Artist-in-Residence at Mauna Kea observatories, Hawaii, USA 1 – 28 November 2015
IMAGES TO FOLLOW
The one-month Mauna Kea residency (following Kitt Peak in Arizona and Cerro Tololo in Chile in 2012) was a phenomenal experience, especially working with three significant observatories: Gemini (I was based in the headquarters in Hilo), Keck and Subaru . I spent hours observing the constant movement in the massive sanctuary-like structures where engineers worked tirelessly on Mauna Kea. The summit was breathtakingly beautiful and exhilarating, a ‘sky island’, towering 40% into the atmosphere at 4205 metres (13,796ft), despite the zero temperatures and low oxygen. Everything changed at sunset as a magical golden glow morphed into a deep red before darkness came. The experience of spending time in the three observatories was dramatic in every way, making it difficult to find words to describe the intensity and awe of seeing and feeling of this cosmological wonder.
Notes on a Table, Maryclare Foá, Jane Grisewood, Birgitta Hosea, Carali McCall), Drawn Conversations exhibition @ Coventry University 4 December 2015
Top right: Notes on a Table (Reunion) 2015 240 x 128 cm, graphite and coloured pencil on paperBottom: Notes on a Table (after John Cage) 2010 240 x 128 cm, graphite and black crayon on paper
‘Drawn Together’, formed in 2008, is a London-based group of four artists who collaborate on performance drawing projects and share theoretical and research interests. Working with graphite and light, sound and animation they perform drawing processes and address the relationship between the body and presence, time and space. Notes on a Table includes two large drawings (each two-hour duration) made while in conversation gathered around a rectangular kitchen table. The first drawing in 2010 was followed by a second one this year, on the same surface in the same space to prompt conversation on what drawing together again might mean, or change, five years on. This exhibition curated by Jill Journeaux and Helen Gorrill was part of the Drawing Conversations symposium reflecting on collective and collaborative drawing experiences.
Aether Seminar, Friday 17 April, 1 – 4 pm Ground Floor Lecture Theatre, UAL, 272 High Holborn
In response to the exhibition, the co-curators Melanie King and Louise Beer discussed art and science and the philosophical implications of cosmological research with speakers Dr Michelle Lochner and Dr Donnache Kirk from UCL, and Dr Jane Grisewood from UAL.
Artist-in-Residence at CTIO, La Serena and Cerro Tololo, Chile 5 – 27 November 2012 The residency at the Cerro Tololo Inter-American Observatory (CTIO) headquarters in La Serena and observatories in the Andes followed the equally awe-inspiring Kitt Peak and Tucson experience in May (view The Blackest Black post ). Here, most of my observing was with the naked eye or digital camera under the immense starry southern hemisphere skies, highlighted one night by the dramatic Leonid meteors that split the sky with lines of light. The residency coincided with CTIO’s 50th Anniversary event and launch of the remarkable Dark Energy Camera (DECam) on the mountain. It was incredible to witness the first images coming from the DECam, the world’s most powerful digital camera, which is undertaking the largest survey of the southern skies to record information from millions of galaxies, billions of light years away, in the hunt for dark energy. The observing and the discussions with scientists and engineers on both residences have had a radical impact on my art practice and my way of ‘seeing’ the world. To view further information and images Click:www.janegrisewood.com
Performance Research, Volume 17 No. 5 October 2012 Published by Routledge ISSN 1352-8165 (print) ISSN 1469-9990 (online) To view articleClick:OnDuration
LINE DIALOGUES: MARKING TIME AND PROCESS Jane Grisewood and Carali McCall The artists’ pages in Performance Research journal’s On Duration October issue present images from our performative-based art practice, which interrogates the relationship between drawing and performance to explore themes of duration, movement and the transmission of energy. The repetitive and continuous action of mark-making in the one to two-hour performances identifies the body as a tool to stretch time and record temporal presence, while challenging how the body experiences duration through drawing. Carali and I have collaborated on drawing performances in the UK and abroad for six years, most recently the two-hour Line Dialogue 5 at the opening of the ‘Again and Again and Again’ exhibition, Vancouver Art Gallery, Canada (view also Again and Again post).