This blog was written for us by Arlo, one of the people involved with the selection and creation of the ‘I AM ME’ exhibition of work from the Government Arts Collection. He writes:
I first became involved with the I am Me exhibition at Cartwright Hall Art Gallery through Sarah, a member of staff from Bradford District Museums and Galleries, who I was familiar with from Young Masters Art School. After this arts charity closed down I was lacking creative inspiration and expression, so I was greatly honoured and excited to be invited by Sarah to be involved with this exhibition.
Being a young person in Bradford is a whirlwind of excitement, adrenaline, joy and freedom. It’s sometimes scary, thrilling and edgy, but it is the people, their aspirations, hopes and dreams that make this a place that I’m proud to be from. The centre of Bradford is a hive of activity, and beyond the boarded-up shops, dingy back alleys and the constant surveillance of pigeons, it is a beautiful city. A city bristling with a mixture of Victorian, Georgian and gothic architecture that wouldn’t look out of place in a medieval European city. I’m often inspired and in awe when looking at Bradford’s buildings, and they are an important creative fuel for me.
The artwork I created (that is reproduced in the exhibition) was inspired by artists from the collection, primarily Huw Locke and Christopher Samuel. I began with drawing a collection of people, objects, small scenes and textiles associated with Bradford and its people.
I completed these drawings in a thin black pen, I wanted to achieve a high level of detail, similar to Christopher Samuel’s work. I then compiled these on procreate, layering hands decorated with henna over ancient Indian textiles and discarded cans of monster energy. A fur coat clad man sat on a brick wall, draped in gold jewellery, with a Bradford Boar’s head nestled in the corner. I wanted to include a large range of everyday things that you see in Bradford, from its residents sitting quietly on park benches, derelict housing, cigarette butts, art installations and of course, the multitude of voices and cultures that defines this city. I drew the city’s crest at the top – an essence of Bradford on A4 cartridge paper.
My piece was shown amongst lots of other brilliant pieces on a wall. Having an illustration in the same room as works by the creative geniuses of Britain is a true honour.
The exhibition focused around the culture, vibrancy and young people of Bradford, and collaborated with the Government Art Collection which has a truly excellent collection of works by contemporary British artists.
125 young people from across the district were involved and offered the opportunity to create a new exhibition for Bradford. 22 pieces of work focused around identity were chosen to be included, which were selected by the young people.
Me, and some of my peers were involved with the selection of these, and I found that the pieces depicting children appealed to me the most. Labels had to be written for the artworks, which really added to the youth focused idea of the exhibition and made us feel even more included in the event. I think a lot of young people are bored and uninterested by art museums and galleries, mainly because they’re such an adult-centred attraction, and often doesn’t leave much open to interpret, especially for the creative minds of children. I spoke about what appealed to me in the works and covered how they correspond with life as a young person in Bradford.
The exhibition was full of unique and diverse artwork. My personal favourites included Mountain Tent by Matthew Krishhanu. This piece reminds me of naive American folk art, and I love the loose expressiveness of the paint, adding to the dream-like feel of the piece. I am a huge fan of Huw Locke’s Serpent of the Nile which combines found objects, soft toys and fake flowers over a human model to create a figure similar to a monarch seated on a throne. I was enthralled by Estate Portrait by Christopher Samuel, which is a piece so small, yet so full of meaning and sombreness.
My trip to Downing Street was one that I’ll never forget. The trip took place with Sarah and a colleague and a small handful of young people also involved in the exhibition. The trip lasted a day – the memory, however, will last in my mind for decades to come. We took the train to London, and were greeted by the festive markets in Covent Gardens, which consisted of overpriced tea towels, shimmering jewellery and huge baubles suspended from the roof. We had time to take in some further sights around London. The stone lions in Trafalgar Square looked very imposing on the background of the moody greying skies, lit by warm lamplight.
After a quick stop at a coffee shop for an energy boost, we walked, scripts in hands towards Downing Street. The tall black gates were an intimidating sight, and after going through security, we made it to the infamous door of Number 10. Following a couple of photos outside the door, we were led into a large, burgundy carpeted room, with a table at its centre, full of European sweet biscuits and sweet, nutty tea.
Rachel Reeves, the Chancellor of the Exchequer held a small speech, and we managed to get a quick handshake from her. And finally, it was time for our speeches that we’d spent weeks preparing for. I spoke about a painting by the Bradford artist David Hockney, of a country lane leading into a field at the back of his house, and the familiarity of that scene. When presenting my speech, I was standing just opposite the painting itself! I felt as though my speech was a success, thankfully George and Eleanor, who had also come to London delivered really confident speeches.
The opening of the exhibition took place in January at Cartwright Hall. The atmosphere was abuzz with excitement and chatting, and we filed into the room once the imaginary red ribbon had been cut with an imaginary pair of oversized scissors.
Upon entering the room, we were confronted with Thomas J. Price’s statuette of a sportswear clad man on a carved plinth. I loved how the artwork didn’t depict a Herculean giant, with a chiselled face, bulging muscles and a dead lion at his feet: it showed a normal man, with slouched shoulders, and a sagging stomach. I think things like this really add to the ‘youthfulness’ of the exhibition as a whole and the enjoyment of those viewing it. The inclusion of everyday people in fine art is a strong passion of mine, and it’s amazing to see it reciprocated in this exhibition.
I spoke with a few people about my trip down to London and how I first got involved in the project. I even got interviewed which was another first time!
I went back to Cartwright Hall a few weeks later to take part in a youth-focused event running an art based activity for other young people to participate in. I also had a portfolio review with contemporary artist Charmaine Watkiss. I’d seen Charmaine’s work on display at Cartwright Hall, and its intricate, delicate imagery really appealed to me. I especially love the introduction of cosmology and creation myths into her work. Meeting her was an exciting experience, and I received lots of valuable advice for taking my art forward into the future. I couldn’t believe she was so friendly. I was greatly appreciative of the chance to talk with her in such a lovely manner.
I have learnt a huge amount of valuable knowledge for now and for the future from being a part of this exhibition. From learning how exhibitions are curated and their selection processes, to the importance of keeping an artistic portfolio, the information I have learnt is priceless, and I will walk all the more taller because of it. Thank you.
