Acme, supporting artists since 1972

Acme Project Space

 

The Acme Project Space ran from June 2009 to December 2015. It provided an opportunity for those artists who are part of our Residency & Awards Programme and our International Residencies Programme with a public space within which to develop projects, show new work and engage in a critical dialogue with a wider audience.

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Kate Atkin

‘Like A Stone’ 6.9.2012 - 30.9.2012

 
'Pale Green Hair' by Kate Atkin, pencil on folded paper, 21cm x 20cm, 2012
'Pale Green Hair' by Kate Atkin, pencil on folded paper, 21cm x 20cm, 2012
'Like A Stone' Private view. Photo: Jennie Ryerson (2012)
'Like A Stone' Private view. Photo: Jennie Ryerson (2012)
'Like A Stone' Private view. Photo: Jennie Ryerson (2012)
'Like A Stone' Private view. Photo: Jennie Ryerson (2012)
 
 

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Private View: 7 September, 6pm - 8pm

Fire Station Work/Live Programme

Kate is one of 12 artists on Acme Studios’ Fire Station Work/Live Programme 4.

This exhibition is in association with Trinity Contemporary gallery.

Kate Atkin’s forthcoming exhibition of drawings and sculptures ‘Like A Stone’ at the Acme Project Space is the result of over twelve months of ‘hard labour’, in every sense of the word. Atkin’s use of the humble graphite pencil is transcended to monumental proportions through large-scale detailed drawings. The inanimate objects which are the subject of Atkin’s scrutiny are scaled up out of proportion and transposed onto plywood or solid aluminium, as in the case of ‘The Umbrella of The Gardener’s Aunt is in The House’. Hours are spent cutting, sanding, filing and de-burring, resulting in seemingly impossibly weighty, detailed, but with no attempt to disguise their fakery, representations of those objects. It is significant that rows of variant grades of heavy duty polishers and files are lined up in Atkin’s studio and one gets the sense that despite the enormity of the task, no corners are cut in this labour intensive craft.

As with a number of the sculptures, the unpredictable range of subjects has often involved initial rejection only to be followed by a consuming obsession. Atkin admits to a constant conflict in her interests or the rejection of worthless material which then seems to demand elevation because of this rejection. Critic Richard Cork notes that her show following the Acme Project Space at Trinity Contemporary Gallery, entitled ‘London Pleasures’ is “taken from the title of an epic poem in George Orwell’s ‘Keep The Aspidistra Flying’, where a bi-polar poet believes it is the finest work he has ever written and then, with equal conviction, becomes tormented by a suicidal sense of failure”. ‘Like A Stone’, the title of this, Atkin’s second solo show in London, refers to a memory her father had as a child, of meticulously building a model aeroplane over some considerable time. On proudly and excitedly launching it for the first time in his back yard, his father only exclaimed ‘like a stone!’, inferring that a stone launched in the same way would ‘fly’ just as well.

The obvious comparison might be to think that despite effort, conviction and labour, just rewards are not always forthcoming. However, the works Atkin has produced as a result are nothing short of extraordinary and despite their epic manufacture are posed in the project space with a monumental beauty.

 
 

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