Category Archives: News

Latest info about shows, performances and screenings.

Voronoi Monologue Series ()

Voronoi diagrams are a way of dividing space into a number of regions, the space is scattered with seeds (or points) and for each seed there will be a corresponding region consisting of all points closer to that seed than to any other. Voronoi like patterns are common on many scales in nature from giraffe colouring to cracks in drying mud. I am fascinated by it as a way in which space often organises itself. So I’ve been doing a series of studies on the pattern, breaking and extruding boundaries of cells in an intuitive manner. So I have decided to formalise this process and make an “infinite series” of these drawings.

I decided an infinite series is the way forward because each drawing is a derivation of a process, the work is coding the function and each new drawing a call of that function, f(x). It’s inevitable that the function will change due to the intuitive element of the compositions but it is necessary to do them in order, as the process is to some extent recursive – doing each drawing will affect how I perceive and implement the function in subsequent drawings.

Voronoi Monologue series now available in my new shop. Please help me to make more by purchasing one, each one is only £25 including shipping.

MAYDAY MAYDAY MAYDAY ()

Simon Raven has kindly let me sneak onto the bill to do a quick performance for his performance art event MAYDAY at chameleon on the 6th May.

Also performing will be:
Bruce Asbestos
Yvonne Lake
Jenna Finch
Simon Raven

Silt Live – 11th April ()

Silt, which started out as a solo sound project has been undergoing a bit of remodeling recently in that it’s no longer a solo project – I’ve asked Dexter Prior to join and help develop it into a larger project using more physical stuff and less staring at laptops. To this end we’ve been in the studio (well – my kitchen), knee deep in solder, insulating tape and ground hum. It’s been an interesting process because up until now everything’s been in my head and in order to communicate what I’ve been doing up until now to Dexter I’ve had to define (in however a nebulous way) what silt is and figure out which constraints are workarounds for my lack of knowledge or ability and which ones are important to either the identity of the project or the substance of the work.

Next week we’ve got our first gig with this new setup at a gig organised by One Finch at Chameleon in Nottingham. We’ll be supporting TG Gondard and Gael Moissonnier and I’m really looking forward to it.

Chameleon, next to Bell Inn
Thursday 11th April
£4.50

I’d better go tidy the kitchen.

Sedimentary Seven ()

I’ve just finished the first of two hand painted sleeves for a new silt release. It’s a 7″ vinyl dubplate housed in a concertina of four watercolour paintings of silt or sediment. The audio is similar: side A is made from the offcuts, clips and grains of old recordings that have drifted together and collected on my harddrive – from muted guitar strings to dosbox recordings of old software breaking. Side B is a recording of human vocalisations, clicks, breath, pops and unvoiced consonants.

Below are some pictures of the assembly process.

It’s now available in my shop.

m a c h i n i c d r i f t ()

 

I’m showing some new work next week in Birmingham as part of Network Music Festival, details below:

22 February to 2 March 2013
Opening: 21 February, 6-8pm

Network Music Festival have invited Samuel Rodgers to curate an exhibition of installation work as part of this year’s festival. Taking the notion of networking as a point of departure, invited artists Steven Dickie and Pete McPartlan have made new works encompassing video, sound and object that explore the nature of the singular within a mass and the transmission and exchange of abstract thought.

Open 12-6pm during Network Music Festival and 12-5pm the following Thursday to Saturday.

The Lombard Method
68A Lombard Street
Birmingham B12 0QR

www.networkmusicfestival.org
www.thelombardmethod.org

KGMZ ()

I’m really pleased to say I’ve finished a new piece of work, it uses music by Kogumaza. It’s entirely worked around their music and it’s a video so I guess it’s a music video. It really is best watched in the dark on a projector with the volume high.

I made it using the same process as this short clip, rolling ink around a slide placed directly on a tiny CCTV camera, performed as live to a timestretched version of the audio and then reassembled at full speed in the edit.

Thoresby Thursday ()

Rehearsal Excerpt from Pete McPartlan on Vimeo.

I’m performing tonight at the opening of an exhibition in collaboration with Dexter Prior at One Thoresby Street in Nottingham. We’ve built a decidedly dangerous instrument out of bandsaw blades and copious quantities of clamps. Hopefully it will stay up and nobody’s fingers will get cut off.

Private View
Thursday 21st June 6pm – 9pm
<<Performance @ 7:30pm>>

Exhibition Continues Until 30th June

Galleries Open: Thursday – Saturday 12-6pm

“For this weeks show Dexter Prior and Pete McPartlan present work made in collaboration, merging visuals and sound through installation and live performance.

Thoresby Street Thursdays are a series of diverse, experimental, energetic, confrontational short exhibitions to profile the exciting work being produced by all of our current Stand Assembly studio members running from the beginning of March to the end of August. Each exhibition will feature two or three studio based and alumni artists selected for similitudes or conflicts in their practices.”

Kill Your Idols ()

I’m showing Origami Seizure Comparison in programme organised by Deep Leap Microcinema, called Kill Your Idols the first screening will be in Brooklyn at Microscope gallery on the 14th. From Deep Leap’s site:

“A program of works that take as their source (conceptually or materially) the history of avant-garde moving images. How does the use of one’s favorite Brakhage film as “found” footage change and charge the politics and poetics of appropriation? What are the limits of re-enaction? How does the acknowledgement of a canon within an avant-garde practice impact new makers?”