Jerwood Makers Open and the Energy and Process room in Tate Modern.

A couple of weeks ago I had a day of art based exploration, firstly I had a meeting with Frances Lord my Hothouse3 Mentor. We met in the Jerwood Space for about an hour to discuss various strands of my own working practice. 
Whilst I was there it was the perfect opportunity to look around the Jerwood Makers Open 2013

Here are a few images of my personal favourites.
Nahoko Kojima's swimming Polar Bear it's difficult to really understand the scale and the fragility of this piece of work unless you experienced it first hand. The craftsmanship in this was incredible with a process that is so time consuming with a mind blowing end result. 

Adam Buick Ceramic and film 

Adam Buick

 After that I made my way over to have a quick look in Tate Modern as I haven't been in for a while and it's always worth a visit. 

With the closure of the turbine hall the space felt so much smaller. The shop had moved up one floor and again had been relocated to a smaller space, but despite all of this going on I had a look around the galleries and on the forth floor I was in my element.

This gallery is called Energy and Process the entire space is dedicated to Anti form, post minimalism and a brief art movement that took place at the latter end of the 1960's in Italy, called Arte Povera which translates in to Poor Art. 

Some how, and I have no idea how, this movement has passed me by. 
This fleeting movement was rooted in materiality and the physicality of the work using found or natural materials such as stone, rock, wood etc. Founded during a time of political unrest in Italy and a rejection of US abstract painting. It is challenging ideas of art and what art can be. the context of showing work of this nature within the confines of the gallery or crossing contexts in the same way Richard Long or Richard Serra still does today.

There is a strong link to beginnings of Land art or an influence that has filtered into conceptual and installation art. 
This still feels relevant today and on a personal note when I encountered this room it really validated my own thinking and aesthetic qualities, work that can be transient or ephemeral and the value of working in such a way that it almost makes it impossible to attach a commercial price tag to. 

Giovanni Anselmo Direction 1967 - 8

Mario Merz Lingotto 1968

Gilberto Zorio Terracotta Circle 1969

Richard Serra 

Joseph Beuys This installation was downstairs in another gallery space. I wanted to include it as it seemed to feed into my thinking.