It's not long until Making The Future 2010; 'the very best creative and directional work from recent Nottingham Trent University graduates.' The press release has been added to the university's website, and I'm one of the lucky few who has been featured within it.
'Fine artist, Lucienne Simpson, is exhibiting a range of her 'polaroid paintings', a selection of miniature highly detailed images translated from camera to canvas...'
To read more of what is said about my work, and some of the other artists/designers included in the exhibition click here.
Making The Future 2010 will take place at The Bonington Gallery, Nottingham Trent University, and is open Mondays to Fridays (10am - 5pm) from Thursday September 16 to Friday October 15.
The private view will be on Thursday September 16 from 6 - 8pm in the Bonington Building.
I got home on Monday from the Vintage at Goodwood Festival, where I had some of my old work in the Bad Art Salon. It was a great weekend, and I'm happy to say that my paintings weren't 'bad' enough to win any prizes.. Phew!
I also have some new paintings to unveil; Trees, Pylons and Bunting. However, I've just realised that Trees is 0.25 inches short of the width it should be, so is not actually Polaroid sized. I knew there was something I didn't like about it, how annoying.
It was a spur of the moment trip back to Brussels a couple of weeks ago. I took my paints and sat in my brother's apartment for most of each day painting new Polaroids, which was a nice change of scenery.
I also paid the photography museum a visit, which was housed in a fantastic Art Nouveau building. I stumbled across a fab photographer, Philippe Herbert, and I even picked up a couple of postcards of his photos for inspiration. This one (right) was my favourite. Taken from his Bruxelles Europe series. 
I was only home for a couple of days before I zoomed off up north to Newcastle, or South Shields to be precise. I visited family, had fish & chips by the sea, and managed to squeeze in a few hours at The Baltic. If anyone gets a chance to go, I'd definitely reccommend it. Tomas Saraceno's black elasticated web-like installation was as beautiful as ever. I saw a much larger piece by him at the Venice Biennale, and also in New York. However, it was Cornelia Parker's Perpetual Canon that stood out most; 60 silver brass band instruments squashed flat and suspended mid-air, and lit by a single bulb. Think it's time to stop galavanting, and do some work...
