Beauchamp Art

B.S. Beauchamp (Fine Art BA Hons) Critical and Creative Practice

Weekly Summary: 22.7.2016 – 28.8.16

The primary activity this week involved assisting Henry with a film shoot for Red Bull studios in London. On my part, this mostly required carrying materials and helping to install the equipment for the recording. However, during time of the filming I was not required so wandered about das Capital, meandering fractally via the Barbican Centre and a few other landmarks, though I did not attend any exhibitions whilst on this patrol, due to the time restraints of the day and my depreciating enthusiasm for attending such activities, unless there are specific works that I wish to see, or for the social dynamic or the potentially of pay for my photography services.

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Photos: Emanuela Cusin – BA8 Takeover

Emanuela Cusin - BA8 Takeover - 06

Emanuela Cusin – BA8 Takeover

Documentation of Emanuela Cusin’s video projection as part of the British Art Show in the St. George’s building of NUA.

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Photos: Henry Driver – MA Private View

Henry Driver - MA Private View -06

Henry Driver – MA Private View

Documentation of private view for Henry Driver’s works as part of the 2016 NUA MA degree show.

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Weekly Summary: 8.8.16 – 14.8.16

Harry Darlington - Barber Shop - Private View - 13

Though not overly proactive, this week I nevertheless spent some time in discussion with a number of peers about the progression and motivation of my work, alongside more practically sorting through and editing the installation and exhibition photographs from the previous week (and creating a Photographic Portraits album on my Flickr account, as a sort of secondary portfolio, sub-categorising works) as well as documenting Chrissy Leech’s MA sculptures, which also provided another opportunity to go around the show and discuss the works with current and former NUA students as well as the general populous, which was interesting. Alongside this rexamination, I also attended the Asylum exhibition at the Undercroft, which featured a large amount of somewhat expressive paintings, a few figurative sculptures, and various others works cluttered together; the sense of it being ‘over-full’ may have ironically reflected a counter-narrative to the pro-refugee stance in the works; in that the exhibition itself seemed to be at breaking point.

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Photos: Harry Darlington – Wet – Barber Shop – Private View

Harry Darlington - Barber Shop - Private View - 02


Harry Darlington – Wet – Barber Shop – Private View

Documentation of Harry Darlington’s exhibition opening as part of a residency at the Barber Shop Gallery in Norwich. 04.08.16

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Weekly Summary: 1.8.16 – 7.8.16

Henry Driver - MA Private View -26

Alongside attending the MA opening; to see the works, be social, and document Henry’s work, I also doubled my duties as the photographer for the opening of another peer’s exhibition, documenting Harry’s Wet portrait series as the start of his residency there.

Moreover, there was also the British Art Show take over at the uni, which I attend both as visitor and documentor once again, photographing Emanuela’s pop-up projection piece at the top of the St. George’s stairwell. Perhaps because of discussing the piece and the artist’s previous projects with her, this was also probably my preferred work out of the takeover pieces, particularly as it concerned the perception of perception, particularly regarding digital imagery, which has been a reasonably integral part of my own practice and interest for some time.

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Weekly Summary: 24.7.16 – 30.7.16

As I have been away from my work station, the bedroom studio, this week, there has not been a great deal of opportunity for creative output, outside of some light sketching, and little in the way of creative consumption, besides reading more of the Error book, a number of news articles and watching nature documentaries. Nevertheless, despite this being primarily a holiday week (on top of the many others between the end and start of the term where I shall be returning to work), I have been discussing my post-graduate activities thus far and plans for a year’s time with a different selection of individuals outside of my usual social group. I intend to work for at least another whole academic year and try making work alongside that with the generous spare time it affords me (though I could potentially transfer some of this extra time into labour hours, to proletarianise my practice more so, accumulate slightly more capital and defer the fairly direct hand-to-mouth exchange currently under way).

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Weekly Summary: 11.7.2016 – 17.7.16

I have been working on a number of musical pieces this, including a dance track entitle Mechanical Coup, a combination of the phrases Mechanical Turk and Turkish Coup, given the poignant time of the composition; and following reading various articles and listening to a range of news stories on the subject, and the other major political events of the moment. There are a number of other songs currently under way, with a handful at a stage of near completion, though whether they are to be resolved is not clear, given my habit for half-finishing more than half of what I start creating.

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Audio: Mechanical Coup

Mechanical Coup

Demo track more at the ‘dance’ end of the musical spectrum.

The title derives from the time of composition and a human-powered chess machine that deceived its opponents to thinking it was a computer: Turkish Coup / Mechanical Turk.

Weekly Summary: 4.7.16 – 10.7.16

Henry Driver Basement Experiments - 38

Amongst a mostly unproductive week, I photographed one of Henry’s video installations would should form a part of his MA degree show work, both as part of the exhibition and as part of the publication he is producing alongside. It is always good to see that some of my imagery is being positively received.

On a related note, I responded to the American musicians who wanted to use some of my GIFs as part of the visuals to accompany their live tour, however have not heard a response as of yet. I do have a small suspicion they may use the images without my permission anyway, which would be unproffessional, but as my images are hosted online and actived by their presence online (they cease to be if they are not accessible, so the financial dilemma is somewhat offset by a Cartesian one).

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