Lascaux
Jay Mulholland
Thursday April 23rd - Thursday April 30th
This article is a collection of what i've been thinking about in the past few weeks. Hopefully you'll find something that interests you, so have a bit of a browse. In this room I talk haphazardly about painting and art, and in room 2 I talk about computers & virtual worlds.
​
​
The last time I was in Manchester, I was invigilating our last show at Soft Spot. Upstairs in PS Mirabel, Fischer Mustin came through to re-hang some of his paintings in the show Upside Down Bucket.
We had a rather long conversation about making artwork. At the time, I was hopelessly craving jobs and applying for opportunities just so I could feel useful.
I'd seen his work online and really liked it. He is one of my favourite manchester-based painters alongside Louise Giovanelli and Parham Ghalamdar. I would love to see all three of them in a show together.
Night At The Museum
Fischer Mustin
Thrilla in Manilla
Fischer Mustin
Fischer spends a lot of time making failed work. Part of me wonders if the images he sent me will last.
I'm glad I get the chance to experience them digitally. There's a lot of permanence contained in a digital upload.
He said to me through email, "you want your paintings to be both permanent and impermanent in a way", and have elements of the timeless and the timely.
​
​
Southern By The Grace Of God
Fischer Mustin
​
I see the drab backgrounds of Ian Hartshorne or George Shawe, a pertinent observation of soft skin, and then these cartoon based visuals. There's a seamless blend between earth tones and rich pastel-neons which really appeals to me.
He describes his practice like, "pulling gold out of filth whilst also perverting gold into filth."
​
I'd been on Curatorspace daily just applying for things, even if my work didn't really fit, in the hopes of getting recognition or attention or gain a foothold of some intangible artist network. I felt absolutely pathetic doing it. And then I have a conversation and I remember what a privilege it is to make artwork in the first place.
​
When we talked about painting, he described it in a way that made it sound like paintings were constructs of vision, like portals into unreality. Maybe that's not what he meant, but it's what I heard.
filled with inspiration, I tried my hand at painting and failed, as I usually do, to create anything I believed in;
in the process i gleaned a sense of that incredible privilege, that special kind of freedom that creative expression allows.
​
Fischer shook my hand when he left and that was the last physical contact I had with another human being, 5 weeks ago. Not that i'm counting or anything.
​
​
​
​
​
​
​
​
​
Then about a week ago I attended a virtual music festival hosted by Open Pit on Twitch, where American Football were headlining. I couldn't stay that long. It started with one of the Open Pit members making a beat from samples voted on by Twitch Chat. The server crashed often, as if the bandwidth police were perpetually shutting it down, but the music stayed on.
​
Kai Whiston of IGLOO had a DJ set, and I looked him up afterwards and found his project "No World as Good As Mine".
The album was densely laden with sounds and concepts. The interview-style PDF features images, paintings and a series of journal style interviews. It's a blessing to access something you really care about completely on accident, that's the kind of thing that doesn't usually happen when you visit a gallery. Often the intent is to seek out, look at and consume art, and that intent stops an element of surprise.
I was surprised to find Kai's project, I wasn't surprised when he didn't reply to my tweets, but then I was really surprised when he replied to my email. That's another privilege, the feeling of human connection.
​
​
A few days ago he released a poem that features in one of the songs.
​
​
Room 2 is where I explore virtual environments and online places.
Background Images
VRChat by Graham Gaylor and Jesse Joudrey
Second Helping by Fischer Mustin
Return of the Obra Dinn by Lucas Pope