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

josephbond@hotmail.co.uk

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