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A film Jack Young showed us in an Art and Writing lecture, as well as reading his book Urth on my own time. I really like how he presents the words and text in Urth, encouraged me to think about the shape and negative spaces left around my words.

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Spike Island presented and the blue light, a film collaboration between Paul Samuel White (director) and Jack Young, with music by Felix Drake.

The film is inspired by Young's hybrid chapbook of interspecies intimacies URTH, which was released in 2022 in conjunction with the Body-Forest programme at Spike Island. This is a year-long public programme of events and engagement activities developed by Jack Young, the recipient of the 2022 Spike Island Engagement Fellowship for South West-based Curators, supported by the West of England Visual Arts Alliance (WEVAA).

and the blue light explores human and non-human entanglements; queer ecological intimacies that devour borders and decentre the human. Tongues merge with molluscs, bodies conjoin and contract and skin peels away in the beetling dark.

You can purchase a copy of URTH and find out more information her e.

Paul Samuel White

Paul Samuel White is a photographer and filmmaker, based in Bristol. He works sensitively to make honest and striking images, which have appeared in The Guardian, Die Tageszeitung, The Scotsman, Novara Media, The Wire, Frieze, The Quietus, CRACK, Fact, Novembre, Noisey, Tate, Arnolfini, The Barbican, V&A, The Lowry, Exeunt, Artsadmin, a-n, Line Of Best Fit, Loud And Quiet and more, as well as collaborating with artists and collectives such as Thorny, David Hoyle, Giant Swan, Yves Tumor, Eartheater, Dirtytalk, Shon Faye, Travis Alabanza, among others. https://www.paulsamuelwhite.com/

Jack Young

Jack Young is an artist and participatory educator living in Bristol. He writes experimental fiction and non-fiction with a focus on queer ecologies, and his hybrid chapbook was published by Big White Shed in 2022. He co-hosts the literary podcast Tender Buttons. As an educator, he works with young people from migrant and refugee backgrounds, developing arts-based critical pedagogy with a particular emphasis on multilingual filmmaking, applied theatre and creative writing. He has worked with schools and institutions in Barcelona and London including MACBA, Institut Moisès Broggi, Royal Academy of Arts, Horniman Museum, Tate and Gasworks. Jack is the recipient of the 2022 Spike Island Engagement Fellowship for South West-based Curators. www.jackmyoung.net

Felix Drake

Felix Drake is a musician and producer based in Bristol. He is part of Avon Terror Corps and runs the music collective Bliss Archive, who can be found at blissarchive.bandcamp.com and on Instagram @blissss.archive

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Body-Forest Film Launch: And The Blue Light - Spike Island

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Spike Island presented and the blue light, a film collaboration between Paul Samuel White (director) and Jack Young, with music by Felix Drake. The film is inspired by Young's hybrid chapbook of interspecies intimacies URTH, which was released in 2022 in conjunction with the Body-Forest programme at Spike Island.

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I was able to reference Young's book Urth a lot more than initially thought, given the drastically different themes and content. However there is a surprising a lot in common with insects and confetti. Mostly in part to the atmosphere and environment surrounding either, as it affects how both could move.

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John Wood and Paul Harrison, Twenty-Six (Drawing and Falling Things), 2001

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John Wood and Paul Harrison Twenty-Six (Drawing and Falling Things), 2001 26-channel digital video installation 21:59 minutes Edition of 3 plus 1 artist's proof

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John Wood and Paul Harrison '124 Minutes'

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John Wood and Paul Harrison '124 Minutes'

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Wood and Harrison's work is typically mundane, deadpan and repetitive, so the focus can become more about their ideology of 'things that move and things that don't, things that are flat and things that are not, things that are mildly amusing and things that are definitely not.' Their book, 124 Minutes, becomes a weird instruction manual for uninteresting and odd activities to perform.

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A map documenting the locations of just under 27,000 dead stars - all that have been recorded and observed by humankind.

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Katie Paterson and both 'The Dying Star Letters' and 'All the Dead Stars'

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Katie Paterson and both 'The Dying Star Letters' and 'All the Dead Stars'

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Patersons work on the macro scale and the idea of eternalising a glimpse of something, alongside the Sand Mandalas, pushed my practice into the process of making rather than the ultimate end result. From the Level 2 Exhibition of staining a usually brief moment of confetti falling into the walls and floor only to be taken down and erased after 24 hours. Having only a handful of photographs to retain the memory and piece of art as documentation.

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Yang creates knitted sculptures incorporating various household equipment, i.e. clothing racks, cables, lightbulbs etc. Yang's outcome of combining wool, a soft, malleable material with harsher man made matter creates an installation that is seemingly out of place, this is an ode too Yang and the 'transitory nature' of their own experience.

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Female Natives: No. 3 Saturation out of Season, 2010

Clothing rack, light bulbs, cable, artificial plants, yarn, cord, metal ring, metal chain, aluminum reflector

Known for using utilitarian household items, from space heaters to extension cords, and placing them out of context, Haegue Yang's works reflect the transitory nature of the artist's own experience of living and working in multiple locations. Her works in video explore displacement and alienation in both geographical and personal terms through a combination of fiction and documentary. Yang's visual, sound, and olfactory installations reveal the intersections of public and private. To this end, she often includes complex formations of ordinary Venetian blinds, which provide porous boundaries for viewers to navigate around. The installation Non-Indépliables (2006 -2011) features drying racks clothed in layers of colorful yarn or adorned with hanging lightbulbs, wires, and assorted pieces of fabric.

Known for using utilitarian household items, from space heaters to extension cords, and placing them out of context, Haegue Yang's works reflect the transitory nature of the artist's own experience of living and working in multiple locations. Her works in video explore displacement and alienation in both geographical and personal terms through a combination of fiction and documentary. Yang's visual, sound, and olfactory installations reveal the intersections of public and private. To this end, she often includes complex formations of ordinary Venetian blinds, which provide porous boundaries for viewers to navigate around. The installation Non-Indépliables (2006 -2011) features drying racks clothed in layers of colorful yarn or adorned with hanging lightbulbs, wires, and assorted pieces of fabric.

Female Natives: No. 3 Saturation out of Season, 2010

Clothing rack, light bulbs, cable, artificial plants, yarn, cord, metal ring, metal chain, aluminum reflector

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Haegue Yang | Female Natives: No. 3 Saturation out of Season (2010) | Artsy

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Clothing rack, light bulbs, cable, artificial plants, yarn, cord, metal ring, metal chain, aluminum reflector Known for using utilitarian household items, from space heaters to extension cords, and placing them out of context, Haegue Yang's works reflect the transitory nature of the artist's own experience of living and working in multiple locations.

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Neto creates impressive hanging knitted structures, weighed down with glass balls, etc...
Neto explores within the confines of wool. This style of making is how I plan to progress my Knitted Confetti series.

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Ernesto Neto: Between Earth and Sky | May 14 - June 16, 2022

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Tanya Bonakdar Gallery is pleased to present Ernesto Neto's Between Earth and Sky, on view in New York from May 14th to June 16th, 2022. Since the 1990s Ernesto Neto has created a distinct body of work- an ongoing formal inquiry into space, volume, balance, and gravity that is equally informed by sensuality, energy, and spirituality.

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The creation of the sand mandalas is a feat in itself, as monks would spend hours, days or weeks on a singular piece, only to brush it away within seconds. Forcing the act of making to become a fundamental performance of the work of art. The concept of disappearing art is what spurred on making the Knitted Confetti, after the L2 Exhibition. I painted words traversing across the wall, canvas and floor; and the day after had to erase all traces of the words, leaving only the canvas as a remnant. The lone words on the wall and floor became an integral part of my piece, more so than the residual canvas.