Residency Dates
31 January – 17 February 2025
Artist Images
Residency Images
Testimonial
"Just over two weeks of making, thinking, wandering and experimenting.
I came with two projects I’ve been trying to carve time out for. A series of small paintings on panel and some sculptures made of soap. The paintings quickly took over as I grappled with oils for the first time in years. This coupled with the skin tones in my original images turned the two weeks into a really valuable time to learn how to make paintings (youTube, trial and error, advice from other resident artists, failing and failing until it worked) or rather to learn how to make a new series of paintings that I was happy with.
Being able to get up, make a brew and start work straight away was such a valuable way to attack my work each day, and it has made me think about how I structure my working days/when I’ve got the best brain for work.
Wandering out the surrounding paths and bridleways, I had time to clear my head, think through ideas for other work and record the landscape as I walked through it. These wonderings led to a new artwork, one that happened almost on its own. I’d picked up a stick to use as a walking stick, and on a whim threw it up into a tree, within while it got stuck… it felt like and artwork, so I spent the rest of that day finding branches that had fallen out of trees and filmed myself throwing them back into their trees until they stayed up there.
Another work to emerge from my wandering was a 3D scan of a badger sett. I’d been struck by the number of setts in the locality and the bright piles of chalk the badges produce as they dig out their homes. I’d not used a 3D scanning tech before, so, as with my paintings, I set about learning/self-teaching and eventually found a way to capture the structure of a badger sett as a 3D scan.
Finally, faced with what to write in the guest book, I made a new work with a pound coin.
I’d been struck by the ‘mushroom stilts’ my studio was sat upon. I thought it would be interesting to crawl under my studio to see what that space was like. When I did, I noticed there was a little space above each mushroom stilt, just enough for a pound coin. So I worked out the most central stilt and slid a pound coin between its and the studio. It’s a thank you, and a good luck charm, and a pound coin and an artwork."
Bio
Born
1979,
UK
About
Jack Brown is based at Paradise Works, Salford. He works with (and in the spaces between) sculpture, painting, response to site, print, public action, drawing, photography and video. New works begin with the overlooked, things from our collective reference pool. These starting points are altered, remade or relocated before being cast back into the world as artworks. Meaning emerges in this ‘remaking’, in the collision of source, extraction processes, material, making processes, media, situation, site and public interaction.
Interventions in the wider world, collaborations and manipulations, moments of poetry and flashes of meaning; Jack's practice can be seen as an investigation into ways of making and how those made objects or moments interact with the world around them.
Recent exhibitions include Bushcrafting (Second Act Gallery/Prism Gallery, Blackburn), A Borrowing of Bones (Slug Town/Paradise Works, Salford), Knip (Pink Gallery/Juxtapose Art Fair, Denmark), Gertrude Presents (Gertrude, London), Psychogeology (Signal Film and Media, Barrow-in-Furness), A Modest Show (The Hamptons Air Fair, New York, USA), and Soaps (Suihkulähde Galerie, Helsinki).
His work is held in collections including the Salford University Art Collection, Soho House, Manchester Art Gallery, and various private collections.
For more information about Jack, please visit www.jackbrown.me.uk.
Residency Dates
31 January – 17 February 2025
Artist Images
Residency images
Testimonial
"Just over two weeks of making, thinking, wandering and experimenting.
I came with two projects I’ve been trying to carve time out for. A series of small paintings on panel and some sculptures made of soap. The paintings quickly took over as I grappled with oils for the first time in years. This coupled with the skin tones in my original images turned the two weeks into a really valuable time to learn how to make paintings (youTube, trial and error, advice from other resident artists, failing and failing until it worked) or rather to learn how to make a new series of paintings that I was happy with.
Being able to get up, make a brew and start work straight away was such a valuable way to attack my work each day, and it has made me think about how I structure my working days/when I’ve got the best brain for work.
Wandering out the surrounding paths and bridleways, I had time to clear my head, think through ideas for other work and record the landscape as I walked through it. These wonderings led to a new artwork, one that happened almost on its own. I’d picked up a stick to use as a walking stick, and on a whim threw it up into a tree, within while it got stuck… it felt like and artwork, so I spent the rest of that day finding branches that had fallen out of trees and filmed myself throwing them back into their trees until they stayed up there.
Another work to emerge from my wandering was a 3D scan of a badger sett. I’d been struck by the number of setts in the locality and the bright piles of chalk the badges produce as they dig out their homes. I’d not used a 3D scanning tech before, so, as with my paintings, I set about learning/self-teaching and eventually found a way to capture the structure of a badger sett as a 3D scan.
Finally, faced with what to write in the guest book, I made a new work with a pound coin.
I’d been struck by the ‘mushroom stilts’ my studio was sat upon. I thought it would be interesting to crawl under my studio to see what that space was like. When I did, I noticed there was a little space above each mushroom stilt, just enough for a pound coin. So I worked out the most central stilt and slid a pound coin between its and the studio. It’s a thank you, and a good luck charm, and a pound coin and an artwork."
Born
1979,
UK
About
Jack Brown is based at Paradise Works, Salford. He works with (and in the spaces between) sculpture, painting, response to site, print, public action, drawing, photography and video. New works begin with the overlooked, things from our collective reference pool. These starting points are altered, remade or relocated before being cast back into the world as artworks. Meaning emerges in this ‘remaking’, in the collision of source, extraction processes, material, making processes, media, situation, site and public interaction.
Interventions in the wider world, collaborations and manipulations, moments of poetry and flashes of meaning; Jack's practice can be seen as an investigation into ways of making and how those made objects or moments interact with the world around them.
Recent exhibitions include Bushcrafting (Second Act Gallery/Prism Gallery, Blackburn), A Borrowing of Bones (Slug Town/Paradise Works, Salford), Knip (Pink Gallery/Juxtapose Art Fair, Denmark), Gertrude Presents (Gertrude, London), Psychogeology (Signal Film and Media, Barrow-in-Furness), A Modest Show (The Hamptons Air Fair, New York, USA), and Soaps (Suihkulähde Galerie, Helsinki).
His work is held in collections including the Salford University Art Collection, Soho House, Manchester Art Gallery, and various private collections.
For more information about Jack, please visit www.jackbrown.me.uk.
© 2020 Xenia Creative Retreat | Hampshire, UK
© 2020 Xenia Creative Retreat | Hampshire, UK