The name refers to the ‘bleed’ in printing and design. That is the material to be trimmed off so the image, text, background fill extend to the edge of the paper. It is the necessary unseen and disposed of in the making of art that is pondered as the conceptual basis for this project. This can further be accentuated by, and what may be people’s first impression of, the word bleed’s primary definition in terms of function: to let out, drain, escape, release. It is not a great leap of faith to understand an ‘out pouring’ as artistic expression; personal production put on show. Perhaps not surprisingly, each exhibition will bleed into the next one. Elements from one will remain as the next is installed, slowly being phased out. Bleed gallery is a 6 month project curated by Jim Ricks. It is located at 2/3 Mary’s Abbey, Dublin 7 and is made possible by New Art Studio.

The Spiral Show

Irish Archaeology, Constantin Brancusi: “A portrait of James Joyce”, Google Maps of Robert Smithson, Helen Blake, Sean Lynch on Richard Serra, Marcel Duchamp, and Jim Ricks’s take on Simon Sheikh: “’Another Artworld is Possible if You Want It’ (after Peter Coffin’s take on Tom Marioni (after Bruce Nauman))”

Bleed gallery, Dublin
March – April, 2016

The first exhibition in the Bleed gallery series was a group show. No less than 10 artists, 1 curator, 1 writer and 2 organisations were involved. Using the seemingly straightforward premise of exhibiting art works that are spiral in form as a starting point, the combination and representation of works quickly bend in another direction and begin to overlap. 

Many are reproduced from high-res images found online. They are images of something else, not original art objects: a simulacra created of images in motion (the poor image) in the age of digital and mechanical reproduction. Many of the works also overtly reference other artists and their works. Sometimes once over, others with multiple passes. In both case, layers of art history are coiling in from their present form.

The repeating motif of the spiral allows a range of works that typify Jim Ricks’s methodology to come to light simultaneously. This misleadingly simple configuration, allowing us to skip from spiral to spiral, takes broad strides between interests, influences, and exhibition strategies. Not least of which is pushing the more extreme end of appropriation through unsolicited exhibition, curation, copies/stand-ins, fakes/knock-offs, and riffs. What is revealed in the showing is a keen interest in art history and a willingness to play with and update it. Like the spirals themselves tracing the concept back towards its origin.

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