Common Ground, 2018
“Language is made by rule following societies.”
Wittgenstein, ‘Philosophical Investigations’
Master’s Degree Show, Tontine Building, Glasgow, UK.
Common Ground is a space where opposites can interact and play in a free matrix.
My Degree Show explores how binaries operate and under which conditions binaries break down.
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 I call the ‘Common Ground’ where different “language games” (Wittgenstein) are being played in one playground.
“A code is not only a rule that closes but also a rule that opens. It not only says ’you must’ but it says also ‘you may’ or ‘it would be possible to do that.”
“The final interpretant is action in the community.”
Umberto Eco, ‘Semiotics and the Philosophy of Language’.
List of Works
MLK, 2018, wood, woodstain, steel.
Fense (II), 2018, silkscreen on paper.
Fense (III), 2018, silkscreen on paper.
Fense (I), 2018, silkscreen on paper.
Splicer, 2018, digital sound file, speakers, mp3 player.
No step, 2018, paper pulp, pigment.
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
for Jetty: an exhibition of works by Edward Bruce, Connie Liebschner, Louie Pegna, J.D. Kelly Building, Glasgow School of Art, 15th February 2018.
Netball position acronyms split and transposed. Utilising the transparency of flag fabric, reversals and overlaying occurs in a code-breaking / encoding exercise.
Match Flags, 2018, poly-cotton, 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 forms. Ian Mason deconstructs and reconstructs the ‘dog portrait’ of the Kennel Club breeds. Edward Bruce re-presents model wagons 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, where people come to honour pedigree and craftsmanship. Yet traditional rural forms are altered by our urban society. Show Saturday examines this influence and presents ‘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.
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)
Site-specific installation in the campus grounds of University of Northumbria
Newcastle upon Tyne, UK
wood, paint. 7.32 m x 2.44 m x 0.12 m²