'Fire and Eurhythmy'
More about the exhibiting
Expressing Japanese spirit in his original way
Nagachoo – lives and works in Chiba, Japan.
He has a wide portfolio within performance
Art and ‘happening’,
involving dancing, painting or Calligraphy at huge scale, etc.
Also, he excells in creating works by combining the old and the new techniques
such as: pyrography (a wood burning technique using a specific tool) and
oil painting creating unique abstract artworks with a Japanese spirit.
His approach to performance is truly original through a combination of
traditional folk based elements and contemporary art ideas and contexts.
Has widely been exhibiting and performing and being awarded a few prestigious
Nagachoo started to explore his dance ever since he was shocked to watch
Antonio Gades’ film, “Carmen” to find such a unique way
of dance. He unconsciously aware of Budo (marshal arts) essence, naturally
built-in to his dance style. He finds happiness in re-discovering himself
in different movement
”Since the theme of this exhibition is “Fire”, I aimed
to incorporate energy, passion and vigorous elements into this subject
matter. Pyrography pieces are “RETSU” series, which means “vigorousity
By combining the forms created accidentally and intentionally, I aimed
to express them in more instinctive and energetic manner.
…works were drawn being conscious of the ideas of "a chunk",
object. I believe a chunk appears to be the core of the planet earth and also
You can view below images and movie recorded
during the Fire &Eurhythmy Private View, 29th September 2006, at Ikonography
here to view movie clip Click
here to see more
here for more or browse the archive for
and works in Kanagawa,
Mieko is a
very talented Japanese glass artist who despite the fact that
uses traditional methods of
glass making, creates so called ‘Cosmic glass’ series,
which I found very impressive as they appear to be some glass encapsulated
Universal energies or forces, volcanic eruptions or silent universal
sky landscapes and link well to the topic of Fire and Eurhythmy,
through the fire element, that shapes them and that artistic ritual
them to be.
For this exhibition
Mieko is inspired by the "Makura no soshi" (The
Pillow Book), one of the classic
masterpiece essay written at the end of the 10th centry by Seisho Nagon, female
classic Japanese writer.
Mieko's new work will be featuring the colours of the season - Autumn, mostly
inspired by the red sunset in the autumn time.
Window and Children of the Sun”
Glass installation; hand-made glass.
"The theme is about the mind landscape
but when I saw the photos
of the beautiful bay windows in the gallery, it inspired me to create
an actual landscape of the room with the view. Red vases are inspired
by the sunset sky on the waterfront and I would like to decorate local
red-ish plants (preferably red wildflowers) in them.
The Chinese character for "red" combined by the letter "big" and "fire",
therefore it seems the colour of red is symbolic to the fire theme.
”Fire Window” represents furnace
where alchemy is practiced and I
created the work called "Children of the Sun".
”Autumn Window” is the actual
view from his (alchemist) window. The vases were
made with inspiration of the evening glow (the sky the alchemist sees
through the window), which is linked indirectly to the fire context through
the colour of the sun.
I wanted to create contrasts between two different windows next to each
other by showing the alchemist's fantasy world, devoting himself in the
day-to-day experiments and the real world - the scenery of the season.”
“Makura no soshi" (The Pillow
Book) is one of the classic
masterpiece essay written by a female writer, Seisho Nagon
at end of the 10th century. My work is featuring the colours of the season
mostly inspired by the red sunset in the autumn time. “
This series of work is created and based on the concept of Alchemy's
Represents the voice of the universe that intertwines the world of micro
The contrasting world of Yin and Yang, reality and unreality, mind- scape
view in the real life are blending into a form.
This process resembles to the eurhythmy.
Fire is an indispensable element in the production process of glass.
Day after day, a glass artist faces the forms and shapes that are created
out from the flame. So as for an alchemist, fire in the furnace and the
sparkles in his/her mind are also essential.
here for more or browse the archive for
Sarah Nicholson is a practising Fine Artist based in Northwest England.
She graduated from the University of Central Lancashire in 1997 and added
MA from the Birmingham Institute of Art and Design in 2004.
For ten years Sarah has created drawings of the industrial landscape, using
snatched glimpses from trains or cars to make thumbnail sketches, which
are then worked up into large scale pastel drawings. The work is bold and
bright – celebrating this country’s’ industrial heritage
and the many people who work in it. She has exhibited and sold her pastel
works widely in this country and her work is represented in private, corporate
and university collections. She hopes to move her work on into Europe and
the USA in the near future.
Having spent three years making large installations for her BA (Hons) in
Fine Art, Sarah found herself without the luxury of a studio or even a
domestic space large enough to work. She therefore returned to paper to
create a range of works inspired by her travels around the country, under
the title “Visionary Industry”, indulging herself in the aesthetic
qualities of the industrial landscape without the constraints of academic
theory to justify her pleasure.
However, inevitably, the more you do something the more you think about
it, and Nicholson found herself gradually discovering the theoretical ground
behind the images, uncovering relations to the tradition of the Visionary
Landscape as propounded by Samuel Palmer in the 1800’s and more recently
by artists such as Prunella Clough and David Blackburn.
“ My interest in the industrial landscape started in 1994 when I was inspired
to visit and record Parkside Colliery in the final days before its demolition.
The energy of the people I met there seemed to also reside in the buildings
and I have found myself recognizing this energy in other industrial sites.
The vivid pigment of the pastels, applied in raw line or mixed in layers
on the paper present the industrial landscape as both bold and fragile,
reminding us of how brief but impacting their history is in relation to
the environment and to our modern lives. These ubiquitous buildings are
often almost invisible to us, or viewed as an eyesore, yet their impression
on our lives is everywhere.”
It was with great pleasure that Sarah was able to take up studios at Norton
Priory Museum and Gardens: having visited the site as a child the memory
of the archeological processes she witnessed have made a deep impression
upon her and her practice. Trying to make large-scale installations without
a dedicated space had been extremely difficult and limiting; the new space
signaled a burst of new works and gave Sarah the added impetus to pursue
her MA. It also enabled the development of new pastel works and new links
with the local industry that so inspired her.
Selected work statements:
Media: handmade paper, photographic image, glass, copper wire, gold powder
“ As a child I spent hours with my grandmother in the kitchen making apple
pies and fairy cakes. In this precious time she would tell me stories
about her life and I would tell her mine. This exchange of knowledge
contained its own rhythm and energy.”
La plume de ma tante
Media: two hand-made boxes, wax, found pen nibs and box copper wire,
“ When my Great-Aunt Edith passed away we discovered a box full of old
dip-pen nibs. As she was one of the first female head mistresses in Liverpool
I found these objects poignant and wished to create a small shrine to
the influence her letters must have had on many lives.”
Media: three hand-made frames, wax, glass, hand-written text on film
"Nicholson inscribes tablets with memories dreams and desires.
The way the language is strung together pays homage to the female literary
tradition, especially ‘train-of-thought’ and places a feminine
history and idea in the annals of history; like epitaphs to be re-read
throughout history." (Sarah Gibson, Curator)
in Liverpool, actively
creative. He surprises with
his potential of transforming recycled
materials into authentic works. Has
been accepted to participate to few of the Open Art Competitions;
most recently to the Kitchen Open, organised by
the Kitchen Gallery.
His work is diverse:
intricate drawings, mixed media,
painting and collage. He likes exploring with organic (sometimes
edible) and recycled materials. For this show Richard, will
exhibit a new cycle
of drawings and mixed media, focusing on the topic.
"In relation to my work I have for a long time been attracted to the idea
that art does not have to be about an object, but work can in itself
be the object, and does not have to be artificial of anything….
The work is what it is.
In relation to these ideas I have chiefly been interested in surfaces,
textures, lines, depth and shapes etc.
When sometimes I do form figurative or part figurative or symbolic images
it is usually to give purpose to my lines, forms, textures, surfaces, reflected
Not that they need any meaning; they can hold their own power and beauty.
I do it because I choose to do it." (R.A.)
Tongues of Fire 1-15
Pen and pencil on Fabriano paper
“The drawings are to be seen, and are symbols
to internal happenings
But the drawings are private. And I don’t wish to explain them
and don’t wish to add any more to the heaped up piles of explanations,
connotations, meanings of art.
To explain the drawings would only sound long winded and pretentious
added to a mass of other babbling explanations in the world and nonsense.
Perhaps only to help magnify, glorify, vainly the art and the artist.
Adding to an already heaped high mass of other babblers babbling out
their clever, poetic explanations.
There is no reason for more ceremony of meanings and explanation.”
IS it not enough that these small dabbles of mine (The drawings) can
defend them self’s?”
Illumination 1, 2
Matches, glue adhesive and acrylic paint on wood-board
“Realism - These burnt constructions are not illusions to anything,
but are only the illuminations of them self’s. The idea that
the individual who may read something in to the works, for example
a person may see a face in a cloud, or the cloud may reflect past times
are only his instinctive, automatics, of himself to him self, and are
not Allegorical to any of the persons ideas.
They are made instinctively automatically from my self. I try to deal
with realism in these pieces.
Some painter might say he creates paint marks to create the illusions
of real objects, as seen with the naked eye, and another painter will
say that the reality of the paint marks give illumination of its self…
Or illumination to feeling or composition it’s self.
IT’ S a notion its self that I’ve looked at and thought
about, an art form that should be self existent, that the marks the
materials, in relation to my own feelings knowledge, are real existences
combining the creative process with the feeling, with what I am and
That is applying my own existence with that to the existence of the
“I do believe in ‘illumination’.
It is these combinations such as facts and feelings that make the finished
object an illumination of its’ self.
And illuminating our own feelings in the way a written story would
illuminate feelings, facts truths in us, or music.
Illumination = the conception of mind and the material world around
us, embodied in the created object. Illusion to nothing but illumination
of man in relation to Nature, facts, material etc..
I found a quote in one of my books, which I think relates well; from DSUANG
“ The natures of the material and the man must be united before a real
work of art can be created.”(R.A.)
here to View more work images
Based in Liverpool
Welsh origins). She recently graduated in Painting from Liverpool
John Moores University, and looking
forward for her MA studies in October. Her work is highly impressive:
canvas or painted surfaces transformed, deconstructed using Fire
(using a gas burner). The works she produces are the results of
performance ritual, which I regard as therapeutic and Eurhythmic
exercise that transforms surfaces and creates always new looks and expressions.
To create her work she is using Canvas, Bin Liner, Resin and Blow Torch.
"I have been a fire performer for a number
of years now. This past time has been a huge influence for my work. As
a fire performer one understands
both the destructive and dangerous qualities to the fire but also of the
beauty it produces [in an environment as controlled as possible].
The piece shows how the effects of fire, though are initially destructive,
develop into a creative force which leaves a visually interesting outcome."(E.H.)
artist, highly awarded
for her photography; based in Huyton, Liverpool,
The principal subject for her work is the female form and the boundaries
and constraints that faces. The process to creating the work is to
mix the old with the new, combine traditional printing techniques with
today's sophisticated photographic and digital print processes. This
collaboration of old and new, together with the strong visual style
of the images created, bring together an innovative and individual
contemporary collection of work which reverberates traditions from
The finished artwork is encapsulated in acrylic or glass, which enhances
the aesthetic beauty of each piece. Inspired by the exhibition topic,
Sharon will exhibit the "Vessel of Confinement", photographic
image encapasulated in acrylic.
I thought that this piece would fit into the theme of Fire and Eurythmy
as this particular piece is a response to the lack of movement.” (S.M.)
Media: paraffin wax and mixed media on canvas; Approximate Dimensions:
of Romanian-Hungarian origins. Lives and works in Liverpool.
Originally from Romania, Nicole has been based in Liverpool since
1998. She has exhibited widely both here and around Europe and has
many accolades and scholarships. The artist has a background in ceramics
and glass which is reflected in her approach to her two dimensional
work. Her studies of Biology and Medicine have influenced her
work and research and this can be seen in her predominant subjects of
the natural structures of phenomena such as water and light and in
such as: Structures, Microcosms, Rhythm and Time flow.
‘My work is the result of imagination and study/research. Analysing individual
inner resources and details from the Microcosmic scene, I approach various
techniques and media such as graphic, painting, collage, ceramic, mixed media,
and sometimes installation, to explore and communicate new visions. I
intend to create an art which acts in many ways as healing therapy.’
- “Fire & Eurhythmy”
" To me, self -healing and art are closely related, complementary.
I used wax, nails and other media to create a symbolic work that suggests
energy content, burning and a living work. I have been working with wax
since 1997 and always used it in combination with other media referring
to self healing, to expressing thoughts, concerns and statements. I like
the versatile properties of wax, the change of its properties, its translucency
sometimes, its energy release and organic feeling…
An image of a symbolic ‘burning heart’,
basically signifying a spiritual flame, love and living flame and also,
detachment from the
unwanted and from any burdening issues.
I had in mind and feeling, the childhood spirit and present day main concerns,
relating to the idea of becoming a mother, which in my case is an ongoing
burning flame, a constant thought, a present mature desire. Watching the
flame burning was an attempt of release and calm, a focus of my thoughts.
The silence of thinking has its own sound inside our minds and diverse
Nails implemented in wax act similarly to alternative medicine healing,
such as acupuncture therapy or, the effect of needle work and thought spinning
that women were/ or are used to do. Movement comes within the repetitive
sequences of ‘spinning’ the thought.
I intended to use the ‘fire’ and ‘eurhythmy’ terms
as an obvious inner reflection of the mind and spirit and build a bridge
between the two terms, determining healing and supportive thinking.
The linked terms ’fire’ and ‘eurhythmy’ were
chosen with the intention of encouraging artists and myself to find interpretations
and allow ourselves journeys of our own inner encounter, awareness of the
subconscious thought, tendencies that grow from there, our dependence on
energy expression and healing.” 2006 © Nicole Bartos
and light are important concerns in the work, influenced by contemporary
architecture and nature; I am trying to express a point at which
the two meet. The translucency of porcelain contains light and
space, form has connotations of retro design, while retaining
organic qualities of the clay.
The purity of simple form is timeless, a life of space light and form, which
has significance in some part of everyone’s life.”
As a practising
artist I am naturally creative with an
aesthetic sensibility influenced by contemporary architecture and organic
material, being adaptable and
hard working I enjoy problem solving, which has proved to be an advantage
working two and three dimensionally with clay.
Walking my dog by the sea or in the countryside
enables me to
appreciate all the space and landscape, I am very independent, quiet,
philosophical and determined
to practice as an artist.
Porcelain, fishing line and wire. Approx. ht 2mtrs, w 1mtr d 0.75 mtr.
based in St. Helens, Merseyside. Excels in creating
2D fused glass installations. Recently has been
awarded 3rd Prize in the Open 2005 Art Competition for St Helens.
His work is being exhibited in various galleries throughout the North
Flames 1, 2, 3
Fused Glass installation on wood panel
6 inches x 37 inches
“Blue squares represent a blue flame
when lighting a gas cooker.
Red and orange squares represent the flame you would see when
lighting a piece of paper or a match.
Stripy panel represents the merging of the two types of flames.”
Fused glass and black acrylic panel
6 inches x 37 inches; back panel: 14 inches x 39 inches
“ The work represents the blackness of the aftermath of fire by trapping
elements of everyday use in the glass.”
here to view Fire & Eurhythmy "introduction" film
Why these artists?
I have chosen to work with these artists because
I got to know and appreciate their work. Younger and less exhibited
or less known artists, who are coming from various professional
backgrounds and who are working with
various media, need to
be encouraged to exhibit
with more successful local artists and also with international
artists. This way they get the chance
to be rewarded for their works and creative concepts and hopefully
will get there to networking and exchanging ideas, but most of
all get confidence