#enginechatchat

CLICK above on the post heading to book.

Elizabeth, thanks for the opportunity to share my work and get some interesting feedback. 

Sat 24th will see the first of the Motor Mouth Sessions run by Poppy Pitt.

If you would like to attend, or present please let Poppy know by emailing her at

Presenters: Glyn Powell, Tat, Leyla Folwell & Susan Eyre

Discussion Group: Gillian Best, Paula Salischiker, Victoria Scott, Marion Michell, Elizabeth Murton,

We ended the session with the starting thought: the value of 'nothing'. Susan Eyre was last to show her piece, a site-specific installation. Her question was about altering it for a new space. It is a series of human size panels containing images of an urban area in Kingston that have been rehashed, worked into and then printed onto fabric. She wanted to project into the central area. We spoke about leaving the internal space, viewable through the cracks in the panels, empty to allow focus on the detail in the images. People felt the images were strong and she did not need to add other elements- the question is still up for debate in Susan's mind.

Nothing was how we began. Glyn Powell has been interested in the use of the word 'nothing' and how it is loaded with context rather than empty 'it felt like nothing' or 'plenty of nothing'. We talked about the problems of illustrating nothing- how do you indicate it without making it 'something'? And we spoke about his use of charcoal on canvas. We then moved onto Tat's paintings. He showed one painting and a sketchbook of drawings. We talked about the relationship between the drawings and how they investigated his interests in the push and pull of the networks, the control, discord, and pressure that surround us. We discussed ideas on how to approach the two different mediums without loosing the freedom of pencil and collage within the potential of paint.

The second half after the essential tea and biscuits started with Leyla Folwell presenting her developments since the last Engine Chat Chat. She has been re-evaluating her practice since having a break from ceramics. Removing colour and simplifying form, she was looking at how to keep developing a new and exciting line of work. It seemed that she was enjoying focusing on subjects related to situation that were solitary and meditative, reflecting her paired down approach to her drawing, weight, material and new forms.