We’ve joined forces with the marvellous team at On The Wight to bring you DREAMLINE, a dedicated answerphone service where you can ‘donate’ your dreams, however far-out, bizarre or boring, any time of the day or night. Simply call and leave a message after the harp sounds but be warned, the adventures of your sleeping brain might end up somewhere in our new exhibition in the form of awesome artwork by more than 20 exciting emerging Artists including animators, painters, film makers, musicians, computer scientists, textile artists, photographers, printmakers, puppeteers and more…
The number is >>>> 01983 475123 <<< The number is
With the Undecided Dreamline you can send your dreams our way!
We’ll make them in to pretty things with paintbrushes and clay-
Or songs and…
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‘The exhibition coincides with the 800th anniversary of the sealing of Magna Carta, 750 years since De Montfort parliament, the 2015 UK election, and arrives at a time where we question the art of democratic debate.’
Two enormous thrones, seats of power by Paradox Paul and Maya Malfatti dominate the space – real show stoppers alongside some of their fabulous signature photo composites. Rachael couldn’t resist sitting on the seat entitled ‘Game of Thorns’ (she even took her shoes and socks off and let her hair down to look the part).
Daniel Roberts’ ‘Rename TTIP’ project is a particular highlight (incorporating a SPECTACULAR handmade printing press!) and a poignant collaboration between John Armstrong, Georgia Newman and…
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I signed in to facebook today to find a big, full screen message from facebook informing me that one of my pictures had been removed from my painting page. They didn’t say I’d done anything wrong, just that something has been removed and that I could review the community standards if I liked. They also said that if I thought the content had been wrongly removed I should just upload it again.
All very straightforward and, to be honest, I wasn’t all that surprised.
I’ll be the first to admit that it’s a pretty saucy picture and, although it’s a painting, lightheartedly designed to address attitudes towards gender in relationships & posted in order to share a bit of what I do, I won’t deny, it’s sexy.
Once I’d got past facebook’s greeting message though I was met by several messages from friends and followers asking where the picture had gone and how they thought it was outrageous that the picture had been removed.
I follow a lot of Artists on facebook, some of which have had terrible trouble posting pictures of their work due to facebook’s seemingly stringent ‘no female nipples’ policy. All of the Artists I’m thinking of paint/sculpt tasteful celebrations of the human form for a living and are consistently forced to censor their images due to complaints that they contravene ‘community standards’ and are not suitable to publish. My painting is very contentious in comparison. I don’t exclusively paint nudes either so it doesn’t affect my business much (I don’t generally post pictures of the nudes I paint because they are mostly private commissions). For some other painters I follow though, not being able to post pictures of the (absolutely stunning, tasteful, helpful) work they do for a living is a genuine hassle.
I have a friend who has done an incredible amount to change attitudes towards the standard, idealised representation of the female form who is CONSTANTLY censored, not because his message is controversial (it isn’t) but because his work depicts honest (totally non sexualised) representations of the female form.
It seems that a painting of a nipple is somehow worse than seeing a video of an actual person get stabbed to death in the street, according to the way facebook implement their community standards.
Okay, so I understand that not everyone wants to see a picture of a painting of a tongue on a nipple but my (potentially misguided) assumption is that people who have actively signed up to follow my facebook page have done so because they want to see pictures of my (sometimes slightly graphic) paintings.
I’m not bothered per se. It’s only facebook, I can upload it again if I like and I got to make this neat blog post about it.
It’s just baffling that a picture of a painting of a nipple is considered somehow MORE or equally harmful to, say, a few particular facebook-based online echo chambers that persistently post doctored images of members of the public and outright lies designed to incite racial hatred and fear. Feel free to discuss 🙂
Last weekend we embarked on our most ambitious show to date. Undecided on Love brought together the work of more than 30 artists, writers, poets and musicians to explore and celebrate the ubiquitous monster that is LOVE in the broadest possible sense… and we couldn’t be more pleased with how it went! Right from the start the theme seemed to envelope everything in the building and, as people began to arrive, this only increased until we could barely move for the loved-up/love-lorn visitors that came to help us celebrate.
The private view on Friday night was a great indication of how the rest of the weekend was set to develop. We could barely move for the crowd of beautiful people that poured through the doors of Ventnor Exchange to take-in the astounding range of work on show. The Ventnor Darlings jubilantly performed an epic, diverse set of love songs to suit every…
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“Undecided On Love was hosted in the relatively-newborn Ventnor Exchange on Church Street—though the word ‘hosted’ understates the symbiotic relationship between the Exchange team (who also run the annual Ventnor Fringe) and the artists themselves.
I was shown around the room by Rachael Berry, who organised much of the event as well as displaying her own distinctive work. I found myself drawn back to her captivating images of hyperrealistic hearts and flesh.
“I love painting meat,” she offered by way of explanation—joking, but not really. The glistening, tumescent seams of valves and muscle in Berry’s work are uncanny, difficult to look away from. The sheer attention to detail grounds the emotional flights of romantic love in the clinical reality behind all the tropes.
But after you stare into the iridescent layers of colour, Berry’s images happily supplicate and enable the wide-eyed insanity of love with a vivid, hallucinatory symbolism of their own.”
Thomas Seal, Yoppul
Click here for the full review.