Welcome to the blog of Spike Dennis; an artist and sometime curator. Trained in London Spike has exhibited widely, from London to Los Angeles, and has delivered projects from Cardiff to Stockholm, for organisations including the Illustration Research network and Cardiff Design Festival amongst Others.
Holly Stewart, a grandmother from Kanasas, USA, quilted giant penises for an exhibition at the University of Kansas City entitled “Local Grandmother Quilts Giant Penises”. Funding for the exhibition invitations was secured via this Kickstarter campaign.
In her Kickstarter video the artist has explained how her interest in decorative members sparked from her time working in a sex toy factory:
I was looking on Craigslist for jobs and I saw an ad for a position that was sex positive and I had to know what that was. When I looked at it it was to be a de-molder in a dildo factory. I just knew I needed to be able to tell my grandchildren I had even applied to be a de-molder in a dildo factory. When I got the job it was even better.
I love the impact of these objects, the oversized brightly coloured phallic sculptures are as affirmative as they are transgressive. I particularly like the carnivalesque quality to the works.
Apparently, these sculptures formed a part of Stewart’s MA exhibition in which she appropriates the penis as a symbol of power whilst “contextualizing her work within ‘third wave’ feminist theory.
It’s a shame that Stewart only found internet fame with these works because of the novelty factor associated with them but if this brings her work to a wider audience it can’t be a bad thing.
Farmer McPhallus is a wild man unicorn farmer; my alter ego for a new series of works resulting from my unicorn studies.
The costume is inspired by traditions of wild man costumes that are a part of folk traditions around the world, particularity in northern Europe. The costume is comprised of a grey wolf head mask and a pair of trousers made up of the ‘skins’ of soft cuddly toys and teddy bears. The wild man’s body is white with black markings as pictured.
The body of work I’m producing around this character is performative, involving Invictus, my unicorn hobby-horse, as well as a number of other unicorns. It will take the form of video and live performances
Details of new videos and performances will be available in the coming weeks.
Drowning (Not Waving) is my first attempt at making an automaton. I’ve been talking about making automata and kinetic sculptures with fellow members of the Pack of Wolves for a few months now. With a few days to spare over the summer Faye Scott-Farrington and I got together in the studio to set to work making our first automata.
The final creation seen in the video above is made almost entirely from MDF, aside from the porcelain doll hands. Before this however, we had to gain an understanding of how basic cams and cranks work. Following some research online we created a couple of cardboard maquettes to help us figure out how the basic mechanics would work.
Having grasped the basics we set about making more permanent constructions from wood and MDF. I created a simple shelf to house the machine and then I cut each cam individually, sanding them to as near a perfect circle as I could. These were then drilled out an mounted on a piece of dowel that would act as the main crank.
Using offset concentric cams I was able to ensure that the hands would all raise and fall at diffferent times.
The motion in my automaton is a little rough which I think is in part due to the bamboo skewers I used to spear the dolls’ hands. I also had to add some extra weight to the cam plates beneath the smallest hands because there wasn’t quite enough weight to enable the hands to drop back down again.
Keep an eye out on Faye’s blog for some photos of the automaton that she created. It’s a suitably creepy machine!
The Pack of Wolves have been invited to show a recording of their Punch and Judy performance from “Once Upon Again…” at Kalopsia’s new exhibition “Con-Textiles-Isation” in their Edinburgh gallery space. The exhibition will explore the intersection between performance art and textiles.
Performance and Textiles are two strands of artistic practice that rarely meet, yet here they become entwined in a manner that seeks not only to return textiles to its rightful place in the orbit of contemporary art, but also to showcase the conceptual and communicational potential of the medium.
Works by a selection of international artists will be on display and will include performance pieces interwoven with the use of classic textile techniques and textile pieces that engage both physically and conceptually with performance. There will also be live performances at the opening on the evening of the 8 August 2014.
I came across this great little video interview with Erin M. Riley the other day. I’m very familiar with Erin’s work and have had the pleasure of exhibiting alongside her in a couple of shows over the last year or so but I hadn’t seen this interview before.
For those of you who don’t know her work, Erin produces hand woven tapestries from photos that might otherwise be associated with the likes of Snapchat or Tumblr posts. Imagery often includes semi-naked women, used condoms and drug paraphernalia.
I grew up on the internet, so for me nudity is very normal, and when I was on AOL and when I was on these early chatroom things there was always this nudity, and maybe I am really desensitized to it and I am very much not shocked by it. I do know that it’s shocking but I don’t intend it to be. I intend it to be more like: “This is what’s going on!”
As an artist who also grew up on the internet and now works with textile based material processes along with contemporary (often explicit) content sourced via the internet I find I can relate to a lot of what Erin says in the video above. I was particularly interested her comments about the medium of the work removing the work from the pornographic realm.
Whilst the response of others to some of my work can be that of shock and disgust it’s good to hear that I’m not alone in my attitude and approach towards the content that I’m using as source material for my work.