Jake Wise Fine Art

The materials used for this project are a reclaimed wooden pallet, a jar of 100% British whole baby beetroot and natural Linseed oil.  The pallet was taken from off the streets, where its future of either being recycled or taken to landfill were uncertain so by reclaiming it and changing the context of it for this project it becomes a new temporary object within an exhibition space. The pallets prior use is a mystery but probably used by a logistics or transportation company so through its usage will carry some amount of carbon footprint but doesn't result directly to deforestation as trees aren't cut down to solely manufacture pallets.  The beetroot was sourced from Tesco and I made sure that they were produced in Britain so that they don't carry as much carbon footprint to be brought here. I first used the acetic acid and spirit vinegar used to pickle the beetroot mixed with linseed oil and then poured water into the jar to let the beetroots natural colouring see...

Rosea//Pink Overlooking connotation and allowing a mutli-disciplinary approach to exhibition. This 6 day exhibition is home to artists responding to a singular word. The opportune exhibition showcases diversity within art and single handedly demonstrates the individualistic response to the same starting point. What does this demonstrate of each individual’s psyche? As the exhibition unfolds, a psychogeographic map emerges of the resident artists and their own practices. Where does this sit in a world saturated with connotation and preempted meaning? Reclaiming the word as a theme demonstrates the linguistic power to spark inspiration and creatively expose the viewer to the place in which Pink finds itself. Starting 9/11/17.​ My idea for this project is to manipulate a wooden pallet by dying the wood with natural sediment, in term changing the context of the pallet from something very industrial and manufactured into a piece of work within an exhibition space...

Plastic pollution is one of the greatest threats facing our oceans.  Up to 12 million tonnes of plastic is entering the oceans every year. This is affecting sea life – one in 3 turtles and 90% of seabirds are now estimated to have ingested plastic. Plastic is even ending up in the seafood on our plates. Coca-Cola produces an estimated 100 billion throwaway plastic bottles every year – and billions of these will end up on beaches, in landfill and in the sea. Greenpeace have called upon the soft drinks giant to reduce their plastic footprint and stop Coca-Cola bottles choking our oceans. As the world’s largest soft drinks company, Coca-Cola has a special responsibility for the plastic that is wrecking our oceans. Here’s why we’re at Coke HQ today: 1. Coca-Cola has a huge plastic footprint (but it wants to keep it secret) Coke produces over 100 billion throwaway plastic bottles every year, according to Greenpeace analysis – That’s a shocking 3,400 throwaway plastic bo...

'Copying, Replicating, Repeating, Mimicking' The use of production and reproduction is used within all forms of art, running through every medium and being taken on by a multitude of artists. Artists can use 'reproduction' to achieve a different result than the original piece, casting in different materials which offer an alternative quality from the authentic. Or sometimes works are recreated, for example paintings are copied and replicated with the new piece having a different quality to the original. Objects that are in existence can be mimicked or repeated by artists, changing the context in which it is used or creating a concept which takes it away from its initial purpose or use. These methods have been used widely across the art world, from sculptors to painters to print makers, in most cases there is some form of production and reproduction. Changing the authentic results in a matrix (from where the copies derive) from the matrix we get copies and then copie...

Rachel Whiteread Whiteread (born 1963) is an English artist who produces sculptures, which primarily take the form of casts using different materials. She uses the negative space surrounding an onject to create her work.  She h as been casting these so-called “negatives spaces” for three decades. The original idea comes from the US artist Bruce Nauman, whose  A Cast of the Space Under My Chair   (1965-8) spells out the method, if not the varying effects. Whiteread has gone further, casting the innards of a hot-water bottle and a mattress; the undersides of a table, the space behind a fireplace or surrounding a bath. Her works run from the modest to the monumental – most famously the interior of  an entire house  – cast in plaster, resin, concrete or rubber, occasionally in metal (mundane) and lately in papier-mache (actively hideous). Everything she makes balances the possibility of poetry against the risk of banality. This is not necessarily intrinsic to ...

Merlin Carpenter Title of Show 28 September - 4 November 2017 The exhibition, presenting a series of wooden pallets as well as a poster, marks the artist’s first solo show in Denmark. The series of wooden pallets hanging on the wall are readymade paintings. Some of them have previously been exhibited at “Control 20” (Laure Genillard, London, 2017), and as sculptures in “Tisch” (Kiefholzstr. 401, Berlin, 2017). To put these works into context: Carpenter has previously exhibited a series of transit blankets stretched onto wooden frames for his solo show “MIDCAREER PAINTINGS” at Kunsthalle Bern (2015), and matt black painted readymade doors at dépendance in Brussels (“Blogs of the Near Future”, 2016). Carpenter’s project “Solo Show” at Formalist Sidewalk Poetry Club in Miami (2010), which went on to become a van full of educational material parading around Eastern Europe and Russia in the “Burberry Propaganda Tour 2013”, involved somewhat similar readymade paintings. They were fa...

My idea for the workshop is to create a series of moulds which transcribe the concerns of pollution, mainly plastic waste, within the environment ultimately leading to increasing rises in climate change, linking it directly with my research interests and practise. The moulds are based on direct observation done in and around the local area and are de-categorised representations of bottles and waste plastic which is heavily visible on the streets and in the eco-systems which surround. Particularly in the river Wensum which runs through Norwich.  The concept of these moulds is based around mass consumerism and how the production of plastic has increased massively over the last century due to large corporations such as Coca-Cola - they   produce an estimated 100 billion throwaway plastic bottles every year – and billions of these will end up on beaches, in landfill and in the sea .  Greenpeace are  calling on the soft drinks giant to reduce their plastic footpr...

‘OUT OF PLACE’  "This workshop is an opportunity to push your understanding of the modelling and casting process and what happens when something is separated from its usual environment and experienced out of context . You will make work that supports your studio activity in direct or indirect ways and it is hoped that the sculptures you make and the processes learned can be developed further.  It is intended that these sessions will encourage you to expand your thinking around what sculpture can be through modelling, casting and replication in materials other than that which constitutes the ‘original’ form . You will transcribe selected aspects of your work and the concerns and research interests within it through a process of ‘drawing-out’ ideas for potential sculptural forms from which you will model a ‘prototype’ in a malleable material. From this a mould will be taken for you to make a replica of the prototype.  The challenge is to create a form that is en...

Bigert & Bergström’s exhibition The Drought continues the duo’s investigation into various climatic threats and how man and earth respond to them. The works originate from two research trips in the Mediterranean region; one to the ancient salt pans of Margherita di Savoia on the Adriatic coast of Italy, and one to the newly built desalination plant at the Llobregat River outside Barcelona in Spain. The crystal photo sculptures, inverted space molecule and glass montages document the sites of these opposites where fresh water scarcity is the premise for production. One facility subtracts the salt and the other extracts it from the enormous basin of the sea. Salt, once a precious commodity that got its name from the word salary because it was used as payment for Roman soldiers, is now often a substance associated with contaminated freshwater reservoirs. The two locations reflect both the desperation involved in tackling the recurring heat waves of the region and the newfou...

01.09.2012 - 29.09.2012, Niklas Belenius Gallery, Stockholm Together with the Canadian storm chaser and meteorologist Mark Robinson, B&B travelled to the Midwest in the US, to film and document the increasingly hostile weather patterns that are developing today. The exhibition  The Storm   centers on B&B's attempt to intercept a tornado using a device called the   Tornado Diverter . ''The idea of creating a protective shield against tornadoes was formulated in 2004 by the Russian scientist Vladimir Pudov, at the Institute for Experimental Meteorology, Obninsk. In 2007, we travelled to Obninsk to interview him for our film,  The Weather War . He had just retired from his position at the institute and no longer had the funds needed to further develop his invention. We were intrigued by the scope of his idea of being able to affect the most powerful weather phenomenon on earth, and decided to take up the challenge and build it for him.'' In the mi...

Bigert & Bergström is an artist duo living and working in Stockholm, Sweden. They met while at the art academy in Stockholm in 1986 and have collaborated ever since.  Through their career B&B have produced and created art ranging from large-scale installations to public works, sculptures and film projects. Often with a conceptual edge, the core of their work is placed right in the junction between humanity, nature and technology. With energetic curiosity their art investigate scientific and social topics discussed in contemporary society. Bigert & Bergstöms work often addresses social issues, however what appear most frequent is their interest in human impact on climate changes. The duo usually takes one specific problem of a scientific nature, and presents it in a aesthetic and playful way. Their art projects make scientific questions and problems more concrete and accessible to the public by visually illustrating and engineering them, which provides an easier...

Throughout the tutorial we examined and picked apart what my current practise entails, the concept behind, the work being produced and how I could improve on these aspects going forward. Within my practise I am focusing on global environmental issues, immersing myself into the extensive debate surrounding climate change and anthropogenic global warming, trying to understand perspectives from scientists, politicians and environmentalist groups. As it stands it is understandably hard to get to grips with this ever changing and evolving topic. My research thus far has taken me full circle, looking at the causes and detrimental effects from angles which attack the subject from opposite sides, those who suggest that 'climate change may well be the biggest scam of modern times' and those who maintain that if we do not address this issue we are on track for mass global devastation. Also how 195 countries have come together to create a global action plan to put the world on track to a...

At the Paris climate conference (COP21) in December 2015, 195 countries adopted the first-ever universal, legally binding global climate deal. The agreement sets out a global action plan to put the world on track to avoid dangerous climate change by limiting global warming to well below 2°C.  The Paris Agreement builds upon the Convention and – for the first time – brings all nations into a common cause to undertake ambitious efforts to combat climate change and adapt to its effects, with enhanced support to assist developing countries to do so. As such, it charts a new course in the global climate effort. The Paris Agreement’s central aim is to strengthen the global response to the threat of climate change by keeping a global temperature rise this century well below 2 degrees Celsius above pre-industrial levels and to pursue efforts to limit the temperature increase even further to 1.5 degrees Celsius. Additionally, the agreement aims to strengthen the ability of co...

GREEN ARTISTS. Within my practise I aim to explore a variety of environments and landscapes using sculptural forms and text to examine the detrimental effects that global warming, climate change and pollution have on these environments. The key concept within my work is to explore the relationship between social and scientific theory and sustainability, seeking to construct a broader view of humanity's relationship with nature and how we are ultimately shaping and changing the world that we live in. Through my research i have uncovered a variety of green artists who are making climate change and conservation a priority within their work. They are tying together the scientific and creative worlds together in acts of beauty and activism. Sculptors, painters, photographers and more have the power to make environmentalism a priority and bring green initiatives to the forefront of cultural conversations. Photographer Chris Jordan puts consumption into perspective with his...