Tackled and Lost, 2019
Tramway, Glasgow, part of ‘Relay’ group show curated by ‘Fling’.
Audio work for two stereo pairs of speakers forming a square.
Photo: Tinja Ruusuvuori
Common Ground, 2018
Master’s Degree Show, Tontine Building, Glasgow School of Art, UK
Common Ground is a space where opposites can interact and play in a free matrix exploring how binaries operate and under which conditions they break down. The artworks all employ the mysterious letter forms on the bibs of netball positions (WA, GD, C etc.) as only understood by the girls (as boys do not play netball).
The artworks act as players in a public space where different “language games” (Wittgenstein) are in free-play in one playground.
MLK, 2018, wood, woodstain, steel, 220 cm x 120 cm x 42 cm
Fense (II), 2018, silkscreen on paper, 101.6 cm x 137.2 cm
Fense (III), 2018, silkscreen on paper, 101.6 cm x 137.2 cm
Fense (I), 2018, silkscreen on paper, 101.6 cm x 137.2 cm
Splicer, 2018, digital sound file, speakers, mp3 player, dimensions variable.
Show reel: https://youtu.be/k6Hfh3MdBNY
No step, 2018, paper pulp, pigment, 100 cm x 70 cm
Deconstruction of Difference
“… common ground is the moment when a zero is in the act of changing to an one or vice-versa. The microscopic space of etched silicon that floods with electrons or empties out. A space of the inbetween that is needed by different ‘entities’ in order to differentiate and form identity. The inbetween space is the common ground. It’s both a space and a repeated moment in time. It’s the shared paper, screen and compressed air of speech where words differentiate and divide. Without it there is no system of difference. Without difference we are the same. The common ground allows for difference and therefore identity to be understood but it is also simultaneously a deconstruction of that difference. The interplay of this ensures that there is no stability in an identity based on difference. It’s the common seed that contradicts the rigidly different.”
McGill Gibney, 2018
Match Flags, 2018
Netball position acronyms split and transposed. Utilising the transparency of flag fabric, reversals and overlaying occurs in a code-breaking / encoding exercise.
Made for ‘Jetty’: an exhibition of works by Edward Bruce, Connie Liebschner, Louie Pegna, J.D. Kelly Building at the Glasgow School of Art, 15th February 2018.
Match Flags, 2018, Poly-cotton fabric, acrylic ink, flag: 56 cm x 100 cm, overall dimension variable.
Show Saturday, 2016
Edward Bruce and Ian Mason
Arena Gallery, Liverpool, 9th – 20th September 2016
A pairing of two artists whose work references English country life transformed and disrupted by urban styles. Ian Mason re-forms the ‘dog portrait’ of the Kennel Club breeds. Edward Bruce re-presents model wagons and carts of heritage agriculture overlaid by urban pop art.
The work is united by the theme of the country show, where thoroughbred animals and things are judged and awarded prizes and where people come to honour pedigree and craftsmanship. Show Saturday examines the influence of the country on the town and vice versa. Wagons and carts traditionally painted in the ‘insignia’ of their county colours are altered by ‘pop art’ colour schemes, becoming strange hybrid forms of town and country.
Various model wagons and carts sourced on eBay and re-colour-coded.
Acrylic on wood, plywood panels and trestles. Dimensions variable.
Station Ends, 2016
Three multi-panelled monotypes on Japanese paper
Bridewell Gallery, Liverpool. 8th – 16th October, 2016
A series of monotype prints that explore the architecture and melancholic mood of the platform ends of railway stations. The work evokes the memory of wandering up the platform of a provincial railway station while waiting for a connection. A solitary moment in a public space, an urban townscape framed by the dilapidated grandeur of its railway station and the poetry of departures.
Water-soluble graphite on Sanmore paper, stained ash-wood frames.
Left to right:
BNS, 2016. Four panel. 1.9 m x 1.26 m
ST, 2016. Nine panel. 2.7 m x 1.8 m
PN, 2016. Four panel. 1.26 m x 1.9 m
Reviewed In Art in Liverpool:
Ringing Banners, 2008
Woven textile banners translation of bell ringing methods displayed in Liverpool Cathedral as part of the European Capital of Culture programme.
Poly-cotton and metallic yarn. Grandsire Cinques with Covering Tenor 1.2 m x 36 m, Bishop David Delight Major 1.2 m x 36 m, Stedman Doubles 1.2 m x 7 m, Grandsire Doubles 1.2 m x 7 m
The digital system (methods) of ringing bells (change ringing) is translated into colour coded blocks that reveal the pattern visually. Each banner is of a different method. They are: ‘Bishop David Surprise Major’, ‘Grandsire Cinques with Covering Tenor’, ‘Stedman Doubles’, and ‘Grandsire Doubles’. They were rung by the Liverpool Cathedral Guild of Change Ringers under Ringing Master, Len Mitchell at the opening. Ringing Banners is a sonic and visual gesamtkunstwerk incorporating bellringing, weaving and architecture into one work. The banners were woven on a computerised jacquard loom by Herbert Parkinson Ltd. in Darwen, Lancashire, under the supervision of Heather Metcalf.
(Photography: Cathy Carr and Roger Sinek)
A caged off dead-end space in the basement of an old elevator factory, part of a group show with The Glue Factory Group, Oval, London.
Steel mesh units, school chairs. 3.5 m x 2.4 m (depth variable)
Minimalist wooden site specific sculpture erected on a small strip of grass in the grounds of Northumbria University.
Newcastle upon Tyne, UK
wood, steel, paint. 7.32 m x 2.44 m x 0.12 m²