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Ground Floor Left Gallery: Figuratively speaking (group show)

"Yellow Skeleton on stand" and "AK47" drawings at the Ground Floor Left gallery.

“Yellow Skeleton on stand” and “AK47″ drawings at the Ground Floor Left gallery. Oil pastel on cartridge paper, on cardboard.

At the Ground Floor Left gallery in Hackney, East London: Yellow Skeleton and AK47 drawings. Part of a group show with several graduates and established artists called Figuratively speaking.The exhibition rans 14th – 18th March 12-6pm.

Yellow skeleton and sack trolley drawings

Here yellow skeleton and sack trolley drawings are combined.
This is now a lot more about physical objects than flat drawings.
The objects are drawn life-size from an anatomical plastic human skeleton and a sack trolley, using a stick of black oil pastel straight on to white and yellow cartridge paper.
Each drawing is mounted onto cardboard and cut-out.
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Number banners animations

I made these banners 15 years ago;  how time flies. I used them to mark out situations, and then experimented with cardboard arrows in an attempt to animate some life into the banners.

They were in a show at VOID gallery, London and in a small space in Digbeth, Birmingham.

It’s only in the past few years that computer technology has made it easy to convert a series of images into an animation, so I created this video from scanned prints and photos.

Number banner situations

Music hall situations

Century gallery
Cremer Street, London, E2 8HD
Apr 9 – 19, 2003
An exhibition of arrow installations.
Using scenarios gleaned from Music hall lyrics and pros I used my Number banners to explore a local historical feature in this part of East London.

The Century gallery exhibition was an exhibition of coloured arrows accompanied by text.
Arrows mapped out the movement and actions of scenarios described in old music hall songs. As situations, such as going up in a balloon, we described in a song, the arrows illustrated the movement and attitude of people and characters.
The overall effect was to create a feeling of action and dynamism that was described in the songs.

See images from the exhibition

The four music hall songs
I chose two music hall songs: “Up in a balloon” and “The Valet”.

Artist’s statement
Paul Doeman is a London-based artist, whose artwork is both urban and conceptual in style. Paul creates work in all media, including two and three dimensions; art and its creation can be seen as the use and application of tools. It is possible for the tool to become the subject art, and, it with this in mind, Paul uses situations, scenarios and stories to imbue life into tool-like art objects.

Calling on various themes for the subject of his work, which is often tool-like and practical in both purpose and appearance, Paul has exhibited at numerous solo and joint exhibitions. ‘Number Banners’ have frequently become the subject of area-specific installations at art galleries throughout England; this is also true of the Century gallery show.

See images from teh exhibition

See images from the exhibition.

Century gallery exhibition: “Music hall situations”
Using scenarios gleaned from Music hall lyrics and pros, Paul has again used Number banners to explore a localised feature.
The history of Music hall has strong ties with the area of East London where the Century gallery is situated.

Before the popularity of TV, Radio and the growth of the WWW, Music hall was one of the ways in which East Londoners relaxed and enjoyed themselves; popular Music hall songs were the pop music of their day.
Applying Number banners to Music hall scenarios illustrates, and takes literally the words of the entertainment and assumes these things really happened, or at least, what happens when Number banners are used as a proxy on behalf of the art viewer and the artist.
If there is an art form to which Britain can justly and proudly claim to have given birth, it is the music hall.

“A living entity of boundless vitality, it was a child of dubious parentage, whose father was the drawing-room ballad – the soirée motto song – the nationalistic air, and whose mother was the folk tune – the raucous carouse – the tender love song. This enfant terrible had all the disadvantages of being born on the wrong side of the blanket, yet despite this, and perhaps even because of this, it thrived upon sentiments of every stratum of society in an age when Britain was awakening to the realization of Empire. The infant music hall had but one watchword – ‘flamboyance’ – fired by an innocent, and as yet uninhibited, passion.”