• Artwork
    • Arts Council Collection
    • Arts Council Hayward Touring. Persistence of Collage.
    • Baltic 39
    • CCA Andratx
    • Drawing Room, London.
    • Gallery North.
    • Hatton Gallery
    • Henry Moore Institute research fellowship.
    • Irish Museum Modern Art
    • Parafin Gallery, London.
    • Wallpaper review. March. Laurence Kavanagh.
    • March exhibition catalogue
    • Laurence Kavanagh interview with Cliff Lauson
    • Contemporary Arts Society Review. May exhibition.
    • Frieze review. The Lonely House.
    • May. Exhibition review by The Page.
  • Biography
  • Contact
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Laurence Kavanagh

  • Artwork
  • Links
    • Arts Council Collection
    • Arts Council Hayward Touring. Persistence of Collage.
    • Baltic 39
    • CCA Andratx
    • Drawing Room, London.
    • Gallery North.
    • Hatton Gallery
    • Henry Moore Institute research fellowship.
    • Irish Museum Modern Art
    • Parafin Gallery, London.
  • Texts/Reviews
    • Wallpaper review. March. Laurence Kavanagh.
    • March exhibition catalogue
    • Laurence Kavanagh interview with Cliff Lauson
    • Contemporary Arts Society Review. May exhibition.
    • Frieze review. The Lonely House.
    • May. Exhibition review by The Page.
  • Biography
  • Contact

Recent works The Thickness of Surface

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swipe A 1.JPG
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Memory Map (Thickness of Surface) (Detail).jpg
Linen, Sprayed oil paint. 60 x 40 cm.
Linen, Sprayed oil paint. 60 x 40 cm.

The Thickness of Surface

Museum and cinema culture have architected the way we view, triggering private, and affective responses in public spaces. They could now be now seen as representing monuments to a collapsing view of the world that is being rebuilt through our relationship to images/objects in digital screens.

The Thickness of Surface project explores how architected space, art collections and archives can connect, engage and find relevance within a meta verse; architecture as a functioning extension of the body and memory; Façade, screen graffiti, trace as permeable veil between exterior interior; Images existing as objects, the relationship between human touch to haptic images; The techniques and processes I explore exist in a place between images and sculptures.

Speaking of Sculpture #2 - The Thickness of Surface | Laurence Kavanagh
Frottage process. Facade Henry Moore Institute. Research Fellowship.
Frottage process. Facade Henry Moore Institute. Research Fellowship.
Mirror Map
Mirror Map

Graphite, paper.

laurence kavanagh drawing room.jpg
Mirror Map Doubled (Star and Shadow)
Mirror Map Doubled (Star and Shadow)

Graphite, paper, ink, collaged glicee print.

Segue. Solo exhibition Mostyn gallery.

The title of the show - Segue - means an uninterrupted transition from one film scene to another. I am interested in the idea of objects and images transitioning into one another. I make artwork in order to communicate, to reach out. The meeting point where associations between images and objects intersect for me is surfaces. There is a German phrase from a 20th century conception of modernity called Einfuhlung, which literally means ‘feeling into’ and refers to the act of projecting oneself into another body or environment.

I treating all surfaces and objects in cinema and museum buildings without a sense of hierarchy developing a frottage technique to make a series of semi relief sculptures. Frottage is known as a surrealist and ‘automatic’ method that involves creating a rubbing print of a textured surface using a pencil or other drawing material. My frottage technique is a means to embed myself within physical and visual locations; I am responding not only to the surfaces of a building but also the surfaces within the films and artworks that have been exhibited in these institutions.

All the work in the Segue exhibition are all made within a particular timeframe over a month, a day or an hour. Their title is a time and date. The process of touching, wrapping, erasing, removing, cutting, frottage is a means of slowing down the continual loop of collective unconscious images that we swipe through on digital devices, in order to allow for a slowing-down and space/ objects for contemplation. I try to bring a real-world materiality to images, where materiality/touch can be used in order to understand the image further.

 ‘Laurence Kavanagh: Segue’, Mostyn, Llandudno, Wales, 22 October 2016 – 5 February 2017

‘Laurence Kavanagh: Segue’, Mostyn, Llandudno, Wales, 22 October 2016 – 5 February 2017

  October , 2015  Paper, graphite, greyboard and steel  Casts of all the screens used by the Star and Shadow cinema, Newcastle Upon Tyne.  535 x 260 cm  Photo credit: Dewi Lloyd.      

October, 2015

Paper, graphite, greyboard and steel

Casts of all the screens used by the Star and Shadow cinema, Newcastle Upon Tyne.

535 x 260 cm

Photo credit: Dewi Lloyd.

 

 

  Segue , gallery 4 installation view    Photo credit: Dewi Lloyd.

Segue, gallery 4 installation view  

Photo credit: Dewi Lloyd.

  October , 2015  Paper, graphite, greyboard and steel  Casts of all the screens used by the Star and Shadow cinema, Newcastle Upon Tyne.  535 x 260 cm     Photo credit: Dewi Lloyd.

October, 2015

Paper, graphite, greyboard and steel

Casts of all the screens used by the Star and Shadow cinema, Newcastle Upon Tyne.

535 x 260 cm

 

Photo credit: Dewi Lloyd.

  Calendar , 2016  Paper, black carbon, giclée print  75.2 x 92.5 cm

Calendar, 2016

Paper, black carbon, giclée print

75.2 x 92.5 cm

  Segue,  installation view.  Left:   Calendar , 2016  Paper, black carbon, giclée print  75.2 x 92.5 cm     Centre:   October (Segue)    Realised as part of the Warwick Stafford Fellowship at Baltic 39, Newcastle     Right:  Righ

Segue, installation view.

Left:

Calendar, 2016

Paper, black carbon, giclée print

75.2 x 92.5 cm

 

Centre:

October (Segue) 

Realised as part of the Warwick Stafford Fellowship at Baltic 39, Newcastle

 

Right:

Right: October 1.7.2015

Realised as part of the Warwick Stafford Fellowship at Baltic 39, Newcastle

 

Photo credit: Dewi Lloyd.

  15.3.2016 , 2016  Paper, graphite, giclée print  100 x 89.5 cm     Photo credit: Dewi Lloyd.

15.3.2016, 2016

Paper, graphite, giclée print

100 x 89.5 cm

 

Photo credit: Dewi Lloyd.

  15.3.2016 , 2016  Paper, graphite, giclée print  100 x 89.5 cm

15.3.2016, 2016

Paper, graphite, giclée print

100 x 89.5 cm

 Installation view:     Left:   May (MacGuffin) , 2013  Graphite, resin, brass, string, red gloss enamel, giclée print  20 × 19 × 11 cm     Background:   Calendar , 2016  Paper, black carbon, giclée print  75.2 x 92.5 cm     Photo credit:&n

Installation view:

 

Left:

May (MacGuffin), 2013

Graphite, resin, brass, string, red gloss enamel, giclée print

20 × 19 × 11 cm

 

Background:

Calendar, 2016

Paper, black carbon, giclée print

75.2 x 92.5 cm

 

Photo credit: Dewi Lloyd.

  May (MacGuffin) , 2013  Graphite, resin, brass, string, red gloss enamel, giclée print  20 × 19 × 11 cm     Photo credit: Dewi Lloyd

May (MacGuffin), 2013

Graphite, resin, brass, string, red gloss enamel, giclée print

20 × 19 × 11 cm

 

Photo credit: Dewi Lloyd

  Segue,  installation view.     Photo credit: Dewi Lloyd.

Segue, installation view.

 

Photo credit: Dewi Lloyd.

  Segue,  installation view.  Left:   October (Segue)    Paper, graphite, giclée print  Realised as part of the Warwick Stafford Fellowship at Baltic 39, Newcastle     Right:  Right: October 1.7.2015  Paper, graphite, gi

Segue, installation view.

Left:

October (Segue) 

Paper, graphite, giclée print

Realised as part of the Warwick Stafford Fellowship at Baltic 39, Newcastle

 

Right:

Right: October 1.7.2015

Paper, graphite, giclée print

Realised as part of the Warwick Stafford Fellowship at Baltic 39, Newcastle

 

Photo credit: Dewi Lloyd.

  Segue , installation view gallery 5.     Photo credit: Dewi Lloyd.

Segue, installation view gallery 5.

 

Photo credit: Dewi Lloyd.

 Left:   1.3.2016 , 2016  Paper, graphite, giclée print  105.5 x 139 cm     Right:   10.3.2016 , 2016  Paper, graphite, giclée print  105.5 x 137.5 cm     Photo credit: Dewi Lloyd.

Left:

1.3.2016, 2016

Paper, graphite, giclée print

105.5 x 139 cm

 

Right:

10.3.2016, 2016

Paper, graphite, giclée print

105.5 x 137.5 cm

 

Photo credit: Dewi Lloyd.

  1.3.2016 , 2016  Paper, graphite, giclée print  105.5 x 139 cm

1.3.2016, 2016

Paper, graphite, giclée print

105.5 x 139 cm

  10.3.2016 , 2016  Paper, graphite, giclée print  105.5 x 137.5 cm

10.3.2016, 2016

Paper, graphite, giclée print

105.5 x 137.5 cm

  28.3.2016 , 2016  Giclée print  100 x 92.5 cm

28.3.2016, 2016

Giclée print

100 x 92.5 cm

  Segue , installation view.  Centre:   October (Star & Shadow) , 2015  Paper, graphite, giclée print  140 x 220 x 14 cm  Commissioned by the Hatton Gallery with the support of Arts Council England’s Catalyst Arts capacity building and match fund

Segue, installation view.

Centre:

October (Star & Shadow), 2015

Paper, graphite, giclée print

140 x 220 x 14 cm

Commissioned by the Hatton Gallery with the support of Arts Council England’s Catalyst Arts capacity building and match funding scheme

Right:

May (Impossibly Now), 2013

Paper, graphite, giclée print

190 × 122 cm

 

Photo credit: Dewi Lloyd.

  October (Star & Shadow) , 2015  Paper, graphite, giclée print  140 x 220 x 14 cm  Commissioned by the Hatton Gallery with the support of Arts Council England’s Catalyst Arts capacity building and match funding scheme     Photo credit: Dewi

October (Star & Shadow), 2015

Paper, graphite, giclée print

140 x 220 x 14 cm

Commissioned by the Hatton Gallery with the support of Arts Council England’s Catalyst Arts capacity building and match funding scheme

 

Photo credit: Dewi Lloyd.

  May (Impossibly Now) , 2013  Paper, graphite, giclée print  190 × 122 cm

May (Impossibly Now), 2013

Paper, graphite, giclée print

190 × 122 cm

  12.3.2016 , 2016  Paper, black carbon, giclée print  105.5 x 138.5 cm     Photo credit: Dewi Lloyd.

12.3.2016, 2016

Paper, black carbon, giclée print

105.5 x 138.5 cm

 

Photo credit: Dewi Lloyd.

  12.3.2016 , 2016  Paper, black carbon, giclée print  105.5 x 138.5 cm

12.3.2016, 2016

Paper, black carbon, giclée print

105.5 x 138.5 cm

  May (Calendar) , 2013  Airmail envelope, LP cover, string, pins, household gloss paint  85 × 40 cm

May (Calendar), 2013

Airmail envelope, LP cover, string, pins, household gloss paint

85 × 40 cm

  Segue , installation view.     Left:   May (Calendar) , 2013  Airmail envelope, LP cover, string, pins, household gloss paint  85 × 40 cm     Centre:   October , 2015  Paper, graphite, greyboard and steel  535 x 260 cm     Photo credit: Dewi L

Segue, installation view.

 

Left:

May (Calendar), 2013

Airmail envelope, LP cover, string, pins, household gloss paint

85 × 40 cm

 

Centre:

October, 2015

Paper, graphite, greyboard and steel

535 x 260 cm

 

Photo credit: Dewi Lloyd.

  Segue , installation view.     Centre:   October , 2015  Paper, graphite, greyboard and steel  535 x 260 cm     Right:   October. 24.7.2015   Paper, black carbon, giclée print     Photo credit: Dewi Lloyd.

Segue, installation view.

 

Centre:

October, 2015

Paper, graphite, greyboard and steel

535 x 260 cm

 

Right:

October. 24.7.2015

Paper, black carbon, giclée print

 

Photo credit: Dewi Lloyd.

  October .  24.7.2015   Paper, black carbon, giclée print

October. 24.7.2015

Paper, black carbon, giclée print

  October , 2015  Paper, graphite, greyboard and steel  535 x 260 cm     Right:   April (Calendar Collage) , 2012  Mixed media  85 x 39 x 2 cm     Photo credit: Dewi Lloyd.

October, 2015

Paper, graphite, greyboard and steel

535 x 260 cm

 

Right:

April (Calendar Collage), 2012

Mixed media

85 x 39 x 2 cm

 

Photo credit: Dewi Lloyd.

  April (Calendar Collage) , 2012  Mixed media  85 x 39 x 2 cm

April (Calendar Collage), 2012

Mixed media

85 x 39 x 2 cm

 Left:   April (Segue) , 2014  Paper, graphite, giclée print, process yellow ink  134 × 222 cm     Right:   23.3.2016 , 2016  Paper, black carbon, giclée print  118 x 95 cm     Photo credit: Dewi Lloyd.

Left:

April (Segue), 2014

Paper, graphite, giclée print, process yellow ink

134 × 222 cm

 

Right:

23.3.2016, 2016

Paper, black carbon, giclée print

118 x 95 cm

 

Photo credit: Dewi Lloyd.

  23.3.2016 , 2016  Paper, black carbon, giclée print  118 x 95 cm     Photo credit: Dewi Lloyd.

23.3.2016, 2016

Paper, black carbon, giclée print

118 x 95 cm

 

Photo credit: Dewi Lloyd.

Memory Maps.

#3 Map Series
#3 Map Series

Graphite, cut and scored paper, glicee ink.

Dimensions 32.5 x 28cm

#7 MAP SERIES
#7 MAP SERIES

Graphite, cut and scored paper, glicee ink.

Dimensions 55 x 32.5cm

#7 MAP SERIES
#7 MAP SERIES

Graphite, cut and scored paper, glicee ink.

Dimensions 55 x 32.5cm

#7 MAP SERIES (Detail)
#7 MAP SERIES (Detail)

Graphite, cut and scored paper, glicee ink.

Dimensions 55 x 32.5cm

Window (Memory Map)
Window (Memory Map)

Graphite, cut and scored paper.

Dimensions 21 x 30 cm

#5 MAP SERIES
#5 MAP SERIES

Graphite, cut and scored paper.

Dimensions 21 x 30 cm

#2 Mirror Map
#2 Mirror Map

Inlaid paper, acrylic medium, giclee print

Dimensions 38 x 26 cm

#4 Memory Map (Window)
#4 Memory Map (Window)

Graphite, inlaid paper, ink, giclee ink

Dimensions 21 x 29.7 cm

#2 MAP SERIES
#2 MAP SERIES

Graphite, cut and scored paper, ink.

Dimensions 55 x 32.5cm

#2 MAP SERIES (Detail)
#2 MAP SERIES (Detail)

Graphite, cut and scored paper, ink.

Dimensions 55 x 32.5cm

#10 Map Series
#10 Map Series

Inlaid paper, acrylic medium, giclee print

Dimensions 32 x 36.5 cm

#9 MAP SERIES
#9 MAP SERIES

Graphite, cut and inlaid paper, ink.

Dimensions 35 x 21cm

March. Solo exhibition Marlborough Contemporary.

 At the Curzon Cinema in Mayfair. Preparations for solo show at Marlborough Contemporary, London (11 May - 18 June 2016).

At the Curzon Cinema in Mayfair. Preparations for solo show at Marlborough Contemporary, London (11 May - 18 June 2016).

  12.3.2016 , 2016   Paper, black carbon, giclé  e print   105.5 x 138.5 cm

12.3.2016, 2016

Paper, black carbon, giclée print

105.5 x 138.5 cm

  Calendar , 2016   Paper, black carbon, giclé  e print   75.2 x 92.5 cm

Calendar, 2016

Paper, black carbon, giclée print

75.2 x 92.5 cm

 At the Curzon Cinema in Mayfair. Preparations for show at Marlborough Contemporary, London (11 May - 18 June 2016).

At the Curzon Cinema in Mayfair. Preparations for show at Marlborough Contemporary, London (11 May - 18 June 2016).

 Installation view, 'Laurence Kavanagh: March', Marlborough Contemporary, London, 11 May - 18 June, 2016

Installation view, 'Laurence Kavanagh: March', Marlborough Contemporary, London, 11 May - 18 June, 2016

 Inside the Curzon Cinema in Mayfair. Preparations for solo show at Marlborough Contemporary, London (11 May - 18 June 2016).

Inside the Curzon Cinema in Mayfair. Preparations for solo show at Marlborough Contemporary, London (11 May - 18 June 2016).

  21.3.2016 , 2016   Paper, black carbon, giclé  e print   96 x 118 cm   

21.3.2016, 2016

Paper, black carbon, giclée print

96 x 118 cm

 

  3.3.2016 , 2016   Paper, graphite, giclé  e print   105.5 x 139 cm

3.3.2016, 2016

Paper, graphite, giclée print

105.5 x 139 cm

  1.3.2016 , 2016   Paper, graphite, giclé  e print   105.5 x 139 cm

1.3.2016, 2016

Paper, graphite, giclée print

105.5 x 139 cm

  10.3.2016 , 2016   Paper, graphite, giclé  e print   105.5 x 137.5 cm

10.3.2016, 2016

Paper, graphite, giclée print

105.5 x 137.5 cm

 Installation view, 'Laurence Kavanagh: March', Marlborough Contemporary, London, 11 May - 18 June, 2016

Installation view, 'Laurence Kavanagh: March', Marlborough Contemporary, London, 11 May - 18 June, 2016

  15.3.2016 , 2016   Paper, graphite, giclé  e print   100 x 89.5 cm

15.3.2016, 2016

Paper, graphite, giclée print

100 x 89.5 cm

  28.3.2016 , 2016   Giclé  e print   100 x 92.5 cm

28.3.2016, 2016

Giclée print

100 x 92.5 cm

  23.3.2016 , 2016   Paper, black carbon, giclé  e print   118 x 95 cm

23.3.2016, 2016

Paper, black carbon, giclée print

118 x 95 cm

The Lonely House. Solo exhibition.

 ‘The Lonely House’, solo exhibition, Hill House, London, 2008   The Lonely House , 2008  Steel cupboards, string, pins, paint  8 x 24 x 20 feet  Commissioned as part of the Cocheme Residency, University of the Arts, London. Realised with support fro

‘The Lonely House’, solo exhibition, Hill House, London, 2008

The Lonely House, 2008

Steel cupboards, string, pins, paint

8 x 24 x 20 feet

Commissioned as part of the Cocheme Residency, University of the Arts, London. Realised with support from The Henry Moore Foundation. Arts Council Collection. Photograph by Stephen White.

Site of The Lonely House installation. The Archway Tower, former location of the lost Electric Palace cinema.
Site of The Lonely House installation. The Archway Tower, former location of the lost Electric Palace cinema.

University of the Arts London, 2007/8 on a residency at the UAL. I was to respond to the area of London that I had lived in for five years, so I challenged myself to deal directly with my everyday environment, but outside of the studio. A local landmark, The Archway Tower complex was a dominating building appearing as a shadow object, formerly banking, unemployment and services offices that had been vacated. Before that, the site had been home to the now ‘lost’ Electric Palace cinema. My project took its title from the final film shown at that cinema called The Lonely House. I was excited to discover the Archway site had also been the location of the first film studio in the UK.

To visit the Lonely House installation people had to travel up in the lift 20 storeys to enter Room 101. It was a huge empty concrete and glass shell of a space that had been stripped of most, but not all, of the office décor. I had been through the entire complex, scavenging for abandoned office furniture. Objects we have around the home are autobiographical, we collect and order in systems, a process that tells us about ourselves. This office furniture, objects that no longer had a purpose, were things I wanted to redirect and give new identity and substance to.

Working with the imagery and symbolism I found in the films shown at the Electric Palace, I set about making an installation using an angle grinder, cutting and reforming the metal office furniture. It was a manual and very physical process as I worked alone, and in doing so embedded myself, the furniture and the site together. The metal was treated like paper, cutting, scoring and folding to transform flat planes into semi relief sculptures. These semi relief sculptures interlocking to form the installation that was based on the set of ‘The Lonely House’ film.

  The Lonely House , 2008 (detail)  Steel cupboards, string, pins, paint  8 x 24 x 20 '

The Lonely House, 2008 (detail)

Steel cupboards, string, pins, paint

8 x 24 x 20 '

  The Lonely House , 2008 (detail)  Steel cupboards, string, pins, paint  8 x 24 x 20 '

The Lonely House, 2008 (detail)

Steel cupboards, string, pins, paint

8 x 24 x 20 '

  The Lonely House , 2008 (detail)  Steel cupboards, string, pins, paint  8 x 24 x 20 '

The Lonely House, 2008 (detail)

Steel cupboards, string, pins, paint

8 x 24 x 20 '

   
  
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The Lonely House (Veranda), 2008

Steel cupboards, string, pins, paint

39.5 x 71 x 3.5 cm

Photograph by Stephen White

   
  
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The Lonely House, 2008 (detail)

Steel cupboards, string, pins, paint

8 x 24 x 20 '

 

  The Lonely House , 2008 (detail)  Steel cupboards, string, pins, paint  8 x 24 x 20 '

The Lonely House, 2008 (detail)

Steel cupboards, string, pins, paint

8 x 24 x 20 '

  The Lonely House , 2008 (detail)  Steel cupboards, string, pins, paint  8 x 24 x 20 '

The Lonely House, 2008 (detail)

Steel cupboards, string, pins, paint

8 x 24 x 20 '

  The Lonely House , 2008 (detail)  Steel cupboards, string, pins, paint  8 x 24 x 20 '

The Lonely House, 2008 (detail)

Steel cupboards, string, pins, paint

8 x 24 x 20 '

  The Lonely House , 2008 (detail)  Steel cupboards, string, pins, paint  8 x 24 x 20 '

The Lonely House, 2008 (detail)

Steel cupboards, string, pins, paint

8 x 24 x 20 '

  The Lonely House , 2008 (detail)  Steel cupboards, string, pins, paint  8 x 24 x 20 '

The Lonely House, 2008 (detail)

Steel cupboards, string, pins, paint

8 x 24 x 20 '

Volta. Irish Museum Modern Art. Solo exhibition.

Kavanagh_L_47.jpg
Volta. Irish Museum of Art. 2008.
Volta. Irish Museum of Art. 2008.

5.5 x 4.2 x 1.8 metres. Cut and reformed metal cabinets formerly used to store film at the Irish Film Institute.

Using film archive cabinets from the Irish Film Institute to make the artwork I researched the very first cinema that had opened in Ireland in 1909, which was owned and programmed by James Joyce and called Volta. Over the period of my show, I introduced important sculptural elements into the work, skeletal objects cut from the metal cabinets of images taken from the first films screened; a stairway, a lampshade, a tin of white paint etc. These moments, scenes and objects were not set out to be literally be recreated, but to continually overlay with one another, forming and re-forming new narratives as people moved in and around the installation. The whiteness in the work was linked to the erasure and ghosting of the piece as it connected to the Italian films shown there, including a tragi-comic episode where a protagonist was painting himself out of the picture.

Kavanagh_L_42.jpg
Kavanagh_L_44.jpg
Kavanagh_L_45.jpg
Kavanagh_L_46.jpg
LaurenceKavanagh_12.jpg

October. Solo exhibition.

   ‘Laurence Kavanagh: October’, Gallery North, Newcastle, 21 October – 13 November 2015  Solo exhibition realised as part of the Warwick Stafford Fellowship at Baltic 39, Newcastle  I spent time at the Star and Shadow cinema co-operative in Newcastl

‘Laurence Kavanagh: October’, Gallery North, Newcastle, 21 October – 13 November 2015

Solo exhibition realised as part of the Warwick Stafford Fellowship at Baltic 39, Newcastle

I spent time at the Star and Shadow cinema co-operative in Newcastle.This cinema was closing in order to relocate. On one level it operated like any other arthouse cinema with themed seasonal screenings. The cinema also operated as a place of experimentation for the creative community in the city with anologue chemical processing and projecting equipment existing alongside digital forms of film production. As well as the collection of projection screens ranging from domestic to full cinema scale, furniture, projection equipment, floors, walls, ceilings were used as sites of experimentation.

This site was of interest to me because it offered a breaking down of the usual formal relationship we have to cinema. Working with the site of the Star and Shadow gave me an opportunity to work with ideas of expanded cinema and expanded sculpture. A physical response to a language of images that was quickly becoming assigned to history, with projection equipment and screens falling into disrepair and a crumbling environment. It felt like this was quite literally collapsing in on me. Importantly, it was a co-operative, a collective response to images.

I treated all surface in the building without a sense of hierarchy, developing a frottage technique to make a series of semi relief sculptures. The largest work from this series, shown here, was a layering and embedding of paper casts of all the now defunct projection screens given to me by the Star and Shadow, amalgamated into one suspended object. These liminal spaces made a sculptural form with an implied mass, weight and depth.

Star & Shadow main cinema screen. One of seven projections screens used to make October artwork.
Star & Shadow main cinema screen. One of seven projections screens used to make October artwork.
Site of the Star and Shadow cinema prior to re-location. 2015.
Site of the Star and Shadow cinema prior to re-location. 2015.
Resounding Silents movie posters. Final season of screenings prior to closure of the cinema.
Resounding Silents movie posters. Final season of screenings prior to closure of the cinema.
   
  
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October, 2015

Paper, graphite, greyboard and steel

535 x 260 cm

   
  
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October, 2015

Paper, graphite, greyboard and steel

535 x 260 cm


 October (Segue)

October (Segue)

   
  
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Installation view, ‘October’, Gallery North, Newcastle, 21 October – 13 November 2015

 Installation view, ‘October’, Gallery North, Newcastle, 21 October – 13 November 2015  Left: October. 25.7.2015.  Right: October 1.7.2015

Installation view, ‘October’, Gallery North, Newcastle, 21 October – 13 November 2015

Left: October. 25.7.2015.

Right: October 1.7.2015

 Installation view, ‘October’, Gallery North, Newcastle, 21 October – 13 November 2015

Installation view, ‘October’, Gallery North, Newcastle, 21 October – 13 November 2015

laurencekavanagh.com-october-installtion-14.jpg
laurencekavanagh.com-october-installtion-15.jpg
 October  3.7.2015

October

3.7.2015

 October  24.7.2015

October

24.7.2015

 Installation view, ‘October’, Gallery North, Newcastle, 21 October – 13 November 2015

Installation view, ‘October’, Gallery North, Newcastle, 21 October – 13 November 2015

 Installation view, ‘October’, Gallery North, Newcastle, 21 October – 13 November 2015

Installation view, ‘October’, Gallery North, Newcastle, 21 October – 13 November 2015

May. Solo exhibition.

   
  
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May (Segue), 2014

Paper, graphite, giclée print

134 × 222 cm

   
  
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‘May’, Marlborough Contemporary, London, 7 May – 20 June 2014

   
  
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‘May’, Marlborough Contemporary, London, 7 May – 20 June 2014

   
  
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May (Impossibly Now), 2013

Paper, graphite, giclée print

190 × 122 cm

   
  
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 13 
 75 
 University of the Arts London 
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May (Morel), 2014

Graphite, resin, giclée print, household gloss paint

90 × 45 × 72 cm

   
  
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 14 
 81 
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 1 
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May (Mirror), 2013

Giclée print, bible paper, graphite, household gloss paint, card

60 x 80 cm

   
  
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 15 
 87 
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May (MacGuffin), 2013

Graphite, resin, brass, string, red gloss enamel, giclée print

20 × 19 × 11 cm

   
  
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 14 
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 99 
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May (Drinking Glass. Fire), 2013

Paper, graphite, household gloss paint, giclée print

26.6 × 53 cm

   
  
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May (Drinking Glass. Tornado), 2013

Paper, graphite, household gloss paint, giclée print

26.6 × 53 cm

   
  
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 1 
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May (Calendar), 2013

Airmail envelope, LP cover, string, pins, household gloss paint

85 × 40 cm

   
  
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 18 
 104 
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 1 
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May (A...), 2014

Paper, graphite, lithographic plate, resin, giclée print, card, household gloss paint

84 × 221 × 202 cm

  May (Reverses Nature) , 2014  Paper, graphite, lithographic plate, resin, giclée print, card, household gloss paint  32 × 140 × 32 cm       
  
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May (Reverses Nature), 2014

Paper, graphite, lithographic plate, resin, giclée print, card, household gloss paint

32 × 140 × 32 cm

 

   
  
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 1 
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April (Segue), 2014

Paper, graphite, giclée print, process yellow ink

134 × 222 cm

October (Star & Shadow). Commission Hatton Gallery.

   
  
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October (Star & Shadow), 2015

Paper, graphite, giclée print

140 x 220 x 14 cm

Hatton Gallery, Newcastle, 9 September 2015 – 28 February 2016. Commissioned by the Hatton Gallery with the support of Arts Council England’s Catalyst Arts capacity building and match funding scheme

   
  
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October (Star & Shadow), 2015 (detail)

Paper, graphite, giclée print

140 x 220 x 14 cm

Hatton Gallery, Newcastle, 9 September 2015 – 28 February 2016. Commissioned by the Hatton Gallery with the support of Arts Council England’s Catalyst Arts capacity building and match funding scheme

April. Solo exhibition.

   
  
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‘April’, New Positions, Art Cologne, 19 – 22 April 2013

April, 2012

Mixed media

400 x 400 cm x 300 cm (approx.)

Commissioned by Gerald Moore Gallery, London

  April (Drinking Glass. Sunlight 4pm) , 2013  Paper, graphite, process yellow ink, digital print  53 x 26.6 cm

April (Drinking Glass. Sunlight 4pm), 2013

Paper, graphite, process yellow ink, digital print

53 x 26.6 cm

  April (Slip) , 2012  Mixed media  120 x 90 x 45 cm

April (Slip), 2012

Mixed media

120 x 90 x 45 cm

  April , 2012 (detail)

April, 2012 (detail)

  April , 2012 (detail)

April, 2012 (detail)

  April , 2012 (detail)

April, 2012 (detail)

  April , 2012 (detail)

April, 2012 (detail)

  April (Calendar Collage) , 2012  Mixed media  85 x 39 x 2 cm

April (Calendar Collage), 2012

Mixed media

85 x 39 x 2 cm

  April (Mirror Collage) , 2013  Giclée print, bible paper, process yellow ink, card  58 x 79 cm

April (Mirror Collage), 2013

Giclée print, bible paper, process yellow ink, card

58 x 79 cm

Jealousy. Click here.

  Jealousy , 2012  Sculpture and dance collaboration

Jealousy, 2012

Sculpture and dance collaboration

   
  
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Jealousy, 2012

Steel, card, Jesmonite, paint, string, pins, theatre lights and linoleum dance floor

Sculpture and dance collaboration

Concept director, artist and designer: Laurence Kavanagh

Choreographers: James Cousins, Hubert Essakow, Daniel Hay-Gordon and Morgann Runacre-Temple

Print Room, London. Performances: 6–18 February 2012

   
  
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Jealousy, 2012

Sculpture and dance collaboration

 

  Jealousy , 2012  Sculpture and dance collaboration

Jealousy, 2012

Sculpture and dance collaboration

  Jealousy , 2012  Sculpture and dance collaboration

Jealousy, 2012

Sculpture and dance collaboration

  Jealousy , 2012  Sculpture and dance collaboration

Jealousy, 2012

Sculpture and dance collaboration

  Jealousy , 2012  Sculpture and dance collaboration

Jealousy, 2012

Sculpture and dance collaboration

  Jealousy , 2012  Sculpture and dance collaboration

Jealousy, 2012

Sculpture and dance collaboration

laurencekavanagh.com-jealousy-4.jpg
  Jealousy , 2012  Sculpture and dance collaboration

Jealousy, 2012

Sculpture and dance collaboration

  Jealousy , 2012  Sculpture and dance collaboration

Jealousy, 2012

Sculpture and dance collaboration

  Jealousy , 2012  Sculpture and dance collaboration

Jealousy, 2012

Sculpture and dance collaboration

  Jealousy , 2012  Sculpture and dance collaboration

Jealousy, 2012

Sculpture and dance collaboration

  Jealousy , 2012  Sculpture and dance collaboration

Jealousy, 2012

Sculpture and dance collaboration

  Jealousy , 2012  Sculpture and dance collaboration

Jealousy, 2012

Sculpture and dance collaboration

  Jealousy , 2012  Sculpture and dance collaboration

Jealousy, 2012

Sculpture and dance collaboration

  Jealousy , 2012  Sculpture and dance collaboration

Jealousy, 2012

Sculpture and dance collaboration

  Jealousy , 2012  Sculpture and dance collaboration

Jealousy, 2012

Sculpture and dance collaboration

  Jealousy , 2012  Sculpture and dance collaboration

Jealousy, 2012

Sculpture and dance collaboration

  Jealousy , 2012  Sculpture and dance collaboration

Jealousy, 2012

Sculpture and dance collaboration

  Jealousy , 2012  Sculpture and dance collaboration

Jealousy, 2012

Sculpture and dance collaboration

  Jealousy , 2012  Sculpture and dance collaboration

Jealousy, 2012

Sculpture and dance collaboration

  Jealousy , 2012  Sculpture and dance collaboration

Jealousy, 2012

Sculpture and dance collaboration

  Jealousy , 2012  Sculpture and dance collaboration

Jealousy, 2012

Sculpture and dance collaboration

  Jealousy , 2012  Sculpture and dance collaboration

Jealousy, 2012

Sculpture and dance collaboration

  Jealousy , 2012  Sculpture and dance collaboration

Jealousy, 2012

Sculpture and dance collaboration

  Jealousy , 2012 (floor plan)  Steel, card, Jesmonite, paint, string, pins, theatre lights and linoleum dance floor  Sculpture and dance collaboration  Concept director, artist and designer: Laurence Kavanagh  Choreographers: James Cousins, Hubert E

Jealousy, 2012 (floor plan)

Steel, card, Jesmonite, paint, string, pins, theatre lights and linoleum dance floor

Sculpture and dance collaboration

Concept director, artist and designer: Laurence Kavanagh

Choreographers: James Cousins, Hubert Essakow, Daniel Hay-Gordon and Morgann Runacre-Temple

Print Room, London. Performances: 6–18 February 2012

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Back to Laurence Kavanagh - Artwork
20
Recent works The Thickness of Surface
Speaking of Sculpture #2 - The Thickness of Surface | Laurence Kavanagh
14
The Thickness of Surface.
 ‘Laurence Kavanagh: Segue’, Mostyn, Llandudno, Wales, 22 October 2016 – 5 February 2017
30
Segue. Solo exhibition Mostyn gallery.
#3 Map Series
17
Memory Maps.
 At the Curzon Cinema in Mayfair. Preparations for solo show at Marlborough Contemporary, London (11 May - 18 June 2016).
16
March. Solo exhibition Marlborough Contemporary.
 ‘The Lonely House’, solo exhibition, Hill House, London, 2008   The Lonely House , 2008  Steel cupboards, string, pins, paint  8 x 24 x 20 feet  Commissioned as part of the Cocheme Residency, University of the Arts, London. Realised with support fro
12
The Lonely House. Solo exhibition University Arts London, Persistence of Collage Hayward Touring.
7
Volta. Irish Museum Modern Art. Solo exhibition.
   ‘Laurence Kavanagh: October’, Gallery North, Newcastle, 21 October – 13 November 2015  Solo exhibition realised as part of the Warwick Stafford Fellowship at Baltic 39, Newcastle  I spent time at the Star and Shadow cinema co-operative in Newcastl
16
October. Solo exhibition Gallery North Baltic 39 fellowship.
   
  
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May. Solo exhibition Marlborough Contemporary.
   
  
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October (Star & Shadow). Commission Hatton Gallery.
   
  
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April. Solo exhibition.
  Jealousy , 2012  Sculpture and dance collaboration
27
Jealousy. Print Room Theatre, London.

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