intro.html

The Concept

An exploration of the conceptual and procedural relationships between the work of three contemporary artists: Roger Ackling, Eric Butcher and Simón Granell. We conceive of the support as a site with a particular history. Each artist determines this history through the performance of a variety of processes, procedures or systems. Each create surfaces that record, or manifest the histories of their own making. Our primary concern is with the creative act rather than resultant object, i.e. that which stands behind or ‘under’ the physical ground formed by the surface of the support. The object is a form of residue, the abandoned relic of a performance or ritual.

For the spectator, the process of apprehension is analogous to a kind of archaeology, uncovering the processes of making. This notion of ‘pictorial history’, of the various stages; physical, psychological, intellectual, emotional, which comprise the finished object, constitutes the project’s central premise.

During the past decade, there has been a resurgence of interest in artistic practices - and in particular painting practices - which utilize processes, systems or procedures. These rule governed approaches are not new, they have interested artists since at least the late 1950s. However, it has become increasingly evident that there is a great deal more work to be done. The idea has gained currency that these approaches offer a fruitful way forward. Artists such as Roger Ackling have led the way, followed by painters such as Ian Davenport and Callum Innes. Underground offers a new perspective on this phenomenon, bringing together three artists from different generations, making highly individual work, which nevertheless share a number of common characteristics.

Roger Ackling	Eric Butcher	Simón Granell
underground
The Concept An exploration of the conceptual and procedural relationships between the work of three contemporary artists: Roger Ackling, Eric Butcher and Simón Granell. We conceive of the support as a site with a particular history. Each artist determines this history through the performance of a variety of processes, procedures or systems. Each create surfaces that record, or manifest the histories of their own making. Our primary concern is with the creative act rather than resultant object, i.e. that which stands behind or ‘under’ the physical ground formed by the surface of the support. The object is a form of residue, the abandoned relic of a performance or ritual. For the spectator, the process of apprehension is analogous to a kind of archaeology, uncovering the processes of making. This notion of ‘pictorial history’, of the various stages; physical, psychological, intellectual, emotional, which comprise the finished object, constitutes the project’s central premise. During the past decade, there has been a resurgence of interest in artistic practices - and in particular painting practices - which utilize processes, systems or procedures. These rule governed approaches are not new, they have interested artists since at least the late 1950s. However, it has become increasingly evident that there is a great deal more work to be done. The idea has gained currency that these approaches offer a fruitful way forward. Artists such as Roger Ackling have led the way, followed by painters such as Ian Davenport and Callum Innes. Underground offers a new perspective on this phenomenon, bringing together three artists from different generations, making highly individual work, which nevertheless share a number of common characteristics.

Sept 2007 ccc Underground - Publication This publication is a stunning visual document of the exhibition through the photography of Peter Abrahams. Further reflection on Underground is provided by artist and writer Tania Kovats, art historian Julie Sheldon, Programme Leader in Art History at Liverpool John Moores University, writer and artist Lee Triming and John Haldane, Professor of Philosophy and Director of the Centre for Ethics, Philosophy and Public Affairs, University of St. Andrews. “ An admirably distinctive collective vision.” Jagjit Chuhan Available from most art bookshops at £12.00, or can be ordered directly from: Cornerhouse Publications 70 Oxford Street Manchester M1 5NH Tel + 44 161 200 1502 Fax + 44 161 200 1504 ISBN-13 768-0-07223654674 published by: Centre for Art International Research (CAIR) Liverpool School of Art & Design (LSAD) Liverpool John Moores University (LJMU) Hope Street Liverpool L1 9EB email cair@ljmu.ac.uk


underground is supported by The Arts University College at Bournemouth