artwork commissioned by EMP Projects on behalf of Apollo Capital Projects
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Friday, 7 February 2014

Art Created Using Science

Solutions of mineral salts at various concentrations. Is it possible to determine the concentration of a solution by counting crystal numbers and density within an image? An interesting way to visually communicate scientific outcomes.
 
 
 
 

Friday, 24 January 2014

Smirnoff Winter Pride Art Awards

One of my paintings 'Chroma Utopia' has been shortlisted for the Smirnoff Winter Pride Art Awards.
 
Showcasing a spectrum of artistic practice, 21 Finalists have been selected by a judging panel of arts and media professionals. ". 

A preview exhibition of the shortlisted Finalists will take place at CHART gallery in Chelsea from 3-5 February 2014, followed by a display at Tobacco Dock in East London on the 8
th of February, when the winner and runners up will be announced.

Please contact Chart Gallery, Chelsea for purchase of 'Chroma Utopia' (above).
For purchase of all other artworks please contact gallery/ten.