joseph bond portfolio
DESCRIPTION
The last three years work of artist Joseph Bond.TRANSCRIPT
2 0 0 8 - 2 0 1 1
J O S E P H B O N D
CONTENTS
2
For Lack Of Any Other Altar March 5
Understudy Pasarella June 11
The Made-up Metteir En Scene November 19
Block Altar December 25
Nocturne: Heteroptopia in Midnight Blue & Steel Grey January 31
2008
2009
2010
2011
Taut February 37
Image Log On Going 41
Convertable March 47
Rooftop March 59
3
Film 2008
“...And I Belong to This Notebook and This Pencil.” October 69
Film 2009
Untitled (Amy) Februrary 70
“...There’s Just Something About Him.” April 71
Film 2010
YouthTube On Going 72
Bond & Williams November 73
Image Log December 74
Personal Statement 76
Curriculum Vitae 77
4
March 2008
FOR LACK OF ANY OTHER ALTAR
Sterling Board
Floorboards
Pins
Hook
Holes
6
7
8
9
10
June 2009
UNDERSTUDY PASARELLA
2x2
Double Cleat
Cotton
Jute Sash Cord
Brush Bristles
12
13
14
15
16
17
18
Novem
ber 2009
THE MADE-UP METTEUR EN SCENE
2x2
MDF
Cotton Velvet
Jute Sash Cord
Cosmetic Compact
Finishing Plaster
20
21
22
23
24
Decem
ber 2009
BLOCK ALTAR
Cotton Shirting
Inspection Lamp
Aluminium Tubing
MDF
Upholstery Studs
Berry Pins
26
27
28
29
30
January 2010
NOCTURNE: HETEROPTOPIA INMIDNIGHT BLUE & STEEL GREY
Sampled Soundscapes
Midnight Blue
Steel Grey
32
33
34
35
36
February 2010
TAUT
5mm Ply
Stainless Steel
Plastikote Stone Spray
Embroidery Thread
38
39
40
IMAGE LOG
On G
oing
Image Log is an ongoing project gathering images from
feeds, blogs and image-sharing sites on the internet. The
project’s predominant purpose is to activate a conscious-
ness in how the internet is employed within the contem-
porary art practice. The act of mapping a journey, through
sprawling links and re-blogged references, by way of
‘saving’ digital souvenirs and reminders along the way,
takes the form of a vehicle by which this objective can
begin to be realised.
Originally conceived during a series of conversations with
artist Ben Vickers, Image Log is the product of a
growing awareness of art students’ increasing reliance on
the internet as the principal resource of visual
material. Consequently, this tool has become integral to the
contemporary art practice and arguably, the act of making
itself. However, despite this prominence, the level to which
the internet is consciously engaged with through critical
analysis is highly questionable.
The project intends to harness a deeper critical
understanding through active engagement in its subject
and an antithetical approach to use of the internet. Central
to this continuing discussion is the proposition that,
“today’s generation of young artists...have been forced to adopt
the role of one who chooses rather than discovers;”
raised by Ralph Dorey in his blog post, Art as Criticism.
In order for the project to continue to develop, dialogues
are underway discussing the prospect of Image Log
branching out and integrating collaborative elements with
artists Ben Vickers, Alice Hattrick, Jake Lomas and Ralph
Dorey, amongst others.
IMAGE LOG
42
43
44
45
46
March 2011
CONVERTABLE
2x2
Pickled Ply
Piano Hinges
Tracing Paper
48
CONVERTABLE is a site within which the artistic
practices of a group of individuals have converged to
become a collective with shared concerns and interests.
Through collaborative curation, the work in the exhibition
moves loosely between sculpture, design and architecture;
exploring the practicality and processes involved in the
production of functional objects. At the close of
CONVERTABLE the objects staged here begin a process of
further reinterpretation when introduced into other
contexts. As a result, they channel and maintain the en-
ergy of the constantly evolving working space.
CONVERTABLE intends to draw parallels between the
building’s previous role as a diner and space of social
interaction and its current, short-term purpose as a forum
for public discussion through the events and exhibition.
By utilising existing formats such as blackboards, menus
and the ordering counter, the project engages with previ-
ous roles and activities. In order for an open, working
space to exist, the transformation of the building and the
construction, installation and changeovers of work that
occur within it remain visible to those passing by and
entering the space.
Similarly, this turnover and the temporary duration of the
project acknowledge its site specificity within a continu-
ally changing strip of shops on York Place and the nearby
London Road.
PRESS RELEASE
CONVERTABLE is:
Josh Bitelli, Joseph Bond, James Graham, Jake Lomas,
Felix Melia, Georgina Norris, Hanna Saks
As a prelude to the opening event (Thursday 3rd) and the
private view of the exhibition (Friday 4th) a reel of films
will be shown from 7-9pm on Wednesday 2nd. For the
evening they will be projected in the darkened space, only
viewable through the shop front windows; transforming
the building into a pedestrian cinema. Saturday evening
(5th) sees a series of fast-paced Pecha Kucha (Japanese
for ‘chit-chat’) presentations, in which speakers are
invited to give a talk aided by a slideshow of 20 slides,
each of 20 seconds duration. A program of films, includ-
ing Les Blank’s The Truth Accordin’ to Lightnin’ Hopkins
and films from the Folkstream archive, on Sunday evening
(6th) will be followed by a discussion of the exhibition and
project as a whole, closing the long weekend on the 7th.
Thank you to Tim for generously giving us the opportunity
to use the space; Peter and the upstairs residents for their
cooperation; Jewsons and Brighton Wood Store for kindly
donating breezeblocks and scaffold boards, Steve Mace
for lending equipment; and all of those that we talked to in
preparation of the project.
49
50
51
52
53
54
55
58
March 2011
ROOFTOP
2x2
Scaffold Boards
Roofing Felt
Tracing Paper
60
62
64
65
66
FILM
“...and I belong to this notebook and
this pencil.”
October 2008
(1 min 45secs)
Untitled (Amy)
February 2009
(12secs)
“...there’s just something about him.”
April 2009
(3mins 0sces)
Youthtube (Ongoing)
November 2010
(45secs)
Bond & Williams
November 2010
(1min 41secs)
Image Log Rostrum
December 2010
(1min 04secs)
68
69
70
71
72
73
74
75
76
Mobile frameworks provide a stage upon which finely
crafted objects that draw upon the languages of work-
manship, building construction and tailoring, depart from
their origins. These built constructions exhibit a reductive
aesthetic, using a controlled vocabulary of materials and
colours; ply, cement, steel, fabric, Midnight Blue.
Exhibited works present a state of refinement and
remaking, as components and materials are taken up
and others put down.
Materials, fixtures and fastenings from the tailor’s
workshop or hardware store are lifted and repurposed.
Roofing felt, removal felt, shuttering ply, dressmakers’pins
or stone spray are forced to speak to one another in a
hybrid language. Resultant objects refer to the body while
rejecting conventional interaction; a compressed pressed
felt shirt suggests readiness for impossible use, another in
ply has hinges for seams and opens out to present its own
net, a curious garment that cannot be worn.
Structures are devised with an awareness of biography, of
a life that extends beyond initial set up and display,
accounting for use and misuse. Components are designed
to be dismantled and reconfigured, transported across
sites, or between docking bays within a single space.
A framework is convertible; at once a projection booth,
workshop, shelter, watchtower, advertising space, store-
house, pavilion and a piece of equipment,
a hanging rail or ladder.
Enclosed within or standing at a work, the viewer is an
active participant, approaching the object or structure
in a social space with their own lexis of material, visual
and structural references. Methods of construction
draw upon garment manufacture and building
construction; materials are cut and pressed, folded, bolted
together or hinged to produce functional, dysfunctional
and ornamental components.
Visual resources are plundered for their own cultural
appropriation; fashion show documentation is sourced
for its soundtrack, a music video for sartorial decisions.
Treated as materials, these videos and images are
also redeployed to make new media objects to be viewed
at a similar interface, the product fed back into a
non-hierarchical network of assets and feeds.
Recent collaborative projects with artists and writers
explore shared pursuits and staged conversation to
investigate nearness and departure.
JRB2011
PERSONAL STATEMENT
77
JOSEPH BOND
14/06/1988
Tel (00) 447743936280
www.josephbond.co.uk
www.josephbond.tumblr.com
2008-2011
BA Hons Fine Art Sculpture
University of Brighton
2007-2008
1 Year of MDes Fashion with Business Studies
University of Brighton
2006-2007
Diploma in Foundation Studies (Art & Design)
Cambridge Regional College
58 Thornton Road,
Girton,
Cambridge
CB3 0NN
June 2011
Burt Brill & Cardens Graduate Show
University of Brighton
March 2011
CONVERTABLE (Group Show)
The Old Grubbs Diner, Brighton
November 2010
Merit-Based Scholarship Award
University of Brighton
March 2010
Fred Projects U.o.B Sculpture (Group Show)
Fred Mann, London
February 2010
Here & Now (Group Show)
University of Brighton Gallery
June 2009
Space Morello (Group Show)
Old Music Library, Brighton
Education Selected Achievements & Exhibitions
78
Art Direction
JOSEPH PRINCE
WWW.PRISONEROFTHEPAST.CO.UK
2 0 0 8 - 2 0 1 1
J O S E P H B O N D