Restriction.Intervention.Connection.
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Sophie Fulton
My curatorial interests have stemmed from a background in art theory, contemporary practice and gallery fieldwork. I came to be a part of the Glasgow School of Art community and, in turn, this project with a degree in History of Art and Film and Visual Culture from the University of Aberdeen. My undergraduate dissertation focused on the science, genetics and fairyland of the mind within Victorian Fairy Art. It was within this final thesis that my interest in the disparity between traditionalism and the contemporary, the physical and digital, and the relationship between domesticity and escapism, formed and developed. I am interested in art and a curatorial practise which questions reality promotes the uncanny and withdraws an audience from everyday life.
Restriction.Intervention.Connection. has allowed me to expand my curation in an environment which insists on rapid adaptability and redesign. The COVID-19 pandemic has decimated both local and global art communities, limiting artists’ opportunities to connect with an audience. The public’s need for stimuli has been filled, in part, by online shopping websites, as they use these platforms as a form of escapism.
My hope for this project is that it will act as a response to the constraints the art world has endured while commenting on the commercial and cultural implications of a global pandemic.
Sam Harley
Sam M Harley (b.1997) is an artist/curator living in Glasgow. She has recently graduated from The Glasgow School of Art in Fine Art Painting and Printmaking and has returned to study Curatorial Practice.
Her interests lie in thingness, everyday aesthetics, and mundane objects. She is interested in the defamiliarization that occurs when art and the everyday life combine. The objects Harley uses are found on the streets and have been rejected by the original owner. She re-purposes the neglected by defuncting the intention of the product. Harley up-cycles the objects to create a tension between high art and the disused.
In terms of curation, she is concerned with the need to make the arts more accessiable as the art world can often be an elitist place to be.
Harley will appear in a group film showing at the CCA, Glasgow and RSA New Contemporaries in the new year.
Louise Burns
Over the past six years, my background has been centred around being a practicing artist, having studied contemporary art practice and latterly fine art photography. During my final year at Edinburgh College of Art, my research branched off into the direction of material cultures, rituals, the sentimentality of objects and their histories.
The world is full of objects that can act as physical connections to our past and can hold generations worth of memories and experiences of significant sentimental value. I am interested in the domestic space as, not only an exhibition space, but somewhere which promotes the fusion of art and objects; the contemporary and the traditional. Current domestic spaces exist now - in the digital age, whilst dually acting as a place allowing the practice of daily rituals which can be deeply rooted within our history. Restriction.Intervention.Connection. has allowed me to explore my interests of combining art and objects by situating contemporary art works on platforms which are primarily for the sale of objects. It has allowed an exploration of another facet of the contemporary and the traditional by forcing works which would typically have been experienced in a physical capacity to exist in the online realm. This project is the result of an experimental, likeminded group, aiming to tackle the boundaries that Covid-19 has provided surrounding the issue of engaging with artwork during a time of isolation.
