7 March – 28 April 2018

Jayne Ivimey | Milo Newman | Patrick Haines | Martin Brandsma | Nessie Stonebridge | Suky Best  Sabine Liedtke

Bird After Bird features seven artists, each in their different ways entranced by the fragility of birds, exploring them in life and death. Each of the artists has spent countless hours researching, watching, waiting for the right moments to observe; thinking about their relationships with their subjects. While they have used their roles and skills as artists to get closer to different species, in no case has there been a conventional desire to seek any literal means to portray them – rather, they have sought a kind of visual poetry of representation. It is the fleeting nature of their subject – it’s elusiveness – which is the compelling thing; the fact that bird life is secret, and even a relatively tame bird is wary of human presence.

The aim of the exhibition is not only to raise our awareness of birds and of all the dangers they face, but to recognise the extent to which the artists have brought, and continue to bring, extraordinary new visions of them. These artists are helping us to get close to birds, so see them differently, to notice their familiarity and their strangeness.

Bird after Bird comes to us in partnership with Groundwork Gallery, curated by Veronica Sekules.

Bird After Bird also prepares the ground for another exhibition … After Bird; a multi-disciplinary response to the habitats and surroundings of birds and those who work for their support and conservation both in terms of industry and volunteering. …After Bird will contain a commissioned series of work from the following artists and composers: Jason Carlisle, Tina Waller, Steve Meek, William Rhys Meek and David Power. The exhibition and series of performances and events runs from 8th September – 3rd November.

Bird After Bird Artists

Jane Ivimey: At the heart of the exhibition and giving it its title is the work of Norfolk-based artist, Jane Ivimey. The Red List of bird species that are threatened and endangered grows with depressing speed, day by day. Jayne presents us with a moving tribute in the form of a dramatic installation of white bisque-fired stoneware effigies of dead birds, presented ‘bird after bird’, limp bodied, heads hanging loose in death, wings folded and without purpose,, feet crossed over, a label tied to the legs giving the date, name and provenance. The project involved months and months of research, observation, drawing in archives at the Rothschild museum in Tring and Norwich Castle Museum. As she says, “ I want to express their beauty and vulnerability as we begin to comprehend the unravelling tragedy.” Her work is timely; this year, the number of endangered British birds rose by 20, bringing the total to a staggering 70 birds on the Red List.

Milo Newman: Based in Bristol at Spike Island, Newman has spent many hours at dusk photographing pink-footed geese who migrate east winter to the Norfolk coastline from the Artic region, Svalbard, Iceland and Greenland. Newman works in the half-light when the birds don’t see him, but also because at this time of day, his perception is heightened. We see the flight patterns of the birds constantly changing, highlighting a sense of freedom:

“With the loss of the light there’s a narrowing of the brilliance of sight, until one is forced to pay the world more attention in order to make out forms. The restriction of vision focussed perception in on specific things; the more attention you give something, the deeper the involvement or connection with it … Through this deep concentration on sensory perception, the physical barrier between the mind and the world dissolves. The mind has a way of leaking out from the body, mingling with the world around it.”

Black against black, his images examine the beauty in arcs of movement as the birds complete their almost secret feeding rituals. He described the making of these images as an unutterable experience, a fleeting moment in which a force is expressed. His purpose is not to provide documentary evidence, but to achieve ‘sort of joining with things,” a sense of structure within a process of flux, and more so, to find empathy with another way of being, paying it close attention.

Patrick Haines MRBS: Based at Spike Island artist studios in Bristol, the sculptor uses a diverse range of materials and found objects for his artworks which explore alliances between the natural and manmade world which are often unsettling. At first glance, his compositions seem uncontentious and almost straightforward but, on closer inspection, reveal eerie content and disturbing narratives. Birds pecking at test-tubes and books appear to be attacking the body of scientific knowledge which both traps and free them. Hints of death, spirituality and references from myth weave subtly and consciously throughout his artworks. Nature becomes a little bit creepy and menacing, with, for example, the ominous waiting movement of Ravens caught tantalisingly in bronze.

Suky Best: Her Observation of Flight film, originally commissioned by artisancam in 2010, is one of the fruits of her academic research, leading to an MPhil, on experiments with movement of birds in early film. It begins and end on black, then turning to blue and white as a flapping bird conducts its life’s journey trapped in an endless loop. The piece returns to black because it is a fragment referencing the bird studies of French doctor and physiologist Etienne-Jules Marey (1830 – 1904). He was part of a pioneering circle of scientists interested in phenomena of movement and its representation, and it was really Marey foremost among them with his bird studies, which led him to experiment with cinematography and ultimately the development of the cinema camera.

Nessie Stonbridge: creates paintings that have for many years drawn inspiration from the wild and wind-battered Norfolk coastline. She paints the enormous range of lurid colours in nature, balancing movement and structure. At the heart of her current series of swan paintings, is the fury of beaks, encircled by fanlike, semi-abstracted wings. The result, she says, is an aviary of attack and defence, which has grandeur in this case, but is intimating the basic fight-or-flight behaviour of all birds.

Dutch artist Martin Brandsma has created an entire series of work, focusing on this single bird, scarcely seen: the Great Grey Shrike. Brandsma’s fascination with the Shrike has extended to studies of their feeding, their rituals, their sounds, to his own empathetic performance in Lapland, with eyes painted black like a Shrike, leaping into a tree and chattering like the bird, alert to signs of prey, peering over landscape. His “identities” collection features 152 different morphological drawings of the Shrike, to highlight their differences, both from a scientific standpoint and as unique, individual birds. He devised this systematic , minutely observed drawing method to enable a detailed record of presences relating to bar codes and DNA profiles because, he says, “our identity is nowadays increasingly constructed and registered on the basis of printing, bar codes and biometrics.”

Sabine Liedtke: Dutch artist Sabine Liedtke’s current drawings have their starting point in the history of her German family. The war that goes with it yields many questions and thoughts. Part of the process of her work is travel to particular places and researching family ties. She uses recognisable forms like birds and their symbolic meanings as visual language, and sometimes combines drawings with paintings and photography. The drawings may point in a direction but her thoughts stay hidden underneath.

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