Browsing Art and Design by Subjects
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Detours and Dislocations - Liverpool /Isle of Man / Vancouver: In the Footsteps of Malcolm LowryAn exhibition of artworks by Cian Quayle at the Williamson Art Gallery and Museum, July 7 - August 26, 2018. The installation included a neon artwork/text, a 1/50 scale model, photographs, a lightbox mounted transparency, single channel video, loaned artworks (Chris John Symes and George Cuitt), hand-made photographs from glass plate negatives and an automated 35 mm carousel, slide-projection. The research triangulates, Wirral born author of Under the Volcano (1947), Malcolm Lowry's relationship with Liverpool, the Isle of Man and Vancouver as the basis of a psychogeographic encounter with places and sites of habitation, which held significance for Lowry's life and writing. The exhibition formed part of IB 18 (Independents Biennial) and was exhibited in conjunction with 'Tom Wood: Cammell Laird Shipyard 1993 - 1996'.
Malcolm Lowry - Detours and Dislocations - Douglas and Dollarton: Proposals for ArtworksAs a set of 'Proposals for Artworks' and associated writing this project builds on previous research, which retraces the footsteps of Wirral-born author of Under the Volcano, Malcolm Lowry. The work emerges from photography and moving image made on location in Vancouver in June 2017. A paper entitled ‘Malcolm Lowry – Detours and Dislocations – Douglas and Dollarton’ was presented at the LJMU conference: Under the Volcano – 70 Years On: An International Malcolm Lowry Conference. A 1/50 scale model of Malcolm Lowry’s 1944 shack at Dollarton, and a carousel, slide-projected, artwork of 80, 35 mm slides (Cates Park and Maplewood Mudflats) was exhibited at the Bluecoat, Liverpool as part of the conference proceedings, July 28 - 29, 2017.
Malcolm Lowry's Elephant and Colosseum: A Manx Radio DiscussionAs part of Manx Litfest 2016 and a forerunner for a planned Manx Radio podcast of Malcolm Lowry's 'Elephant and Colosseum': Cian Quayle, Jane Killey and Doug Sandle (the author of the podcast transcript) were invited to take part in a discussion with broadcaster Roger Watterson on Manx Radio's Sunday Opinion. The contributors discussed Malcolm Lowry's life and writing and its connections with the Isle of Man, which feature in 'Hear Us O Lord from Heaven Thy Dwelling Place' (1961) with specific reference to Elephant and Colosseum.
Walking with Shadows: Index, Inscription and Event in Malcolm Lowry's In Ballast to the White SeaA series of 15 black and white photographs and writing authored in response to the publication of a scholarly edition of Malcolm Lowry’s lost novel In Ballast to the White Sea. The photographs are integrated in an essay entitled ‘Walking with Shadows’ – a photo-text – indebted to W.G. Sebald’s use of photographs in The Rings of Saturn (1995). A method adopted which fuses ‘fiction, travelogue, history and biography’ where the images offset or displace the narrative, rather than illustrate it, as the psychic and physical journey unfolds from page to page. The text also references Denis Hollier’s essay ‘Surrealist Precipitates: Shadows Don’t Cast Shadows’, in which the position of the artist /author and the role of the reader highlights the significance of André Breton’s novel and use of photographs in Nadja (1928). The correlation of these sources includes Michel de Certeau’s ‘Walking in the City’ in The Practice of Everyday Life (1984) and Paul Auster’s novella ‘City of Glass’ in New York Trilogy (1987) where the notion of the author / protagonist are posited as interchangeable positions, as they reveal the significance of a method, in which autobiography, fact and fiction coalesce. The photographs which are imbricated within the text function as a series of staging points and motifs, which index the journey undertaken by the novel’s key protagonist. In Lowry’s novel these are uncovered in a series of surreal, psychogeographic encounters across the urban terrain and landscape, and the sonic hum, which imbues his writing. The events and locations which define the novel were rediscovered, or otherwise substituted, as they are re-inscribed in text and image. The project also integrated archive and vernacular images, which include Edward Chambré Hardman’s photographs of Liverpool and the North West as the setting which provides the point of departure for Lowry’s novel and the terrain, which was revisited for this project.