GHost -New work- Aug bank holiday

Here are some images of the new work we installed at the GHost CLHub for August Bank Holiday.

New works by - Linda Barck, Sarah Doyle, Rebecca Feiner, Richard O'Sullivan, Sarah Sparkes, Sam Treadaway, Jacqueline Utley, Malcolm Hobbs & Colin Priest & Joe Reeves,

Also works by -

Miyuki Kasahara, Domingo Martínez Rosario, Ricarda Vidal and Cathy Ward

Matt Rowe, proprietor of the B&B Space, surveys the GHost CLHub. Photograph Ricarda Vidal

GHost CLHub Corner.  Photograph by Sarah Sparkes

Jacqueline Utley's watercolour in the B&B window photograph Ricarda Vidal

Jacqueline Utley has made work in response to one of Paul Harris' ghost story anthologies - more on this here

Sarah Doyle's 'Crying Boy' photograph Sarah Sparkes

Sarah Doyle has made work in response to one of Paul Harris' ghost story anthologies - more on this here

Rebecca Feiner "Hospital Ghost 1"  photograph Ricarda Vidal

Rebecca Feiner's prints are reminiscent of the Victorian curiosity for the supernatural, a time which coincided with Folkestone's heyday. Through their ghostly form the images also embody the sentiment of the 2011 theme 'a million miles from home'   as the artists manipulation and intervention directly challenges the function of the medical original, which was to make clear, to understand, so that a doctor could take action and intervene. Instead the artist has intervened to create a haunting mystery.

Rebecca Feiner's art has been described as both 'performative and visceral'. Experimenting with whatever medium necessary to achieve her aims she embraces filmmaking, sculpture, installation, photography and sonic art. Feiner sees herself less as an artist and more as a psychological detective, relentlessly investigating the forgotten, abandoned and lost.

Whether excavating memory, history, people, spaces or time, Rebecca Feiner’s  dark documentary quality is balanced by a child-like sense of fascination and discovery.. Her work has been featured by TimeOut, Daily Telegraph in the UK and internationally

Linda Barck "Edith" Photograph Ricarda Vidal

Linda Barck has made work in response to one of Paul Harris' ghost story anthologies - more on this here

Sam Treadaway, "Language of Flowers", drawing 2011


On the 8th of June 2011, in Washington D.C. USA, a specimen of the gigantic Armorphophallus Titanum, or corpse flower, released its putrid scent, likened to that of decaying cadavers: the stench of death.

Following a recent visit to Grasse in France and its Musée International de la Parfumerie, the leading centre for perfume and scent, the artist has imagined a ‘GHost perfume’ harvested from the recently flowering corpse flower in Washington D.C.

It is specifically the Washington D.C. flower that is of interest here. This is because Armorphophallus Titanum blossoms triennially. Flowering previously in 2008, the opening year of both the Folkestone Triennial and GHost and now in 2011, the Washington D.C. flower should blossom to coincide with all future Triennials.

The drawing shows the molecular structure of Cadaverine – emitted by the decomposing  flesh  of corpses – and a  bottle of the aptly titled perfume Enchanted Bloom by the brand GHOST. The name is changed to read instead GHost. The composition also includes a symbol used in the perfume industry for florals, containing within it three numbers that refer to years; 95 – the year the seed of the Washington D.C corpse flower was sown, and 08 and 11 the years of the previous and current bloom. Three Armorphophallus Titanum seeds, at the base of the GHost perfume complete the drawing.

The powerful corpse-like odours of the Amorphophallus Titanum, bottled especially for the GHost project is an indicator of death and through association, the unknowable realms of the after-life. The largest flowering plant in the world smells not fragrant, but foul.

"Fishing Lines" projected at GHost CLHub photograph Ricarda Vidal

“Fishing Lines”, silent film, 3 min, 2010,
from the series “Greetings from DEAL” by Colin Priest, Malcolm Hobbs and Joe Reeves

Broadly the extent of any condition exists between the material and immaterial. The opportunity to articulate these curious physical margins were explored as a part of an on-going exploration of the coastal town of Deal, Kent over the weekend 3-6th September 2010. Greetings from DEAL represent five states of meta-existence in a place some consider invisible and others salted with activity. Through various modes of recording and re-presentation as postcards of contemporary, fictionalised and historical narratives, a new lens to view Deal awakens. Other films in the series include “Historic Deal”, 2010, “Persuasion”, 2010, “Spratter Portraits”, 2010 and “Smuggling”, 2010.

http://www.studiocolumba.com/

“Deck”, digital film, 8:10m, 2010,
Richard O’Sullivan 

Inside the boat, in the anodyne human spaces, the protective womb of the ship erases the traces of the outside. Beyond the barricade, the sea roars. The corroded, wind-blown deck, trembling with seawater, seems like a liminal space between the human and the wild.
This very simple piece is a portrayal of the deck of a sea ferry in rough water.

Richard O’Sullivan is an artist in new media. He graduated from the M.F.A. program in Film Production/ Direction at U.C.L.A Film School in Los Angeles (University of California at L.A.), and from the University of Warwick. His videos explore the meanings of place, and have focused on the contradictions of the Californian landscape. Other works have explored visual perception and video technology. The artist has also produced documentaries, which follow personal narratives. Work in this area includes the feature-length  Cradle, the production of which was undertaken with the mentorship of Marina Goldovskaya. He currently teaches Experimental Media and Media Production at Aberystwyth University, UK.
http://www.richardosullivan.net/Index.html

Matt Rowe's ceramic skulls  photograph Sarah Sparkes