07 Oct 100.100.20 @VagabondN7
100.100.20 is a collaborative project by Natalie Koffman and Clare French.
For 100 days we made space for 20 minutes creativity daily. The work had to be based on a new idea every day.
Our aim was to establish a sustainable practice where we would not censor or dismiss any of our ideas before having tried them in practice. We wanted to allow ourselves to focus on and enjoy the process of making, rather than being too caught up in expectations about the outcome. Moreover, we wanted to concentrate on working in a way that encouraged spontaneity and experimentation. The works in this exhibition also act as a springboard to further exploration of the ideas and themes.
100.100.20 made a space in which creativity could flourish. The exhibition will have a participatory element which intends to elaborate this for everyone who comes…The audience will be invited to make one 20 minute, 2D, postcard size piece of work. They can do this at Vagabond with their own materials, or create the work offsite and bring it in. The work will be collected at Vagabond and hung over the last weekend.
Natalie is a multi media artist working with photography, performance, participation, writing and film. Her work broadly investigates and reflects on our relationship to the environment looking at how we exist and inhabit social spaces as well as the wider implications of a collective dissociation of our intrinsic relationship to nature. Her work often involves interventions in the landscape and increasingly aims to find ways in which the creative process can affect social change through social engagement, participation and direct intervention.
Clare is a painter whose practice celebrates uncertainty and ambiguity. Her works operate as liminal spaces and poetic objects which question assumed certainties. Abstraction is key to achieving this in Clare’s work. It reflects the world in unexpected ways and elicits an ‘active watching’ that shifts viewer’s perceptions. Clare’s work is process and materials led, grounding her conceptual framework in making. Process and materiality also generate spontaneity and experimentation, which are crucial to her ‘uncertain’ practice.