Kim Fielding

Kim Fielding by EG The Welsh arts community is currently reeling at the news that artist, photographer curator, co-founder of tactileBOSCH and all round mover and shaker, Kim Fielding, died suddenly last week, following a suspected heart attack.

Describing Kim in words, particularly when this blow seems so close to home, is difficult. He had a go himself  here  on his Culture Colony profile, but as anyone who has struggled with a personal statement knows, getting a sense of a person through words alone is like describing air without breathing it.

So Kim was all of the things in my introduction, and everything that he writes about in his profile, but then he also a the larger than life figure, screeching up late to a meeting on his bike, or throwing dinner parties for no good reason, except for the pleasure of putting people together in a room over eccentric but delicious feasts. He saw a hole where something might happen, usually for the benefit of many other artists, stepped in and occupied it with a seat-of-the-pants, skin-of-the-teeth derring-do.

The enterprise that was tactileBOSCH  was just a tiny part of his mission to make things happen. He turned his basement in Cardiff’s Riverside into an installation space for Cement Garden; collaborated with Jan Bennett to put a terrifying creature in the basement of an empty building in Llandaff Rd (part of the House project); infiltrated numerous other venues around the city  – most recently the Wells Hotel, Nos Da bar, a couple of  buildings at the back of Milgis in Roath, the Wales Millennium Centre and even Urban Outfitters – ventured forth to Berlin, New York and South America (to name just a few of his international adventures), but always came back home to make another pot of hair-liftingly strong coffee for all of us who passed through his flat.

And those coffee drinkers kept getting more numerous by the day as he scooped up new emerging talent as it popped out of Cardiff Art School (and often before the talent had fledged he offered a proving ground for ideas), groomed new curators for their first shows,  ran the most exhilarating photography courses (Room 101) or simply just got out and about and met people, scooped them up and made many of them his willing slaves (I can still retrieve the memory of the smell left in my car after somehow agreeing to transport industrial quantities of rubbish from tactileBOSCH).Kim prepping Max for Room 101Kim had a can-do attitude and artists tentatively suggesting a new idea to him would always get the reply, “hmm, yes I think we can do something with that”, followed by action and realisation.

And the Kim Fielding laugh was something else – descending into a kind of honking snort that was utterly infectious – and frequently heard. If something really tickled him he’d cry out “barking!” at the top of his voice. Irresistible, irrepressible and occasionally exasperating because he was juggling so very many projects and ideas at once. If I was due to meet Kim at a given time I’d generally block off a few hours afterwards to allow for the shifting sands of his day.

We first met when I was working for the Arts Council of Wales. That initial meeting probably based on a budget crisis as the sums didn’t always add up and there was often a danger of a grant for tactileBOSCH’s programme being reclaimed. The applications themselves were works of art in themselves – hundreds of different fonts, in different colours and peppered with exclamation marks – as eccentric and colourful as the man who put them together.

It was a while before Kim thought to apply for funding on his own behalf and finally got himself some time to focus on himself with funding from the Arts Council of Wales. He spent the time developing new strands of his work, which he describes like this:

“Although a photographer by trade my personal artwork is based in video / installation / written word / sound & vision. Invariably lens based – it usually revolves around the story or essence of the protagonist I might be working with [or against]. Often a response in hindsight to the entanglements of personal relationships and the power therein, ‘an innovative combination of photo-visual and the human condition’ quote and un-quote.”

However this doesn’t even begin to describe the imagery that he created, which was often confrontational or provocative and occasionally disturbing. He’d find models for his photographs and films in the most unlikely places, drag them off the streets and, before they knew it, have them bound or gagged or covered in some sticky and hard-to-remove substance (sometimes all at the same time) or put them in an immersion tank or nail them into a crate. I should add that they were always willing victims of the Fielding charm and often came back to go through the whole experience again.

Alongside his activities to support other artists and the work that he made himself, Kim was also an inveterate documenter of arts activity and it will be the life’s work of many of his friends to collect, collate, archive, curate and edit all of the photographs, videos and ephemera associated with Kim’s all too short time with us. There is so much to say about Kim Fielding, but it’ll take a long time yet before the full mosaic of this rich and wonderful life is pulled together, piece by colourful piece. In the meantime there is a giant void as we all come to terms with sadness of someone who did so much and meant so much to so many.Kim Fielding at Blowback You can hear Kim talking about how he set up tactileBOSCH with Simon Mitchell in my inept interview with him in 2009 (click on the image below to hear it). Kim Fielding 2009, img EG Or watch him talk about tB here courtesy of Culture Colony, or sample the essence of tactileBOSCH in this video of the Addiction show. [Please note that there are some images that might offend or disturb some readers in the last link and those that follow]. And if you want to see him with his work – here he is at the opening of his show Sidewinder at Oriel Canfas in 2009.

The funeral will be held at 2.45pm on Friday 21 February at the Wenallt Chapel, Thornhill Crematorium, Thornhill road, Cardiff, CF14 9UA. at 2.45pm Map here.

With thanks to Pete Telfer and Culture Colony for all of the links to video content in http://www.culturecolony.com

*** UPDATE***

Following the death of Kim Fielding a group of friends and family decided that the best way to mark his extraordinary life and contribution to the arts in Wales and beyond was to set up an award in his memory – The Kim Fielding Award

The award was launched on 24 October at the tactileBOSCH exhibition Paradise Lost, which, in true Kim Fielding form, included works by some 90 artists in the old Customs and Immigration building in Cardiff’s Bute Town and the crowd funding campaign achieved its £5,000 target in two weeks.

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Creative Wales

Simon Fenoulhet - Lucent Lines 2010

The Arts Council of Wales recently announced the latest batch of Creative Wales recipients, including two Creative Wales Ambassadors. The cat, which has been wrestling in its sack for several months since the decisions were made, was finally let out of the bag at the awards event hosted by Galeri, Caernarfon (the first North Wales ceremony).

Now this is a scheme that is very dear to my heart, established not long after I started working for the Arts Council of Wales in 2002. Unlike other schemes this one allows artists to step away from their day-to-day commitments and focus on a period of experimentation, research, trial and error. It is important because it recognises that there might be some failures which, we all know, are never truly failures but rather prompts to reflect, digest and move forward.

It is, however, a tricky beast. I have watched artists’ brains on the verge of explosion as the research period leads them off in many directions at once. On the plus side this creates fodder for the years to come, but focusing down to the most fruitful areas for creative pursuit can be difficult – seeing the wood for the trees from the middle of a forest in a storm – can be hard. This is where a critical friend or a professional mentor can help to shape the work at hand.

When I was trying to prepare artists for what might lie ahead I found it easier to draw as I went along, which resulted in a series of strange beasties that I called The Art Centipede (the illustration below is a mock up I did for g39’s closing show are we not drawn onward to new era and seems to have fewer legs than I usually managed). It’s not easy to explain the creative process as it’s so particular to each individual artist, but I had noticed a pattern forming at certain points in the Creative Wales process.

It should also be said that the post CW period can be very tough. Going back to the daily grind, but this time with a mind stuffed full of potential projects and fizzing to start realising them. That’s why it’s so important to keep talking to potential galleries or supporters while the project is ongoing to stimulate a bit of interest for the next stage.

I’m glad to see so many visual  artists make the cut again (three major and three lesser awards plus an arguable seventh in Simon Whitehead) – this scheme is almost tailor made for individuals used to working alone, albeit with an inclination to collaboration, and applied artists and writers often do well here too. Luckily ACW have laughed in the face of the winds of recession and upped the kitty by £50,000, recognising that investment in creative individuals to think and dream will bear fruit for everyone further down the line.

On the visual arts front there’s a picture forming – winners have had support earlier on in their careers by the galleries and organisations who make it their business to give emerging artists space to develop. g39, for example, can boast a relationship with five awardees and another is on his way to an exhibition in their new space. They are: S Mark Gubb, Simon Fenoulhet, Miranda Whall, Simon Whitehead and Craig Wood, alongside future g39 exhibitor Paul Emmanuel (winner of last year’s Welsh Artist of the Year). They were too modest to mention that the g39 staff can claim a total of four CW awards between them: Anthony Shapland, Michael Cousin (also a CW Ambassador) and Sean Edwards (who runs the Welsh Artists’ Resource Programme Warp).

So early support is obviously vital, but there’s still no commercial infrastructure to represent artists in Wales, apart from the sterling efforts of agencies such as Mermaid and Monster. Those few who do have commercial representation often have to look outside Wales for this. Artists who have come out of the Creative Wales process often pick up big solo shows: Sue Williams* went on to be one of only two Welsh artists included in the Artes Mundi Prize exhibition. Tim Davies, one of the very first AM artists (2004) got his CW award and went on to represent Wales at the Venice Biennale of Art in 2011 and is now on the board of Artes Mundi. Both Simon Fenoulhet (after his first CW award) and Andrew Cooper have had big solo shows at the ever-supportive Newport Museum & Art Gallery (which I’ve already covered in previous blogs – Andrew Cooper here and Simon Fenoulhet here), but what next? It seems a lot of artists are running to stand still in Wales.

Andrew Cooper - Dis-Location at Newport Museum & Art Gallery, 2011

And faced with the inevitable criticism about spending money on artists when the economy goes to hell in a handcart, it’s worth remembering that the spend on arts in Wales can, if equated to the expenditure being spread over a year, amount to a morning (with time off for tea and recession-friendly, poor-quality biscuits) of the Welsh Government’s budget. And behind all of this is the still very serious question of how artists’ awards are treated by HMRC. While the big boys of the creative industries get new tax breaks in the latest budget, the approach to these awards is patchy across tax offices. Some will be taxed on it, others not and I was once told, by a helpful HMRC officer, not to ask the question as it would result in everyone being taxed. Yet the creative and cultural industries still come in as the sixth biggest earner for Wales (way ahead of sport btw), and those big commercial enterprises feed off the original ideas of our artists. So go figure.

Culture Colony were in Caernarfon for a series of conversations around Creative Wales, with past and present recipients teasing out what it is. You can watch them here

*As an aside, but to illustrate the press reaction to artists here’s a little anecdote for those of you who have bravely read to the end of this: A Sunday Times journalist, casting around for a new story after the expenses’ scandal had stalled, cornered me for a quote about Sue Williams’ perfectly serious exploration of sexuality through body casting. I had no notion that the whole thing would turn into what I now, still shuddering, refer to as ‘Buttock Gate’ (I’m not linking to this or it’ll all rear up again, do your own googling). The story went viral and it’s deeply disturbing to see yourself (mis)quoted in many languages, while the illustrative pictures accompanying the story go from the artist in her studio to a random nymphette in a pair of lacy pants. Journalists eh!

Backwards and Onward

Happy 2012 blog fans and welcome, as the last pine needles embed themselves in the carpet, to a rather random review of the visual arts year in Wales.

And it was a good one, with lots of highlights:

There have been some mighty fine shows on offer this year and I’ve been lucky to see a lot of them. In no particular order of favouriteness here are some of the ones that tooted my horn:

Project Object at Oriel Myrddin in Carmarthen had everything going for it. I love it when artists are let loose on collections, or people are invited to talk about or curate objects that mean something special to them. This show came in four equally good parts and gave me the chance to come as close as I’m likely to get to the Aurora Borealis and slip a poodle into a public gallery. The Glynn Vivian unleashed David Cushway and some delighted individuals on their precious collection of ceramics. The resulting film,  Last Supper at The Glynn Vivian, shows how passionate folk become when asked to talk about the objects they love.

One would never have guessed that the Glynn Vivian team had been holding their collective breaths, waiting to get the green light for the new development project – the programme was as lively as ever. I’ve already written up my highlight here. The off site programme continues – follow it here.

Neil Mcnally was let loose on Newport Museum & Art gallery to curate a show – The Institute of Mental Health is Burning. Mcnally selected objects from NMAG’s fine collection, mixing it up with a host of artists. Those who went will have Goldie Lookin’ Chain’s Newport State of Mind (You’re Not From Newport) etched into their memory banks forever more. NMAG also brought us Dis-location by Andrew Cooper, an artist who never fails to engage my attention. Pete Telfer, God of Culture Colony, filmed Cooper talking about his work.

In mid Wales, Oriel Davies gave us two artists associated with the 2007 Wales at the Venice Biennale offering: Bedwyr Williams and Paul Granjon. Williams’ show, Nimrod, launched with one of his trademark darkly funny performances and the humour threaded through the exhibition, which coincided with the National Eisteddfod up the road in Wrexham – Williams took the Gold medal and went on to win the People’s Choice and Ifor Davies Award in an unprecedented hat trick.

Bedwyr Williams, Nimrod Oriel Davies

Granjon took over the gallery to create a workshop for unlikely gizmos with very willing volunteers for Oriel Factory. With a suite of his quirky drawings and a loop of films featuring some of his performances, inventions and songs to spur them on, the workshop elves came up with some highly inventive creations – none of which are likely to feature in the Innovations catalogue any day soon.

Across the Cambrian mountains, Aberystwyth Arts Centre has become an important venue for artists’ moving image with The Box seasons, but I’ve also enjoyed Visitor (still  on, if you’re quick) and Wild Thing.

Back in Cardiff Richard Higlett had his first solo show in Wales at g39’s temporary new home in The dairy, Pontcanna with Welcome to Your World. Higlett never fails to surprise and this show was no exception: a talking cat, the GPS (gallery of portable sound) car and a band (Bear- Man) playing from a hole in the gallery floor. Experimentica came back for its 11th outing at Chapter (where else could you find a man covered in mucus bouncing on a trampoline?) Chapter Gallery continued to surprise and delight with Pile and  The With Collective my personal faves.

Over in Penarth, Ffotogallery’s programme was as strong as ever, showcasing new and established talent and with complementary and engaging talks and the ever-popular Artists’ Book Fayre I’m so glad that this is my local. They’ll be bringing an international photography festival to Cardiff in 2013.

Artist-run spaces offered some really exciting shows and events this year: tactileBOSCH in Cardiff, continued to present rare opportunities to see performance, along with installations and painting shows that spilled out all over Cardiff for MOIST; Elysium ran another Bus Stop Cinema and disrupted the streets of Swansea; g39 hit Leipzig’s Spinnerei for the big Art Weekend; The Rhôd created a new series of site-responsive works in an old Mill in the hills of Carmarthenshire and created their own pavilion at the Venice Biennale (Rhodio). Swansea’s Supersaurus played host to shows by Gordon Dalton and Tom Goddard, while Supersuarus member Owen Griffiths dug up a football pitch to grow vegetables for Vetch Veg (sometimes you just couldn’t make this stuff up!)

Online artists’ film platform, Outcasting is heading for world domination. Not content with presenting international content, Outcasting’s evil genius, Michael Cousin, has joined forces with, er, me and St David’s Hall’s exhibitions officer, Ruth Cayford to form Fourth Wall. Pedwaredd Wall CIC, which will be filling Cardiff with artists’ moving image this autumn, thanks to festival funding from the Arts Council of Wales. Watch this space for more info and a call for artists to submit.

Goodbye and Hello

2011 was tinged with some sadness as Swansea lost two inspirational women: Swansea Metroplitan University lecturer Susan Griffiths and Mission Gallery Director Jane Phillips. Both died too young and leave a big hole in the visual arts community.

We also said goodbye to arts education as we know it with some major restructuring of fine art courses and a few closures. I’ve already written about this here so I won’t bang on but I’ll be watching as things unfold over the next few years.

James Boardman, Light Corridor, CSAD degree show 2011

And last, but not least, of the farewells goes to all of my former colleagues at the Arts Council of Wales, who find themselves staring at an uncertain future following the recent major restructuring (more on this as it unfolds).

Meanwhile some new faces appeared on the scene and began to make their mark:

Amanda Roderick took over as director at The Mission Gallery under very sad circumstance, but her work to date would, I’m sure, make Jane Phillips proud. Ben Borthwick got into his stride as Chief Executive of Artes Mundi, which is scheduled for this Autumn in Cardiff. Up in Llandudno we said goodbye and good luck to Martin Barlow, who left Mostyn after steering its development into one of the finest exhibitions spaces in Wales. He is  replaced as director by Alfredo Cramerotti, who took over as the first major retrospective of Blaenau Ffestiniog-based sculptor, David Nash – Red,Black,Other – launched to much excitement.

And finally, we said hello to #0 of tant magazine. They’re currently inviting submissions for #1 so please follow the link.

    David Fitzjohn, TactileBOSCH Citizen 2011     Jonathan Anderson, Dark Star - Mission Gallery

It’s been such a busy year and I’m sure I’ll have forgotten to mention a lot of the wonderful things that I have seen. Please feel free to add your own favourites in the comments section.

In the meantime I hope you have a very productive and creative 2012.

Blog Evolution

Dear Readers,
The blog has changed as I realised that the blackness made it hard to read and some of the info I thought was available wasn’t appearing. Please let me know if you think this is easier to read or if there are things that you’d like to see on the blog that aren’t there.

If you’d like to plug a project or artwork and would like it featured in the top picture bit of my blog, please email me your image (but bear in mind the letterbox format) with the name of the work/project and your name in the file name and I’ll try and get it up for random appearances.

If you’re wondering why the blogging has been so erratic of late it’s because I’ve been writing for other sites and magazines (which makes my bank manager very happy). Here are some places to find more stuff to look at.

Venice blog for blown magazine – a sideways look at the biggest art show (and there are54th Venice Biennale more on the way here too.

Review of Animate Projects Open Digitalis

Review of this year’s Locws International Art Across the City for a-n‘s Interface

And this weekend a group of us got together to start a new platform for writing about contemporary art of, from, for but not necessarily in Wales, called Rooters, which lives on Culture Colony. Hope you’ll join us there. We’re looking for more contributors to give critical writing about art in Wales a boost.Thanks to warp and g39 for helping us get this off the ground and Pete Telfer at Culture Colony for immediately setting up our platform.

My first post for Rooters looks at The Nihilists project on Sugarloaf (16.07.2011)Stefhan Caddick's wind powered sign WE ARE ALL GOING TO DIE.You can also find other bits of writing by me on Culture Colony too, including more on The National Museum of Art and Andrew Cooper’s current exhibition at Newport Museum & Art Gallery Dis-Location.

The Culture Colonists

Now I’m guessing that Anna Wintour didn’t start her career by flogging copies of American Vogue from a cardboard box but, as deputy Editor of blown magazine, I set off for Aberystwyth with said cardboard box,  some pretty pictures and assorted stationary and passengers. The rain lashed down as I did various pick-ups from Splott, Riverside and Carmarthen, looping around Wales before finally reaching my bed for the night.

In the run-up to pulling together an issue for production it takes something pretty special to drag me away from my obsessive war against missing or misplaced apostrophes, but then I was heading for an event that I couldn’t miss: the launch of Culture Colony.

Now if you’ve had your head in a bucket or don’t live in Wales you may not know about this creative community, the love child of the remarkable Pete Telfer or, to be more technical, an on-line community for creative people and organisations in Wales.

Telfer, a former cameraman for the BBC, notching up an impressive portfolio of films for such programmes as The Slate, before the Beeb dumbed down their arts content, felt it was high time to circumvent the Welsh media, who had so poorly served the arts in Wales and go, as Culture Colony’s  slogan has it: “Beyond TV”. And he has.

The site offers a non-hierarchical forum for creatives in Wales. There’s no advertising (but please subscribe to keep it going), no agendas, but high production values and a lot of film content from Telfer, who can often be found, camera clamped to his editorially incisive eye, documenting cultural activity around Wales. What’s not to love?

For the launch (it’s been going a while but the site’s just had a major re-vamp) there were no press/media, no politicians or arts administrators, just a bunch of people who believe in the power of the collective platform and of the third (fourth? fifth?) way.

I was torn between (wo)manning my stall and attending the really engaging discussions. So, in the morning I sneaked into the session to hear a really thought-provoking conversation about archiving the arts, chaired (but in an informal “let’s just have a nice chat” kind of way) by  artist Stephen West.  Dr Heike Roms talked us through her work to date on What’s Welsh for Performance, followed by Eluned Haf from Wales Arts International, talking  in Welsh at breakneck speed (props to the fantastic translator who was just a heartbeat behind her) about the need for critical debate in Wales and bigging up Culture Colony.  Richard Huw Morgan, a last minute sub, who talked about some of his previous projects, future plans (both solo and as part of good cop bad cop) and how Culture Colony has supported his latest project – the cross-over from the digital world into the world of actively supporting creativity.

Around Aberystwyth Arts Centre artists had been invited to make interventions. So we had Kathryn Dodd and Louise Bird’s White Shift – Short Shrift; Roger Loughor’s subversive road signs; Kim Fielding’s disturbing photographs and Michelle Collins’ invitation to curate her un-edited archive while wearing a badge that said ” Artist”, “Curator” or “Critic”, with sustenance provided by Pete’s mother’s cake and sundry biscuits. But I can’t pull up at this point without mentioning the rather wonderful Dartboard for Witches in  the gallery. This exhibition offers a refreshing new look at textiles in art and has been exceptionally well presented.

This was not an event, nor  is Culture Colony an organisation, that could be dreamt up in any strategy. It is driven by goodwill, vision, passion and the collegiate and collaborative nature of the arts community in Wales.

Plugging blown, as was my mission, I was suddenly conscious of the role that arts centres and organisations play in Wales. This role doesn’t fit neatly into any monitoring or assessment format but… Aberystwyth Arts Centre have put themselves squarely behind Culture Colony, who are now housed in the splendour of the Thomas Heatherwick studio spaces. I ruminated on this as blown has had so much encouragement and support from Chapter Arts Centre. The unsung part that arts organisations play in developing artists and the wider culture in Wales deserves a big shout out.

If you haven’t had a look at Culture Colony yet I urge you to do so and, if you can find the modest wherewithal to join, then get PayPal-ing forthwith.

And finally, my apologies to my loyal blog fans. I have been out and about, and can commend to you: To the Buddha Veils and Voids, at St David’s Hall, Cardiff, featuring Peter Finnemore and Jonathan Anderson (who has a show coming up at The Mission Gallery in Swansea very soon); Bystanding at g39.  I also revisited the wonderful new Mostyn Gallery and  We have the Mirrors, We Have the Plans, (sorry but you’ve missed it, but more great shows on the horizon), which was well worth a quieter visit, away from the private view hoopla; spent too little time at Re:Animate at Oriel Davies (this year’s curated Oriel Davies Open curated exhibition, featuring the full gamut of some of the most exciting moving image practice form across the UK) and did my annual pilgrimage to the  National Eisteddfod in Ebbw Vale, the gold medal for Fine Art this year going  to Simon Fenoulhet (hooray!)

More bloggery when blown issue 2 is safely at the printers (and there’ll probably be a shameless plug too).