Small calling card collages which form part of the everyday workings out of my practice. I enjoy the texture of vintage print, and analogue photography. The anonymised portrait, the sitter’s identity lost to posterity lends poignancy, a unanchored punctum trailing. Some of these pieces have been reversed using oil paints, so that the sitters faces away from the viewer. In others I have played with the notion of the gaze, using collage and decollage. Some of these pieces were exhibited as part of IN QUOTES, a survey of contemporary collage.
Experiments with large scale graphite drawings of orphaned vintage portrait photography, found photography, and sea washed beach stones, with holes.
collage, posca pen and sheer vitriol
A series of collages conflating Venuses of varying antiquity.
A collection of vintage National Gallery postcards with Sharpie created in response to the Left Overs, a question posed by the Procreate Project. What is left of the mother artist after motherhood? Here classical representations of the Mother and Child from the National Gallery collection are redacted with black marker pen. The mother, and her domestic setting, are removed leaving only the little gods. Hidden mother photographs, veils, shame and female erasure were in mind when creating this series.
A collaborative two person exhibition with ceramic fine artist Jane Harris.
Desire & Procrastination
What’s desired in the Vita Nova associated with the Work is a particular type of time, a particular kind of daily temporality; the writer must, almost despite himself, bind himself to a time with no rough patches, no “disturbances”…indeed, what he wants—an almost mystical, paradisical desire—is a smooth time: a time with no endpoint, with no expiration date, which contains, for instance, no appointments, no “things to do” to interrupt the thing to be done… (Barthes: 2011/216)
Alex March and Jane Harris would like to invite you to consider how, when and where an artist makes work.
Using a wry reading of Roland Barthes’ The Preparation of The Novel to reflect on the process of making (or not making), Jane Harris is producing a series of over 300, (not quite identical), slip-cast porcelain pots using plaster moulds taken from Barthes’ favourite dessert, the Crème Caramel.
In a desperate attempt to get her work-shit together, before giving up on art completely and blaming her children, she has taken on a mind-numbingly dull, time-based study in porcelain, (a suitably neurotic material). Just like Barthes’ lecture course, where the outcome is the preparation itself, the process of committing time to these relentlessly awkward pots will become the event.
At the time of writing, Harris is at the ‘stuck’ phase of the project. She has no choice, but to carry on, ‘as if’ (Barthes: 20) it is all going to be ok…
Alex March’s installation presents the accumulated evidence of her sporadic making. Small and large collage and paper pieces which reflect on a practise rooted in and often disturbed by the domestic. These pieces will be brought together in the space as part of the process of installing as she goes in search of smooth time.
Torture The Women (The China Cupid) 2013/14 is a short film composed of a series of scenes taken from Hollywood screen tests for Alfred Hitchcock’s Rebecca.
These scenes are digitally re-drawn and re-animated, the text edited and spliced to explore the cultural and literary manipulations of woman as romantic object. The phrase ‘torture the women’ was used by Hitchcock when asked for his advice on how to make a thrilling movie; the film seeks to take and yet subvert his advice, using repetition and digital manipulation to isolate the actress and draw attention to the peculiarities of the script and by extension Du Maurier’s novel and the whole genre. The original footage was gleaned from YouTube, a digital flea-market of junk and gem imagery which blurs the distinction between big screen and the domestic scale.
Site specific installation for Rules of Freedom at Collier Bristow Gallery, of a three dimensional knot of collage bringing together the möbius strip and the gordian knot. The möbius is the infinite loop, a three dimensional structure with only one edge and only one side. The gordian knot is the classical unsolvable problem, a knot so complicated it could not be untangled, and could only be solved by being cut.
The collage features a repeated painted set of motifs inspired by the female icons of Golden Age Hollywood.
The Rules of Freedom?
Through my collages I aim to explore and dissect the imagery of structural patriarchy. What, why and how should a woman be, and who gets to decide?
Drawing is an important part of my process and informs all parts of my practice
Collage on vintage book cover