Category Archives: fine art

GOLDFACTORY ARCHIVE

Welcome to the Goldfactory archive.

Goldfactory was an Arts Council funded art research space run by Paul Matosic and Shaun Belcher and located on the top floor of Oldknows Factory in Nottingham.

Between   July 2007 and October 2009 Goldfactory showed an adventurous and eclectic group of artists in monthly shows which allowed artists to create in the space whilst resident.

The full list of shows below.

 

First Past the Post! Goldfactory at The Post Office 2009

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First Past the Post is a carefully chosen selection of works from GF artists and some who are new to GF.

Following the closure of the project space several artists who were scheduled to develop new projects with us had to be informed that this was no longer possible. GF has now been able to make amends by including them in this show.

This is the first exhibition in this new space which opens on November 11th it is anticipated that throughout the exhibition period new work will arrive at the gallery and replace the existing work (or in a more hopeful manner replace the work that has been sold).

At the end of this exhibition much of the work will be taken to Bank Street Arts in Sheffield and be shown as part of the Big Hang. GF has a developing relationship with Bank Street Arts which we hope will flourish over the forthcoming year.

Goldfactory has been looking at numerous new possibilities for development in particular international projects with a gallery in Berlin and an exchange programme with an arts collective in Sao Paulo in Brazil.

GF keeps on shining!

Watch this space….

Research Space 12: Julian Woodcock

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I have made friends with this space this month. I have driven 
through the low winter sun excited. I clutched chewing jaws of cold 
key-metal. A black door – cleaning in progress – an old factory. I 
always had difficulty unlocking the red door. I sometimes looked 
through the keyhole at my work before entering and looking at the 
whole room. I was able to see all my work collectively from a 
distance. I worked for hours and hours. At times I bloody froze. 
Marek gave me a fleece and food and tea. I energetically worked 
into all my paintings. I ascended, there discovering new processes. I 
slept with my paintings stuck to the insides of my eyelids. The 
wooden floor. That red table. That low chair. I didn’t really look 
through the windows very often. I had new thoughts. I wish I could 
stay longer. Thanks Paul.

 

 

The Full Moon Paintings:

 

In May 2008, I successfully concluded the first stage of writing an earth year of dreams; completing a record of 366 dreams and somewhere near 80,000 words. I measured how much of the book I had written by how far I had travelled around the sun.

 

Some of the dreams have subsequently been rewritten as songs performed by Moon Bullet. Furthermore, some of this material is currently being remixed by musicians and DJ’s all over the surface of our planet. This is exciting; to imagine, what once played in my brain cinema of night will synthesise into electronica played to heaving dancefloors in California.

 

The paintings have been started on full-moons; six so far. They are responses to dreams experienced exactly one-year earlier and have been made in locations, relevant to the dreams. People who appeared in the dreams have been invited to the show. I was rather disappointed when the L.A Lakers did not turn up to Cromford Canal in Derbyshire, for the first painting, but I suppose it was raining. The Full moon paintings have been executed within “Sound of Fruit”, an ongoing collaboration between myself and Gareth Jordan (visual artist and musician), who has photographed and filmed each event and presents an accompanying film with sound.

 

I have painted on plywood because of its source, resilience, durability, sound and smell. There’s no danger of making a hole in it, when aggressively scraping bitumen or varnish across the surface using the sharp edges of old plastic rulers for tools. Initially, I thought of painting on utilitarian mattresses wearing pyjamas but this seemed too much a hybrid between Sarah Lucas and Raymond Briggs – wasn’t sure – so went for cheaper and more functional ply. Tough.

 

I wanted the paintings to be of a fairly substantial scale and chose the dimensions 33″ x 47″. 33 tells of the relative dimensions of the earth and moon, being the number you get if you multiply 11 x 3. 11:3 = ratio of the earth to the moon. 33; with supposed mystical qualities, supernaturally imbued with good, litters historic religious and spiritual texts as a divine number. I was interested, in doing research, to find that Apollo 11, the first piloted lunar landing mission, where men walked on the moon, had 3 astronauts on board.

 

It is important to me to use starry feet and inches; Imperial units borrowed from Classical Antiquity and possibly born from the Ancient Egyptians. Inch derives from the Latin uncia, meaning “one twelfth part” – each painting will be one of twelve. Fascinatingly, without wanting to sound too much like Johnny Ball, the measurement and origin of a foot relates to the equatorial circumference of our planet. Take this and divide it by 360 (degrees) divide it by 1000 and then divide it by the number of days in a year (365.25) – This will give you 1 foot. Talking of units of measurement, did you know that a foot contains 33 muscles? I gave some consideration to a picture plane of 33″ x 33″, but was not, at that point, interested in the compositional opportunities offered by a square.

 

47″ was my choice for the painting length. This is 33 plus a further 11 and plus a further 3 for good measure and also the atomic number of silver. For these reasons it seemed appropriate, pretty and right. I was told that if you ask someone to say a number between 1 and 100, the most common response is 47; the most common random number and therefore not so random. A back has 47 vertebrae and, conveniently, whilst mentioning backs, I get to probably the most practical reason why I chose 33″ x 47″ – the back of my car. These dimensions, as well as relating to the sizes of the earth and moon, celestial bodies and human bodies, fit snugly into the back of a Volkswagon Polo with about an inch all round to spare for framing. Incidentally 33 is the atomic number for arsenic, which romantically, and somewhat thrillingly, makes the paintings a form of poisonous silver.

 

Research Space 11: Elly Valentine

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Elly Valentine

Since gaining my degree in contemporary arts from the Nottingham Trent University I have

been concentrating mainly on ceramic pieces ( I have been making castles) with the odd foray into

the world of performance poetry……

Dirtbags is an installation that has been waiting for space to happen for a very long time.

it will be an installation in two parts and two smaller, see ‘sister’ installations all using material that

was collected over the space of one year

The installations will explore themes of hidden and revealing,what we choose to show, what

we choose to hide and what we accidentally reveal, what is ‘dirty’ what is ‘rubbish’.

Research Space 09: Pauline Woolley

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‘The Goldfactory needs funding and it needs to stay and this is why…

As a studio-less artist in desperate need of room to reacquaint myself with paint, physician The Goldfactory Research Space was a golden (excuse the pun) opportunity to be handed.  I had four weeks to focus and create anything I desired in a very large, health well-lit studio space with around the clock access.  The big bonus for me was the fact I was nestled in a studio group where I  actually got to talk to other practicing artists. Imagine that! Having been isolated for such a long time making work on the kitchen table at home it was so stimulating for me to talk art and for me to be artistically exposed in what  felt like a very supportive environment. The flip side was that I got to see what they were all creating as well.

If I can put myself in the position of an artist with a studio space (what a lovely dream) I can imagine that the Research Space would be equally and highly as beneficial. For them it would be a change of studio scene for four weeks with the use of a very big space to try and test new creative things out. This is something as artists we don’t always do when we feel the pressure to produce ‘finished’ work for exhibitions or other projects.  Four weeks to experiment without the nagging feeling of delivering highly polished work is such a luxury. The outcome of this is that it can then point your work in a direction you hadn’t thought about before. This has certainly been the case for me.

There is no other space like this in Nottingham and having just finished my four weeks Goldfactory Residency I can honestly say that it has been a positive experience for me in many ways. Please lets keep the space alive.’

Pauline Woolley September 2008

Research Space 04: Joe Kelly

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Research Space 04: January 2008

 Is Joe Kelly from Thingland Studio

Goldfactory project space is back in action with Joe Kelly in residence constructing a new large scale installation.
He will be working throughout January on this piece using industrial waste materials.

You will be able to come to see this work on January 31st 6 p.m.. at the Goldfactory project space…
Egerton Studios
Oldknows factory
St Ann’s Hill Road
Nottingham