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An artist-led initiative for painters, sculptors, multi-media, experimental and multi-disciplinary artists .

13/03/2021

*rhys TAPS TAKEOVER Day 5

Looking ahead

Currently developing a collaborative project with focusing on research and creative response to New Ecologies as well as exploring cultural links between the two small nations of Wales and Austria.
More information will be shared soon including a print sale to raise funds for this project.

Images
1. Wild landscape,Tywi valley, Llandeilo

Photo credit and ©Sarah Rhys

I have also been invited to collaborate in a Wales based group for an International touring book project Without Borders for Issue International with Elysium gallery, Swansea where it will be shown from 26th June to 27th August 2021. Other artists/poets in the group are , Morag Colquhon, Lyndon Davies, Allen Fisher and

new

12/03/2021

.rhys TAPS TAKEOVER Day 4
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In Free Fall 2020
Collaborative installation with sound piece for the ‘Centre of Gravity exhibition at Soapworks Bristol with Huma Mulji, David Alesworth, Carol Laidler, Eilis Kirby and Sarah Rhys

Centre of Gravity was a phenomenal arts collective exhibition and series of events in Bristol during Covid 2020 which ran from October to November.

“Imagine you are falling. But there is no ground…. Whole societies around you may be falling just as you are. And it may actually feel like perfect stasis—as if history and time have ended and you can’t even remember that time ever moved forward.”
— Steyerl, Hito. © e-flux, 2011

In Free Fall is a footprint of an empty plinth, constructed and suspended; an uncertain perspective, an altered horizon, an attempt to find new ground. In reference to Robert Morris’ Box with the Sound of Its Own Making 1961…, it is accompanied quietly by the sound of its unmaking.

The upturned/suspended plinth base was made just after The Black Lives Matter protest in which Colston’s statue was toppled and during Covid 19. A time of turmoil, suspended time and fast changing landscapes. We borrowed the title from Hiyto Steyerl’s essay ‘In Free Fall’.

Images:
In Free Fall 2020 at Centre of Gravity, Soapworks. Bristol. Photo Veronica Vickery
In Free Fall (detail)
In Free Fall (detail.b)

centreofgravitybristol .laidler .rhys

* @ Bristol, United Kingdom

11/03/2021

.rhys TAPS TAKEOVER Day 3
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Dust Tapes / Dust-Scape

Dust Tapes were included in the publication Place:Soapworks by the collective Space Place Practice of which I am a long term member. http://spaceplacepractice.com/)

“I was interested in the ‘dust archaeology’ of the building and set about making ‘tapes’ of particle residues from surfaces on the fourth floor. This top level of Gardiner Haskins/ Soapworks was where the soap was manufactured in the building’s previous incarnation. I made film-strips by hermetically sealing each dust layer within two strips of tape, producing a transparent forensic image.” extract from the book.

Later I made Dust-Scapes a 16mm film (a work in progress) which I had the opportunity to project back onto the walls of the fourth floor.

Projection and transparent imagery are mediums that I have been fascinated with over time as well as of course the photographic image.

Dust Tapes were exhibited in TAPSNOW 2020 at Kosar Contemporary along with artists including

Images :

1. Dust Tapes 2020 Projection Transparent tape and dust. In Place:Soapworks publication and exhibited at TAPS Now 2020
2. Three Dust Tapes. 2020 transparent tape, dust, glass and spider
3. Still from Dust-Scapes* 2020 16mm film.

* Viewable on my website

Photo credits and ©Sarah Rhys
rhys
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05/03/2021

Andrea V Wright - TAPS TAKEOVER Day 4

Re-use. Re-think.
During the first lockdown, like many people I started to work from home. Initially I started making large charcoal drawings but quickly moved onto small maquettes. On reflection I found it to be a more absorbing way of working due to the detail involved, which suited me at that time. This series of paper collages titled ‘Maquettes for Future Sculpture’ were made up of A4 print outs of digital photographs from previous works and installations, these were cut up, combined and reformed. Both the positive and negative shapes serve as a break in the pictorial plane, allowing the eye to pass through and around the work. Like an open window, you’re not locked into one perspective or aspect.
The recycling of works is a recurring objective in my practice, whilst being a practical solution to working in a smallish studio with no storage, it also enables constant compositional experimentation and curiosity. Like “what happens when I place ‘this’ with ‘that’?” or “if I originally intended this to be hung on a wall, how can I make it stand on the floor?”. An ongoing inter-relationship between 2d and 3d in my work is a constant interplay - the potential for expansion and contraction.
During 2020 some of these maquettes were selected for CONTACT curated by I also remade one in engineered plywood and exhibited with Manchester for ‘Drawing Beyond Itself’.

Images
1.Maquette for Future Sculpture VI
2. Maquette for Future Sculpture I
3. Maquette for Future Sculpture III
4. Maquette for Future Sculpture VIII
5. Maquette for Future Sculpture VIIII

02/03/2021

Andrea V Wright’s TAPS TAKEOVER is now on!!!
Main text on our Instagram

Introduction:

“Hey there! Its here and I am chuffed to be taking over the TAPS instagram for the next 5 days. I graduated with a BA from Chelsea College of Art & Design in 1994 and embarked on a career in fashion, styling and music working with magazines such as The Face, Arena and Italian Vogue before returning to study at Bath Spa University, graduating with a MA Fine Art in 2016. Since then I have been invited to exhibit both locally and in London, , , , ’New Relics’ at Thames Side Studios and Prevent This Tragedy at Von Goetz, Post Institute) I had my first Solo Show in 2019 at Galeria Nordes, Spain and was recently selected for the Ingram Collection Purchase Prize 2019, the PLOP Residency and the Royal Society of Sculptors Bursary Award 2017/18. In 2020 invited to participate in several online and physical exhibitions including ‘Super Flatland’ at White Conduit Projects curated by Paul Carey Kent, ‘Surface’ for Project Rooms 2020 and ING Discerning Eye as part of Jo Baring’s curated selection.“

Andrea Wright

10/02/2021

Bo Lanyon TAPS TAKEOVER Day 2
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Bo Lanyon continuing my takeover with how we made Entanglement. Supported by an DYCP grant, I was able to work with on bringing it out of the painting as sculpture. Traditional techniques didn’t sit right with me for this, settling on digital sculpting, extracting the knot element from the painting to be worked on digitally. This allowed us to retain the painted/flat/2D aspect yet expand it as a 3D object, existing optically in both worlds/planes simultaneously. Merging the thinking-making of painting and sculpture for me is part of how I work, envisioning something as existing in both worlds, working towards manifesting aspects of it. They connect with each other, offering different material experiences of the same thought.
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Images
Entanglement - digital sculpting & foundry process shots & final install view @ London Bronze Collection, Squire & Partners, London, May 1-14th, 2019

09/02/2021

Hi there - I’m Bo Lanyon here for a 5 day takeover & I’ll be tracing a line from work in 2018 thru to an online group show I’m in which opens this Feb. 14th - In Absentia, bringing together over 55 contemporary painters around the world who participated in the Painting School Correspondence Course ‘19-20.
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Tomorrow I’ll explore how we actually made it.
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1 Blood Knot, 2018, ink, acrylic & pigment on canvas, 170 x 140cm
2 Entanglement, 2019, bronze, steel, concrete, 192 x 52 x 46 cm
details follow
@ Bristol, United Kingdom

05/02/2021

🧲Caroline Bugby’s TAPS TAKEOVER is underway! Checkout
for detailed posts 🙌🏽 👍🏽

02/02/2021

Hi everyone, I'm Caroline Bugby. I'm a sculptor and installation artist. I'm pleased to have this opportunity to share some of my practice and ideas with you over the next few days!
In late 2020 I moved to Bristol, where I was fortunate to connect with ( Zarabéa Esfendiar Kayani) and . I did a 2 month residency with TAPS which culminated in a pop-up installation in the gallery space.
This installation, titled 'STOPSTART' brought together new work with sculptures I had made previously. These sculptures are informed by crowd control barriers and the temporary orange fencing you often see around construction sites.
In this work I am exploring how these authoritarian objects that usually repel can become playful, incorporating portals or windows that invite interaction, sending mixed signals that imply both stop and start, yes and no.

12/11/2020

We are very excited to announce that our next TAPS (44) will be a peer review and critical feedback session for artist .lanyon
Thursday, 19th November 2020
1-3 pm
Reserve the time. ✨💥⚡️✨🌟
Thursday lunch zoom session as usual! This will also be our last session of 2020! Unmissable! Zoom link will be shared to interested parties closer to the time.

Bo Lanyon works across painting and sculpture, exploring a landscape of experience: loss, connection, conflict, distance, hope.

Born in Cornwall, he currently lives and works in Bristol, UK. He holds an MA from the Royal College of Art, London, has work in the Zabludowicz Collection and has received a number of awards from Arts Council England. Recent exhibitions include The London Bronze Collection, Squire & Partners, London, 2019; The First World War & its Legacy: Commemoration, Conflict & Conscience Festival, Bristol Cathedral & M-Shed, 2019; The Death of Optimus Prime, Spike Island, Test Space, 2019; Where It Is, There It Is, Auction House, Redruth, Groundwork Programme, 2018; Plymouth Contemporary 2017; Broomhill National Sculpture Prize 2015; the inaugural 4 New Sensations, Saatchi Gallery & Channel 4, Old Truman Brewery, London, 2007 and the Jerwood Drawing Prize, 2005.

He was recently commissioned to make an episode for the Bricks Bristol Podcast, exploring how artists working now have responded to the legacy of the St. Ives school in Cornwall, speaking with artists Lucy Stein, Hannah Murgatroyd and musician Gwenno about painting, the British Modernist tradition, ancient Cornish fougous, living with the dead and the lasting influence of his grandfather, Peter Lanyon.

28/10/2020

We are launching TAPSTIPS - keep an eye on our stories!! 🎉🎉🎉

Also super stoked for our upcoming exhibition at
Link in Kosar Contemporary’s bio/ website.

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