An aspect of my art practice is concerned with notions of value, value that is endorsed by particular circumstance and the journey those perceived values take in the process of being exchanged for others. This interest in value, a sense of worth, was initially prompted by personal collections of ‘debris’, fragments that were once part of something else, collected rather obsessively over several years from a number of exterior locations. Some locations are familiar places, some are not. Known locations, and familiar landscape that is frequently visited donates much reference material; little monuments and testimony to our presence.
For several months I repeatedly found lengths of thread somewhat randomly scattered in the same place, near a field at the edge of woodland. It was as though someone had emptied a pocket or bag; they were too scattered to be markers, too random and susceptible to the elements to be a signposts. Then they stopped. The thread, strong in colour, was embroidery silk.
Such fragments became ‘new’ objects, existing (on their own) outside the context of their original purpose or function. It is difficult to accept that they are no longer of any value. This is a pattern to what is collected as well as the fact they are also pocket sized, although ‘collections’ have never been catalogued or analysed beyond this practicality and the fact they are incongruent with their location. I prefer to think I collect in as an instinctive way as possible because it makes selection fairer.
Other rural environments have generated inexplicable numbers of small circular forms made from plastic, rubber and metal that are apparently dependent on relating to other structures to perform their original function. The Alvin Collection (2004) was motivated by these pieces.
The Giszipchec Series (2005) focused on material substantially more anonymous and diverse and though equally small there were fewer clues to offer a sense of their original scale or function. Remembered light or the geography of a place where objects were rescued, provide some theatre in the process of re-establishing worth for that which, by virtue of its most recent physical location (the ground), is deemed worth less. Work has sought to enable these new objects to become more than what they are in their current reality, to assume significance again. Drawings recycle, audition and rehearse a new role for a subject, whilst trying to retain a sense of its intrinsic qualities.
In addition to contemplating value as manifest by an object, our intervention and its location, I am also interested in value hierarchies that are determined by apparently less self-conscious decisions. Recent work, Drawing the Outside Edge (2007), which evolved from earlier interests, makes primary, secondary elements of visual encounter. These are references that initially judgement has determined should remain on the periphery, beyond a focus of attention. They are often indeterminate in terms of identity, a series of abbreviated notes. The origin of these studies have been aspects of landscape and their objects, revisited through numerous sketchbook notations of visual shorthand and coded data.
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Education
1983 University of London Institute of Education, Postgraduate Certificate in Education
1982 Slade School of Fine Art, Higher Diploma in Fine Art
1980 Gloucestershire College of Art and Design, BA (Hons) Fine Art
Current Post and Key Previous Roles
2006 Senior Academic - University of Lincoln; Co Director of the Faculty of Art, Architecture and Design’s Art Media Research Centre
2002 Head of Department of Art, University of Lincoln
1998 Principal Lecturer and Programme Leader BA/MA Fine Art De Montfort University, Lincoln
Consultancy
2007 Visiting artist: Drexel University, Philadelphia
2005 Trustee: Heslam Trust Lincoln (Charity which purchases art work for the City of Lincoln).
2004 Visiting artist: Tyler School of Art and Design, Philadelphia
2004 Greenstone Gallery Director, University of Lincoln. Recent shows: Richard Snyder (April 2004) Susan Moore (Feb 2004) Charles Schmidt (2005)
Larry Spaid (March 07)
2003 Visiting artist: Tyler School of Art and Design, Philadelphia
2002 Member of the Arts Advisory Group (exhibition selection, project reviews etc) Usher Gallery, Lincoln
1998 Co managed: ‘Michael Kenny - Sculpture’ Lincoln Cathedral and De Montfort University locations
1997 Fellowship - Royal Society of the Arts
Recent Solo Exhibitions
2007 Drawing the Outside Edge The Leonard Pearlstein Gallery, Philadelphia USA
The Drawn-Out Gallery, International Drawing Research Institute, NSW Australia
2005 Special Features: The Giszipchec Series/The Alvin Collection Universidad de Concepcion, Chile
2004 The Alvin Collection Penrose 2 Gallery, Philadelphia USA
Recent Group Exhibitions
2007 Drawing as Reflective Practice College of Fine Art, NSW Australia
2006 Drawing as Reflective Practice Glasgow School of Art
2005 Drawing as Reflective Practice Air Gallery London
Catalogues
2007 Drawing the Outside Edge Introduction: Ephraim Russell Essay: Sarah Steinwachs
2007 Drawing as Reflective Practice Ed. Drew Plunkett ISBN 978 1 905527 20 5
2005 The Giszipchec Series Introduction: Eileen Kelly In conversation with: Lois Wallace ISBN 1 860502 04 0
2005 London: The Slade and UCL, Oil Paintings in Public Ownership pp 8 and 105 The Public Catalogue Foundation ISBN 1 904931 07 3
2004 The Alvin Collection Introduction: Stephanie Knopp Essay: Charles Schmidt
Reports
2007 Bingham, J.K. Silent Voices. In: Lorenzo-Hemimer, R. and Hill, D (eds).
Under Scan. Nottingham: EMDA & Antimodular. pp. 73-74 ISBN 0 9781347 0 2
2007 Drawing: The Network CHELSEAspace pp 57 – 59 ISBN 978 1 906203 05 4
Wimbledon College of Art. Discussion Group summary.
Seminar/Symposia Contributions
2007 LAND2 seminar. University of Leeds.
2007 Drawing: The Network. One day forum on drawing research, Wimbledon College of Art. Discussion Group Chair.
2006 Drawing over the page (checking the health of the patient) Drawing within the context of a private practice, the autonomy afforded by such privacy
and conflicts created by ‘trespass’ (publication pending)
Drawing Board, University of Lincoln
2006 The University of Lincoln ‘Drawing Group’. The Collection, Lincoln.
Drawing as investigative and reflective practice.
Current Projects
2008 ‘The Generative Sketch’ (working title) The Collection, Lincoln. Sketchbook exhibition.
Working with Deanna Petherbridge. Scheduled for October 08.
e-mail: jbingham@nuca.ac.uk
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