stchadsprojects@gmail.com

 

@stchadsprojects

>>>PIECES

 

This is not the whole story. The Hunters Enter the Woods is one of The Unicorn Tapestries, seven early modern  Flemish tapestries currently in the collection of The Metropolitan Museum in New York.

 

The Met places The Hunters Enter the Woods as the first in the sequence. But the tapestries are famously shrouded in mystery and speculation; questions remain open about the order of the sequence, whether there are any missing pieces, and whether these seven tapestries ever really constituted a unified set.

 

This isn’t the whole story, clearly. The hunters are not even in the woods yet. The main event of the unicorn, which appears in all the other Unicorn Tapestries, is still out of shot here. We’re at the edge of the forest, and we’re still on the periphery of the heroic narrative of the hunt.

 

Sam Keogh’s collage installation and performance The Hunters Enter the Woods Cartoon takes the peripheral scene of the hunters entering the woods as a starting point, before cutting to a close-up on the peripheral figures of the page boys.

 

In the original tapestry, these pages have been tasked with guiding and facilitating the noblemen on their unicorn hunt. The noblemen, who appear in fine, colourful garb with elaborate plumage on their hats, are the main characters. This is their hunt. Their story. Their spears and hounds. But the wealthy tell their story as if it’s the whole story, when it isn’t.

 

What happens if the story is told by the minor characters of the pages instead? Follow the gazes of the page boys, and find yourself led outside the edges of the pictorial frame. The plot wanders off, beyond the familiar framing, as the spectacle of aristocratic heroism is decentered and made peripheral.

 

As with all large-scale tapestries from this period, The Unicorn Tapestries would have been extremely expensive. Objects like these were commissioned by the wealthy merchant and aristocratic classes – and since it was their money, the pictures had to tell their stories of morality and conquest and grandeur.

 

But The Hunters Enter the Woods Cartoon zooms in on a part of the woven image, to find alternative plot threads that lead beyond its frame. There are always ways to look at images while looking at the limits of their frameworks. Always ways to digress from the main plot; to puncture its semblance of wholeness, to misread its details, and to follow tangents that lead outside the limits of its frame.

 

As with other pieces in Keogh’s Unicorn Tapestries Cartoons series, The Hunters Enter the Woods Cartoon explores the form of the preparatory cartoon in the fifteenth and sixteenth centuries.

 

To make pictorial tapestries in this era, artists would start with 1:1 sketches on paper – preliminary cartoon fragments or “working drawings” that allowed them to figure out the elements of the scene and its overall composition.

 

In the final tapestry, the various image parts have been fixed in place, and flattened into a unified pictorial plane. But through the preliminary phase of the working drawing, Keogh enters into an image ecology of layers and seams and gaps and shifting relations.

 

The parts are still very much parts; they can be moved around and reassembled, maintaining a sense of disjuncture that also recalls early twentieth-century forms of collage, where found image fragments are brought into new hybrid entities.

 

Part of the appeal of the collaged image is that it maintains a sense of awkwardness in the relation of the parts to the whole.

 

The stitches in a tapestry are parts brought together to make whole pictures, just as the pixels on my screen are bundled together to form the letters I’m typing... But pixels and tapestry stitches are supposed to add up to a sense of smooth coherence, with the separateness of the tiny parts disappearing into the greater whole.

 

In contrast, Keogh’s collage-based installations bring disparate parts into alternative, busted wholes – in ways that feel provisional and propositional.

 

The seams between the parts are always visible; bits are pieced onto other bits with blue tape that doesn’t try to disappear.

 

Coherence is continually undone, and spaciousness is found within the brokenness.

 

As the pages from The Hunters Enter the Woods start to wander beyond the picture that frames them, their bodies start to change. Through the propositional incoherence of collage, they acquire the green heads and huge three-fingered hands of Tolkien trolls …

>>>possibly something to say here on their composite bodies marking what Keogh refers to as a transversing of fantasies, with part of the twentieth-century fantasy genre cut out and pasted into the projected fantasies of the wealthy sixteenth-century tapestry owners?<<<

 

>>>Holes: Having stepped outside the frame, the page-trolls are then able to get behind the pictorial plane. In the installation, they are seen climbing up the back of the picture, protruding above it, and puncturing it from behind – opening up new space within the plane, undoing its wholeness with an insistence on a hole-ness that lets other things in.<<<

 

>>>& something here on the parallel between moving from the noblemen hunters to the “minor character” pages who facilitate their hunt, and moving from the tapestry to the preparatory (paper) pages that facilitated the tapestry’s execution. The main characters of the wealthy noblemen, like the rarefied objects of their finished tapestries, are not supposed to appear with evidence of the amount of labour required to create and sustain them. The pages are supposed to disappear into the background, never taking centre stage. This background of labour comes to the foreground in The Hunters Enter the Woods Cartoon, where the pages are visibly messed up with marks and folds and tears, which accrue with each iteration of the installation and performance<<<

 

>>>Also want to say something about lushness and pleasure (and craft?). The gorgeousness of the colours? The dizzying scale of Keogh’s collage relates back to the huge expanse of the Unicorn Tapestries – as does the abundance of detail; the fullness of the image. In both cases, one senses the amount of hours that have gone into the making. But through all the attentive absorption and luxurious detail, Keogh keeps things unfinished and scrappy and provisional. So that they might become otherwise<<<

 

Published on the occasion of The Hunters Enter The Woods Cartoon by Sam Keogh at St. Chads 30th of May - 16th of June 2024

 

Amelia Groom is a writer and art historian who has published texts on mud and swamps, on Mariah Carey's refusal to acknowledge linear time, and on Beverly Buchanan's ruinous, environmental sculpture Marsh Ruins, among other topics.

PAPER WORK

John Costi

 

PV 3.3.2024 6 PM - 9 PM

Open by appointment 4.3.2024-30.3.2024

 

EACH SATURDAY EVENING AFTER ‘BANG UP’, UNCLE RECALL, AN I.P.P* INMATE RESIDING IN HMP PENTONIVILLE, ASTRAL PROJECTS INTO ST. CHADS PROJECT SPACE TO HOLD A SEANCE WITH A PAST SELF.

 

A 3 WEEK PROGRAMME OF SHARED RECITALS INCLUDING RAPS FROM FELTHAM, AUTOBIOGRAPHICAL PLAY READINGS AND LETTERS SHARED WITH COSTI’S MUM, St. Bridget, WILL OCCUR IN THE PROJECT SPACE.

 

BY ANALYSING RESTRICTED DOCUMENTS FROM YESTER-LIFE COSTI CLEANSES WRONG DOINGS, ADDRESSES PAST TRAUMAS AND CRITIQUES GOVERNMENT AGENCIES.

 

ENACTMENT AND RITUAL ARE THE MEETING PLACE OF PARA-POSSIBILITIES WHERE TIME LINES CROSS AND ALTERNATE REALITIES MERGE.

 

THE COULDA-BEENS AND THE SHOULDA-BEENS HOLD COURT IN SHARED REGRET AND RESENTMENT.

 

The Vessel

 

Chris Thompson

 

PV 25.11.2023 6 PM - 9 PM

Open by appointment 26.11.2023 - 13.1.2024

 

Reclaimed Pinewood Cupboard Doors

Stained 3x1 Timber

Mahogany Parquet, C. 1960

Wooden Dollhouse

Recticel

TV, C. 2000s

Butchers Block, fragments. C 1900

Ark of the Covenant (Miniature)

Cast, Bone (Numerous)

Eagle Cane

Golden Eagle, Pair

Fractured Elephant Ceramic

Broken Shredder Parts

Cheap Old Wardrobes

Pinewood Furniture Board

Broken Glass, Keys, Receipts

Wreaked Laminate Flooring

Flight Pins (Battlestar Galactica)

Bed knobs

American Flag

Mount Rushmore figurine

Old Books

Golf Balls (River)

Glass Eye (Stolen)

Wood Shavings

Opal Perspex

Stone Carving, Contemporary

Imitation

Silk, Blue

Fur, Synthetic

Soil

Mini Fridge (Well Stocked)

Duvet. Old

Exhibition Texts.

Duct Tape

Mammoth Rib Bone, c. 30,000.BC

Draw Runners. Lots.

Reclaimed timber; Stripped Out Parquet.

Recovered Stage Floor.

Repurposed Exhibitions.

Detritus, Sound.

 

Media:

Star Trek II Wrath of Kahn, 1982. © Paramount Pictures

‘Spocks Death Scene and funeral’

 

METAL GEAR SOLID, 1998. © Konami.

‘GAMEOVER Sequence’

‘The Best is Yet to Come’

Written by Rika Muranaka

 

Battlestar Galactica (2004), by Bear McCreary

2009.

‘So Much life’

‘Reuniting the Fleet/Roslin Confesses’

‘Roslin and Adama’

‘Grand Old Lady’

 

Metal Gear SOLID 4, 2008 © Konami.

‘Microwave corridor scene’

 

2023

 

water-resistance

 

Josephine Baker

 

PV 7.10.2023 5 PM - 9 PM

Open by appointment 8.10 - 28.10.2023

 

water-resistance

 

Asphalt, cables, chalk, charcoal, construction lights, copper, crocodile clips, dowelling, filler, glass, grit, oak, pigments, pine, plaster, plywood, rubber, sand, sawdust, steel tubing, tiles, timber, tulipwood

 

2023

VIKTOR TIMOFEEV

 

Circular Alphabet with word puzzle

Two-channel generative software

 

Link

 

2023

DAVID COOPER

UNCONSCIOUS DRAWING No.3

Bronze, concrete rubber, wax, human hair, heat shrink tubing, lagging, jubilee clips, tubing, white spirit, bitumen, ink, steel grate, mannequin stand, iron roof support, latex, lead, gauze cloths, wooden plinth.

 

2023

 

CAROLINA AGUIRRE

 

I want to be like you

Charcoal, sumi ink, natural pigments on layered paper

 

2023

David Cooper

 

UNCONSCIOUS DRAWING No.4

Bronze, rubber, latex, steel cable, gun foam, polystyrene, steel clip.

200 x 140cm

 

2023

Going in... Bye

 

Carolina Aguirre

David Cooper

Viktor Timofeev

 

PV 1.9.2023 6 PM - 9 PM

Open by appointment 2.9 - 23.9.2023

 

GRIM GRIME GRIMER

 

Bora Akincitürk

Otto Byström

 

PV 2.6.2023 6 PM - 9 PM

Open by appointment 3.6 - 24.6.2023

 

BORA AKINCITÜRK

Andrei Karlov Suikasti,

Silkscreen print and silver skull pendant tied on raw linen

200 x 140cm,

2023

OTTO BYSTRÖM

Toys for Fulfilling The Nihilist’s Fantasy 1-4
cast aluminium, 3D printed resin, aluminium tube, steel bracket, wood

2023

OTTO BYSTRÖM

Overcoat of Exaggeration

PVC, digital print on georgette fabric (polyester), thread, cast aluminium, wood, cast brass, steel chain

2023

BORA AKINCITÜRK
Piss Baby

Silkscreen print on raw linen

200 x 140cm

2023

 

Do You Believe

Silkscreen print and aluminium tape on raw linen

200 x 140cm

2023

 

OTTO BYSTRÖM

Lonely Star

cast aluminium

2023

SURFING THE HELL REALM

 

Laurence Owen

with contributing artists

Alfred Boman

Beth Frey

India Nielsen

Kenneth Winterschladen

 

PV 15.4.2023 6 PM - 9 PM

Open by appointment 16.3 - 6.5.2023

 

SURFING THE HELL REALM

 

ZINE

 

• Alfred Boman

 

• Beth Frey

 

• Daniele Bolelli

 

• Eden McDowell

 

• India Nielsen

 

• Kenneth Winterschladen

 

• Korallia Stergides

 

• Laurence Owen

 

• Mickey Smith

 

• Mike Lay

 

• Timothy Morton

 

• Tom Hardwick-Allan

 

• Travis Jeppesen

 

• Ziggy Grudzinskas

 

Risk 5.0

204 x 110.5 x 18.5 cm, foam, epoxy, plaster, rice paper print, stickers, vent, hermit crab shell, ceramic beads, spray paint, polyurethane paint, varnish, rope, plastic hooks.

2023

Search Engine (with prints by Beth Frey)

200 x 115 x 35 cm, foam, plaster, jesmonite, rice paper print, rope, ceramic beads, spray paint, polyurethane varnish, acrylic paint, steel rods, wood.

2023

 

39.6012•N, 9.0701•W (with a painting by Kenneth Winterschladen)

200 x 118 x 22 cm, foam, plaster, hooks, rope, plastic, rubber, ceramic beads, spray paint, lacquer, polyurethane varnish, oil paint and pencil on board.

2023

Gnarly Lettuce (with a painting by Alfred Boman)

63 x 398 x 254 cm, foam, plaster, spray paint, wood, polyurethane paint, lacquer varnish, grip pads, hooks, rope, oil and acrylic on greyboard.

2023

 

Surfing the Hell Realm (with a print by Beth Frey and a painting by India Nielsen)

135 x 138 x 14 cm, foam, plaster, nylon strap, QR code, epoxy putty, spray paint, lacquer, utilitarian hooks.

2023

 

THAW

 

Estefanía B Flores

Joey Holder

Julie Maurin

 

PV 17.3.2023 6 PM - 9 PM

Open by appointment 18.3 - 11.4

 

Julie Maurin Just get through the goddamn day / One damn foot after another

Up-cycled crocs, polyurethane foam, spray-paint, epoxy resin, tin, human hair, electronic cable, rings

2023

 

Joey Holder

 

The Evolution of the Spermalege

SLS prints, spray paint

2014-ongoing

 

Estefanía B Flores

 

Garura, wings of resonant life [winged beast / fusion / effect]

Steel, latex, wood, resin, pigments, pewter, wire, spray paint

2023

 

Julie Maurin

 

They tear your heart out / There is a terrifying beauty to it all

Polyurethane foam, 1kg of dry worms, paint, pearls, roses, teeth

2023

Julie Maurin

 

F(e)ather

Drawing preserved in epoxy resin, heron foot, stickers, silicone, dried scorpio, car-paint

2023

Joey Holder

 

The Evolution of the Spermalege

SLS prints, spray paint

2014-ongoing

 

 

Julie Maurin

Spice Story

Found ceramics, pickles expired since 2009, plastic toy, wooden object, silicone, necklace

2023

"Goody-Goody"

 Lumpsome

 

Dominic Watson

 

PV 18.02.2023 6 PM - 9 PM

Open by appointment 19.02 - 11.3

 

 

"Goody-Goody" Lumpsome

 

Paper clay, Water pump, Filing Cabinets, Ceramic Tiles, Portland Toilet, Beige Woollen Jacket.

Dimensions Variable

2023

 

 

 

”Goody-Goody” Lumpsome

 

Glancing across the shop floor, his fingers were distorted by the curvature of the thick glass they crept behind. Like well-fed sausages. He calmly withdrew his hand from the jar, taking with it a dusty pink strawberry bon bon. His fingers could barely form a fist around the sugared toffee. The hand paused from its withdrawal, resting motionless mid-air. It's at this moment I realised that the tepid little child had been looking at me. I was so engrossed in his embezzlement I hadn’t noticed. Our eyes met. Without blinking he raised the fist to his mouth, herding the piece of candy with an open palm into his tiny little gob. Mouth half open he bit down on the hard toffee. An act that showed a complete disregard for the nature of the candy. Led by his mother he moved towards me, circling the perimeter of the shop, stopping by the cashier next to where I was standing. His 3’4” commanded far more attention than it deserved. I’m almost certain he still hadn’t blinked. I watched as the boy slowly pushed the half-chewed confectionary to the front of his mouth, parading it like a hapless victim. He tilted his head forward until the sodden candy teetered on the edge of his bottom lip.  His eyes still holding my gaze, he let the salmony globule fall to earth. It glided to the floor like Halley’s comet, followed by a tail of saliva. It lay at my feet in a puddle of congealed pink sugary spittle. Never has such a sweet tasting thing signified such a feeling of contempt within me.

 

Dominic Watson

Da Busch

 

Ernst Jandl

Haoqiao Jiang

Benjamin Cosmo Westoby

 

PV 19.11.2022 6 PM - 9 PM

Open by appointment 20.11 - 19.12

 

 

Haoqiao Jiang

304 Stainless steel six divided section compartment plate breakfast lunch dinner food serving container partition tray for school canteen company home daily use

Stainless steel, 150 x 115 cm, 2022

Stainless steel, 110 x 110 cm, 2022

Stainless steel, 100 x 85 cm, 2022

 

Benjamin Cosmo Westoby

A World of Echoes, walnut, birch, acrylic paint, 30 x 87.6 x 2.4 cm, 2022

Axolotl, walnut, birch, acrylic paint, 73.2 x 25.2 x 2.4 cm, 2021

 

 

 

 

Benjamin Cosmo Westoby

Axolotl, walnut, birch, acrylic paint, 73.2 x 25.2 x 2.4 cm, 2021

 

 

 

Haoqiao Jiang

304 Stainless steel six divided section compartment plate breakfast lunch dinner food serving container partition tray for school canteen company home daily use

Stainless steel, 110 x 110 cm, 2022

 

 

 

Benjamin Cosmo Westoby

A World of Echoes, walnut, birch, acrylic paint, 30 x 87.6 x 2.4 cm, 2022

Axolotl, walnut, birch, acrylic paint, 73.2 x 25.2 x 2.4 cm, 2021

 

 

 

Ernst Jandl

da busch, 1957

c——————————h, 1964

schmerz durch reibung, 1964

 

 

TAKE THE DAY OUT IN BASKETS

 

Rachel Allen

Edmond Brooks-Beckman

Tom Bull

Ben Westley Clarke

 

PV 17.09.2022 5 PM - 9 PM

Open by appointment 18.9 - 16.10

 

 

Tom Bull, Ask the Fellows who Cut the Hay, 2022, Playhouse, Bitumen, Foam, Straw, Plaster, Wood and Bothy, 2022, Playhouse, Clay, Straw, Stone, Soil, PVA, Steel Stove, Log Burner

 

Edmond Brooks-Beckman Empathic Proximities, 2022, Mixed Media On Canvas, 120 x 135 cm, 69 x 85 cm And 69 x 85 cm

 

Edmond Brooks-Beckman Empathic Proximities, 2022, Mixed Media On Canvas, 120 x 135 cm, 69 x 85 cm And 69 x 85 cm

 

Tom Bull, Ask the Fellows who Cut the Hay, 2022, Playhouse, Bitumen, Foam, Straw, Plaster, Wood

Bothy, 2022, Playhouse, Clay, Straw, Stone, Soil, PVA, Steel Stove, Log Burner

Tom Bull, 2022, Steel Stove, Log Burner

Tom Bull, Ask the Fellows who Cut the Hay, 2022, Playhouse, Bitumen, Foam, Straw, Plaster, Wood

Ben Westley Clarke, Cordoba 1919, Etching And Ink On Paper. 28 x 19 cm

Caravan Window (Last Goodbye) Etching And Ink On Paper. 28 x 19 cm

Ben Westley Clarke, Take The Day Out In Baskets, 2022, Oil on canvas, 40 x 50 cm

Edmond Brooks-Beckman Tefillin, 2022, Mixed Media on Canvas 69 x 85 cm

Ben Westley Clarke, Black River Child, Etching And Ink On Paper. 28 x 19 cm

 

 

Rachael Allen,

Frog in a box

Living at the end of the country means filling up slowly with zilch

Robin bloody with the chest of its victims

I am praying towards the Artex in the old and empty room

Take the day out in baskets

Anna Ilsley, Strangers In The Night, 2018, Oil on Board, 13 x 18 cm

Benjamin Orlow, Untitled, 2022, Stoneware, Terracotta and Flocked Wood, h 44 cm x w 28 cm x d 40 cm

 

Benjamin Orlow, Untitled, 2022, Stoneware and Flocked Wood, h 44 cm x w 28 cm x d 40 cm

 

Anna Ilsley, Walker, 2022, Oil on Canvas, 100 x 130 cm

Haroun Hayward,  ICEBERG (Krakatoa Offkeys), 2019, Oil Paint, Oil Pastel, Acrylic, Gesso, Plywood Panel, Wooden Frame, 51 x 41 cm

Haroun Hayward, Nightdrive Through Babylon (Sun Setting Between Hills), 2021, Oil Paint, Oil Stick, Oil Pastel, Gesso on Wooden Panel, 94 x 63.4 cm

 

Simon Foxall, from left to right:

Too Late To Stay, 2021, Oil on Canvas, 45 x 35 cm

Together Forever 1, 2021, Oil on Canvas, 45 x 35 cm

Two Wind Turbines, 2021, Oil on Canvas, 45 x 35 cm

Night Officer, 2021, Oil on Canvas, 45 x 35 cm

Beautiful, But It Helps 2022, Oil on Canvas, 45 x 35 cm

 

Benjamin Orlow, Untitled, 2022, Stoneware and Flocked Wood, h 40 cm x w 28 cm x d 18 cm and h 40 cm x w 50 cm x d 23 cm

Benjamin Orlow, Untitled, 2021, Stoneware, wood and terracotta, Dimensions variable

Anna Ilsley, Beacon, 2021, Oil on Board, 42 x 30 cm

Crab Bisque

 

Simon Foxall

Haroun Hayward

Anna Ilsley

Benjamin Orlow

 

PV 12.3.2022 2PM - 8 PM

Open weekends by appointment 13.3 - 3.4

 

Photography by Ben Westoby

(Apart from image 8, 23 and 24)

 

 

 

stchadsprojects@gmail.com