GREIG BURGOYNE

Drawing/ Performance/ Installation

ARTIST STATEMENT

Burgoyne was born in Glasgow Scotland, studied at HAK Vienna & MA painting Royal college of Art London. 

He engages in a broad based site- specific drawing practice that embraces film, live performance, installation, wall drawing, sound and text. 
Burgoyne unites materials often sourced in and around the proximity of the site each project takes place within, alongside process-led, rule based strategies.  Theoretical frameworks specific to phenomenology, literary structures around the fragment, and dilemmas about space found in modern Russian fiction also inform that evolution. He immerses in concepts of play and the speculative, that are ultimately driven by curiosity and risk, that often conclude with a de/materiality of the precarious, akin to the pathetic. Residual scraps of that forming/unforming. Taking the anomalies of the space, he seeks to test, measure or expand the paradoxes of body/site relations with regard to space and our experience in it, of it and alongside it. 
The results are immersive, often absurd and beguiling re-navigations or configurations specific to the the site and /or subject.
Burgoyne proposes new dialogues that seek to generate a condition of becoming, translation and flux instead of stasis; a site of experience rather than merely location.

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SOLO PROJECTS & NEWS IN 2019 INCLUDES

 

The First Night of Experimental Boredom  Lodge 222 Dordrecht Holland 

(Curated by Frans Van Lent) opens January 12th-February 9th 

Brief Encounters (with Deirdre McLeod) Edinburgh Arts Festival Scotland opens August 5th

 74years OA.Network commission Goodnestone Park Kent June 16th-August 30th

Reality Hickster Projects Rome August 10th -august 30th

Expect the unexpected The Lowry Manchester June 27th-September 29th 

Restless Linings  Kosar Contemporary Bristol November 1st-November 25th

 Between the sunny and the opaque Drawing Projects UK October 21st-November 11th

Lost in Space

PART OF '74 YEARS-RESPONSES TO THE ANTHROPOCENE'

CURATED BY OTHER ART NETWORK

COMMISSIONED FOR GOODNESTONE PARK AND GARDENS KENT 

OPEN 18TH JUNE UNTIL 30TH AUGUST 2019 WITH LIVE PERFORMANCE 16TH AUGUST

Press release here 

WATCH THE LIVE PERFORMANCE HERE 

(Actual performance 1hr 49 mins, film is edited version)

The Other-Space  this summer presents ‘74 Years’ an exhibition bringing together works from 11 contemporary artists working in a variety of media. Expect film, sculpture, installation, poetry and performance.

Positioned abruptly in what the OA.N describes as a moment of cognitive short-termism, 74 Years continues the OA.N’s interest in the passage of time. The title is a reference to the Trinity Test on the 16th of July 1945, a moment that the Geological Society later coined as; the start of the era in which mankind has had a significant impact on the geology of the earth, or, the Anthropocene.

The steady normalisation of states of disaster across the world is a powerful demonstration of the human capacity to avert the mind from impending catastrophe. 74 Years aims to confront this cognitive short-termism and engage with our present epoch by presenting carefully curated art works in a setting where you are invited to consider the events of the last 74 years and their impact on the systems of the Earth.

Burgoyne in an inflatable horse outfit.. A horse measures its stable area (the gallery where the resulting performance as film will be shown) by counting out-loud its footsteps while simultaneously recording this on an iPhone. Then outside, in the vast grounds opposite the stately home, the horse plays back the recording and follows the 74 steps (measurement of footsteps to walk area of stable) 74 times. In theory the horse will reiterate its stable area, instead it seems to wander aimlessness but with conviction. decisively indecisive , purposeful lack of purpose, futility, perhaps lost in space. 

Expect the unexpected 

THE LOWRY MANCHESTER  

OPENS 27TH JUNE- 29TH SEPTEMBER

WATCH THE FILM OF THE LIVE PERFORMANCE HERE

A  major show of contemporary artists exploring the role of chance processes in art. The show based around the ideas of John Cage features Yoko Ono, Kieth Tyson, Greig Burgoyne and  Sara Sze. From film, installation, photography, performance and painting, Burgoyne presented two works for this show, 'sticky walk' and 'post-it note dance'. For the opening night he made a live performance 'Sticky walk'.

'Sticky walk', is Burgoyne led by walking on an amount of duct tape equal to the length of each gallery space. Where it will end the process decides, like the post-it note dance the performance concludes when Burgoyne has jumped, shaken off all the post-it notes form his body, albeit the rule being, he can't use his hands to assist him in that process. For the duration of the show,  its trace and residual elements remain like post it notes on the floor next to the 'Post-it note dance' on the floor where they fell. 'Sticky walk' was presented as a large scale projection, while in the case of 'Post-it note dance' as a small scale enclosed flat screen presentation..

Brief Encounters

EDINBURGH ARTS FESTIVAL in collaboration with Deirdre McLeod 

LIVE 8 HOUR INTERVENTION AUGUST 5TH 2019 WITHIN A SQUARE MILE AREA OF CENTRAL EDINBURGH

As a means to navigate  the tourist gaze; a mass of people at festival time in Edinburgh who move in a mass, unclear where they are going, or what they will see as they contract, disperse and meet again drifting from one spectacle to the next. Into this mix 4 people,  starting from different points in the city, with a very clear purpose to  weave in and through that mass.

Burgoyne and 3 colleagues from the dept. of geography at the University of Edinburgh each select one colour ,and follow anyone wearing at least one item of clothing of that colour until the person they are following moves beyond the square mile designated as the boundary of the project. Burgoyne wearing a blue t-shirt seeks to follow people in blue, should he pass someone going in the opposite direction while following another person wearing blue he can chose to change route and follow them instead. Each member of the project documents those encounters throughout the day. The route Burgoyne's was led along, ,like his colleagues, was mapped throughout the the day using tracking technology. Coincidentally, people he lost while following were re-encountered and then re-followed, albeit elsewhere in Edinburgh later that day, paradoxically while he was following another blue wearer. The project will be the subject of an exhibition which collates our findings in 2020 in Edinburgh.

REALITY  

HICKSTER PROJECTS ROME

CURATED BY SUE KENNINGTON

A TWO PERSON SHOW WITH MICHELE TOCCA

OPENS AUGUST 10TH -31ST AUGUST 2019

Press Release here

WATCH THE FILM OF THE PERFORMANCE HERE 

Burgoyne presents two site specific works specially conceived for the site and space. Beachballs (Drawing)  a live performance in which Burgoyne seeks to draw on a moving non- flat surface. In this case, the surface is Thirty nine  61cm diameter beachballs, 39 being the number that would be required to cover the floor area of the gallery space where he will exhibit the resulting film. Alongside this, a large soft spatial form, the result of measuring by walking on floor cloths ( he bought locally) across the surface area of his accommodation given him during his stay.'Beachballs' combines a Sisyphean endurance and dadesque absurdity as he wrestles with the beachballs, seeking as he is to connect them in sellotape. A line seeking to contain a mass of non flat space..covering,  constricting the balls , they're energy, whose aim is to do everything but.

The first night of experimental boredom

LODGE 222, DORDRECHT NETHERLANDS 

CURATED BY FRANS VAN LENT 

OPENS 12TH JANUARY 2019

Series of live and screened works by artists from across the world. Burgoyne made a live performance in response to the projects thematic. Post-it note disco was the outcome. No music, just the aim to shed the randomly stuck post-it notes stuck to each others bodies, but without using their hands. 

IDENTITY

Part of SynodDort400

VARIOUS LOCATIONS DORDRECHT NETHERLANDS

19TH NOVEMBER / WITH LIVE PERFORMANCES THRU NOVEMBER, DAILY IN AND AROUND DODRECHT CITY CENTRE SHOW CONTINUES UNTIL DECEMBER 2ND 2018

SEE THE FILMS HERE

One of 12 artists from across Europe selected to respond to the urban spaces and sites within the Netherlands oldest city, Dordrecht.

Burgoyne responded with daily interventions through installation and performance that began by measuring the walkable space of his hotel room. The was then walked and recorded on floor cloths, in turn these became individual (stuffed with local free newspapers) soft forms based for each set of foot steps taken. The outcome 'My space your space, your space, our space' became a relational work that was less a series of 8 'accumulations of space' but more a means to meet and see Burgoyne's space become a shifting site generating interconnections and journeys with the public at random through the  city streets. Less an artwork, but a catalyst for dialogue and exchange. Not a static experience that engagement with art can often be, but instead a catalyst for spontaneous dynamic connectivity to flourish.

The further works in the city included performances with locally bought materials such as polystyrene balls as in 'Spot the ball' where, much effort to throw a polystyrene ball repeatedly into the air and document it results on no ball being seen.

'Making a point' sees Burgoyne in the city square pointing to a pillar and seeking to follow a film of him walking towards said pillar. He fails and wanders everywhere but to the pillar, missing it on every attempt.

'Walk about' explores the role instructions, that are subsequently used to navigate and then attempt reiterate a public space. Burgoyne walks a designated part of one of the cities squares. In this case a city square dedicated to one of Dordrech's most famous artist. Here Burgoyne  records his voice counting each step of the designated area, then he plays it back on his iPhone and follows it. Absurdly, he appears deep in thought and focus (which he is) but absurdly lost and confused at the same time to the numerous bemused passers by he encounters.

Supported by The National Lottery through ACE project Grants. Curated by Yvo Van Der Vat.

SEE THE FILMS HERE

P/ROPS  

PART OF GENT MATINEES

P/ROPS PERFORMANCE/RESEARCH SPACE GENT BELGIUM

19,20,21ST OCTOBER 201

Exhibition of work by featured artists who have collaborated with the organisation. Included installation and presentation of works by Burgoyne made in 2017 in collaboration with Sabine Oosterlynck

PIER TO PIER 

ARTWALKPORTY 2018

PORTOBELLO BEACH EDINBURGH

OPENS 30TH AUGUST/ WITH LIVE PERFORMANCES 30TH AUGUST, 1& 2ND SEPTEMBER  / SHOW CONTINUES UNTIL 9TH SEPTEMBER 2018

"We are always between here and there"

Michael de certeau

Pier to Pier is one of three commissioned works for ArtwalkPorty, for Portobello beach, Edinburgh

September 2018

The project received reviews at The skinny; Phil miller Arts Correspondent Glasgow Herald  and was featured on The afternoon show hosted by Grant Stott, BBC Radio Scotland with Doug Johnstone

 

VIEW THE FILM OF THE PERFORMANCE PIER TO PIER HERE

 

Alongs side Pier dig, and an interactive walking/ drawing game in the festival newspaper,  Pier to pier is a participatory performance, a meeting of one space that is lost and another which is very much in existence. In this case it is the melding of the circumference of Portobello pier (in the form of 129 Metres of elastic chord) which once stood on this site, and the walking of the length / breadths dimensions from one end to the other of the prize winning pier at Hastings on the Sussex coast.

The films document Burgoyne's footsteps walking form one side to the Hastings pier to the other. Of the 15 unique films that result, the participants are each given one recording to follow as a video on their mobile phones. In turn, they lead the rest of the group; the spaces both lost and present expand and contract, as a mobile architectural dance of sorts ensues.

After each participant has led the other members of the space, they leave the elastic space, until there is only two left, then one.

Paradoxically, only by keeping a distance from each other can the shifting, drawn space exist.

In the case of the final two participants, keeping the chord off the sand and maintaining that lost/present space may appear more like a tug of war than a situation of cooperation and togetherness, a manifestation perhaps of being between here and never there.

FUNDED BY CITY OF EDINBURGH COUNCIL

PIER DIG 

ARTWALKPORTY 2018

PORTOBELLO BEACH EDINBURGH

OPENS 30TH AUGUST/ WITH LIVE PERFORMANCES 30TH AUGUST, 1& 2ND SEPTEMBER 

VIEW THE FILM OF THE PERFORMANCE PIER DIG HERE

SHOW CONTINUES UNTIL 9TH SEPTEMBER 2018

Pier Dig  is one of three commissioned works for ArtWalkPorty, for Portobello beach, Edinburgh

September 2018

The project received reviews at The skinny; Phil miller Arts Correspondent Glasgow Herald and was featured on The afternoon show hosted by Grant Stott, BBC Radio Scotland with Doug Johnstone

VIEW THE FILM OF THE PERFORMANCE PIER DIG HERE

 

A 7hr drawing performance (edited excerpt)

Commissioned by ArtWalkPorty for Portobello Beach, Edinburgh 

September 2018

Pier Dig set out to move an area of sand relative to the pier that once stood on the site at Portobello. Starting at low tide, battling with an incoming tide in due course, the area of sand is dug, moved and until the sand/ space moved is lost amongst the sand/ space it is already in the midst of. In an absurd act of endurance by reiterating its position in time and space, the pier is dispersed and paradoxically lost in space.

 

FUNDED BY CITY OF EDINBURGH COUNCIL

CELUI QUI NE M'ACCOMPAGNAIT PAS

MÉDIATÈQUE DU MOULLE FRANCE 

OPENS 27TH SEPTEMBER , WITH LIVE SOUND PERFORMANCE AND WALK, EXHIBITION CONTINUES UNTIL 10TH NOVEMBER 2018

Médiatèque du Moulle Hauts de France France

Curated by Christine Gist,and supported by The national Lottery through ACE Project Grants

THE PROJECT WAS REVIEWED BY L'INDEPENDANT FRANCE (NEWSPAPER)  4/10/18

The sound work that was the culmination of this performance and installation is available here

The capitalist notion of ‘flat time’,  is a schematic, routine and ordered time/space we are so familiar with, so much so we don’t even notice it.

This project asks If it is possible to evade this container for our perception, and experience a simultaneous time and space by the very act of paradoxically intensifying its logic.

More specifically, when we read are we aware of the words or is the story the key function of the book? When we think of words we immediately are controlled again by language, its logic and its imposed and learned meanings that come with it.

French theorist De Certeau in his book ‘The practice of everyday life’ spoke of walking as a metaphor of writing, where we write a text but are unable to read it as we don’t stop and turn around…

In addition, Wittgenstein said that the limits of our language are the limits of our world… are limits always about expanding in quantity when the quality of that experience of language make be more enriching and memorable.

The resulting project is three works, each directly and indirectly combining walking without preplanning where we are going, alongside an experience of sound derived from editing books.

Each work arrived at through a process led rule based system where play and speculation have been key factors. Books have systems of ordering space and time, pages and content, as does language, through spending an intensive and focused period of time within the library, Burgoyne has applied an alternate system that collection that both opens up that order and liberates the words as a result.

The first of three works that make this project is a wall text work in vinyl, that is the result of combining the first line of the in the first book and last line, on the last page of the last book from each subject area in the entire library collection. When placed in a grid matrix an ordered disorder that is less words but more sounds-phonics. As opposed to visualising as we often do when reading, Burgoyne seeks to draw our attention to the pure sounds before they become words and stories. In this way the wall work is a a drawing of sound as letters.

Combined with the respective page numbers these lines occurred on, when transcribed to footsteps to walk, become the live performance to be given on the opening night of the show, where Burgoyne utters the sounds of the books, while walking both in and outside the library space as the footsteps walked orientate that journey that results. You are invited to follow him as he walks. In this he seeks to release words from order and containment and liberate them in space and time.

The conclusion of this event is a sound recording to listen to while walking in and around the library oneself. The recording combines the spoken sounds of the wall text, and a recorded walk taking in the circumference of the town itself, textures, sound and space meet a parallel space of sounds uttered and dispersed, as a mobile sense of space as breath. The recording can be listened to, on the various headsets placed in and around the library site.

The project is complimented by a series of incidental works, that explore the notion of the site being outside ones immediate sense of time and space.

These actions result in modest works made of A4paper and brown tape such as 'bookworm' indicative of the measurement of unrolling tape and re rolling in relation to walking the library space. These extend to the residual elements such as the bank card used to rub the vinyl onto the wall, that appear book-like at its demise.

Finally, situated in the large cabinet as one enters the Médiatèque, is a series of digital prints representing the empty spaces between books. Images of empty shelves on paradoxically empty shelves. Filling an empty spaces with images  Burgoyne sees as materially physical- yet potentially devoid or liberated of content. 

THE ONE WHO WAS STANDING APART FROM ME

MART GALLERY DUBLIN

COMMISSIONED BY LIVESTOCK PERFORMANCE ART PLATFORM , CURATED BY FRANCIS FAY

OPENS 21ST SEPTEMBER 2018 

‘The one who was standing apart from me’

 

A series of drawing performances by Kiera O’Toole & Greig Burgoyne

“Drawing draws its mark in the act of withdrawing… Forming a place …to go from nothing to something”

Jean Luc-Nancy

A FILM OF THE DRAWING PERFORMANCE CAN BE VIEWED HERE

 

Jean Luc-Nancy notes in his text titled The pleasure in drawing, that drawing has an 'ability to effect and be effected (by the) force from the outside or more precisely the force of sharing and opening, between an inside and outside which refer to one another”.  Wrestling with this context, contemporary artists Greig Burgoyne and Kiera O'Toole propose dynamic drawing performances that engage the notion of the phenomenological of site, as a reorienting dialogue with bodily space and drawings sense of endless becoming. The result is to present a drawing performance by O’Toole and Burgoyne that begins as performing space while resulting in a residual sense of place. Albeit, akin to a game where territory is stated, evaded, expanded and contracted, with little sense of victory possible.

Through two striking and contrasting practices, Burgoyne and O'Toole share a rich immersion and teasing of how we constitute place, bringing the absurd alongside the experience of time, as they evolve a further third space akin to host and ghost; Both Burgoyne and O'Toole’s practice and research contribute a series of dialogic responses that embrace drawing in its widest sense, from the performative to the trace element.  From the traditional to the ubiquitous, the role of materials play a key factor in that dialogue. For Burgoyne, this is to source it from the locality in an act of contingency, where an absurd logic will flourish as materials, repetition, and endurance meet with site and bring about a newly configured sense of space. For O’Toole, the changing and temporal of site is a starting point to embrace the aesthetic potential and the experience that  results.

 

ORGAN ICON- UNE AVENTURE DE COPRS

QSP GALERIE ROUBAIX FRANCE & LA PETIT GALERIE DU MONDE ROUBAIX FRANCE

OPENS MARCH 10TH/ WITH LIVE PERFORMANCES MARCH 11TH / SHOW CONTINUES UNTIL 12TH MAY

OK-NO 1 is one of two contrasting responses to window spaces for two coinciding projects. This one OK-NO 2 at QSP Galerie / B.A R (bureau d'art et recherche) Roubaix as part of the show Organ Icon – Une Aventure de Corps. It also features two live performances at La Petit Galerie du Monde also in Roubaix on 11th March. The other presentation in the series OK-NO is a Solo presentation at La Confection Idéal Tourcoing.

 

The 2 live performances Island & Walk/Count/Follow/Lost 3 presented live on 

on March 11th, can now be viewed online at the Youtube channel.

This new work by Burgoyne extends key aspects of his work. The role of play meets the process led and rule based as an interrogation of drawings conceptual framework alongside the body’s dialogue with site.

OK-NO 2 is both affirmation and negation of a position. It begins aloft, from a unrolled pile of of blue floor cloths, reiterating that positon it is undermined, by the very activity of seeking to maintain it.

 

This position, that Burgoyne begins with, is less ‘The window on Europe’ that is grandly evoked by Peter the Great. Instead, it is a more sombre, perhaps bland vision. Positions of viewer and viewed become uncertain, while the portal, in the form of the actual window that meets these positions, may be more tangible.

 

In OK-NO 2 Burgoyne walkouts rolls of kitchen towel, led by the sporadic motion of the rolls, they dictate the direction the direction he takes in the gallery space. The rolls are depleted and in turn the cardboard tube becomes a navigating device to locate the stray lines of kitchen roll, as he seeks to unity the paper in one place and stand aloft upon. He moves back and forth treading precariously, at other moments erasing, perhaps seeming even to be cleaning the floor. As these activities advance, Burgoyne shifts, slips, drifts askew. Dispersal of both the material that supports him and the body in haphazard orientations ensue. 

In parallel to this,  projected outward from the main windows of QSP Galerie, we see Burgoyne stands aloft a roll of floor cloths, he seeks to emphasise his position by 'stamping ' on them. In doing so, paradoxically he disperses his position and is marooned as result. Unity is replaced by isolation or is he surrounded by the very material he sought to find unity with? In emphasising his position, he pushes it away as a consequence. Perhaps indicative of a space that is unstable and a subsequent place that is unsustainable, a metaphorical window, Burgoyne’s antics brings its own reality in contrast to the virtual one the wordplay OK-NO 2 may deny (Okno is the Russian word for window)

Between a here and there, the filter that is the window, in its materiality maybe stable albeit fragile, while on either side of this portal, all may be far from it, and Burgoyne shows us  in various forms, outcomes indicative of a being marooned as a result .

OK-NO

LA CONFECTION IDÉALE TOURCOING FRANCE 

9th MARCH -APRIL 28th 2018

To compliment this show, there will be a talk & live performance by Burgoyne at Lille III Université March 7th

This new work OK-NO by Burgoyne extends key aspects of his work. The role of play meets the process led and rule based as an interrogation of drawings conceptual framework alongside the body’s dialogue with site.

 

An excerpt of the resulting film of the performance is now available to view on the Youtube channel.

OK-NO is both affirmation and negation of a position. It begins with Burgoyne aloft 2 stacks of multicoloured floor cloths, seeking to maintain a position on top of all the floor cloths and keeping them together for 3 hours ( 3hrs is the time the resulting projection is shown each night) Simultaneously, using a IPhone camera, Burgoyne tries to focus on the word ‘chemist’ (pharmacie) on the shop front across the street from the gallery. The stacks of cloths slip, slide and disperse, back and forth, as does Burgoyne while attempting to maintain the unity of this fluctuating arena of cloths and the view ahead.

 

This position, that Burgoyne begins with, is less ‘The window on Europe’ that was grandly evoked by Peter the Great. Instead, it is a more mundane one. Positions of viewer and viewed become uncertain and in disarray, while the portal, in the form of the actual window that sits between these positions, seems more tangible.

 

In OK-NO Burgoyne falls back and forth as he tries to keep all the cloths underfoot together. As these activities advance, the view we see in the resulting projection like Burgoyne is one that seems increasingly unstable & perhaps unsustainable.

 

The window Burgoyne’s antics is projected toward brings its own reality in contrast to the virtual one, the wordplay of OK-NO may deny (Okno is the Russian word for window)

 

Between a here and there, the filter that is the window, in its materiality maybe stable albeit fragile, while on either side of this portal, all may be far from it. A visit to the chemist for some remedy, may be necessary.

 

 

^

RESTLESS LININGS

WIMBLEDON SPACE LONDON 

A COLLABORATIVE DRAWING PROJECT OF INSTALLATION & PERFORMANCE BETWEEN GREIG BURGOYNE, JOE GRAHAM, ROBERT LUZAR AND LUCY O'DONNEL; PART OF ACTS / RE-ACTS 5 

 

EXHIBITION 19TH FEBRUARY -3RD MARCH

PERFORMANCE LAB 1ST & 2ND MARCH MORE INFO HERE 

 

The film can be viewed on the Youtube channel

This project resulted in a series of performances exploring a broad range of conceptual frameworks within and around drawing. Burgoyne presents a live performance in two parts Walk & Count and Follow/Lost,  in which he and his colleagues each measure a quadrant of the gallery space through walking and counting their steps, simultaneously they record their feet movements and voices counting this steps.

 

When they each measured their section of space, beginning together they then follow the film of their counting /measuring. From a logical and systematic attempt to reiterate measured space, the outcome is less logical, where Burgoyne and his assisting colleagues wander instead aimlessly in space led astray paradoxically by the very rules & spaces they sought to reaffirm.

^

STITCH UP 

A SITE SPECIFIC PROJECT  P/ROPS GHENT FOR NEST GHENT BELGIUM

Live performances, contingent installations and public participatory events.

Films of the performances can be seen Here

December  2017

A series of Live performances, contingent installations and public participatory events by Artist Greig Burgoyne with Sabine Oosterlynck commissioned by P/rops for NEST Ghent Belgium

To co-incide with Gent Matinees art wk/ends this was an immersive speculative 4 day residency based in NEST- the former library for the City of Ghent Belgium. NEST is an experimental and unfolding situation, whereby while the libary is re-located, for one year this 5 storey block is a temporary haven or 'nest' for start -up companies, the homeless, stateless, artists projects, a make shift houseplant hospital not to mention cafes and bars.

 

The project comprised a series of responses using materials acquired on or near the site to respond to an 70's looking ex- librarians office and its immediate surroundings both inside and out. The first outcome entitled 'Stripes' -A series of repetition gestures using brown parcel tape, reiterates the linear brown wood panelling within the space. A drawing performance that both covers yet reiterates in some kind of workout of gestural strokes of a daily grind of architectural space. 

Prior to this a series of live performative works entitled 'Islands' using locally sourced floorcloths evolved in and around the surrounding interior spaces/ corridors. This also echoed a development of walk/count/follow/lost, here it is Burgoyne & Oosterlynck who measure out, by walking their alternate space, recorded on mobiles then 'swap' and follow those actions, only to desert the spaces they are in the process of reiterating.

This was concluded with two alternate performances of  'Yellow Brick Roads'1 & 2, that begin through repetitive gestures indicative of floor cleaning within the office space using  bright yellow floorcloths bought/sourced nearby. These part speculative / rule based performances resulted in a 'yellow brick road' of sorts that was then directed as a walk across the roads and through the streets of Ghent. The walks continued until the cloths disintegrated or parted company with each other and Burgoyne was left stranded, so to speak.

In his text 'Desert islands and other texts' Deleuze spoke of the deserted as less indicative of the island, but instead the sea around it. In these times of strife, forced diaspora and rapid migration though conflict, NEST seems a poignant site for this series of actions somewhere deserted by logic but compelled by it, re-orientating new spaces or configurations that embrace periphery and inclusivity, albeit seemingly in the midst of the very opposite.

 

^

CLOSE ENCOUNTERS 

A COLLABORATIVE PROJECT COMMISSIONED BY

THE STOVE NETWORK SW SCOTLAND 

October 2017

A collaborative project between Artist Greig Burgoyne and Sociologist Andy Zelienic foThe Stove Network SW Scotland

This artist led participatory project sees the public and artist make new configurations and re-navigations of urban space that both contest and reframe through adhoc means how we see, smell, hear the narrow alleyways (closes) of an urban centre. Each close was reconfigured exploiting light,temporary installations, sound or smell. These new configured closes would be explored wearing specially adapted hard hats , that meant viewpoints or visual fields were limited e.g. peripheral, only seeing backwards albeit walking always forwards etc. In addition each group of walkers (7 on each walk) would advance together within a large elastic chord. In doing so, necessitate the need to maintain a space of mutual cooperation i.e. Each participant would be need to keep a certain distance/ formation according to the size of the space they would be negotiating on each stage of the walks-so that the chord wouldn't fall to the ground. The amoeba like form of people making new experiential spaces in, around and beyond the imposed and regulated that is public space was one of chance, discovery and the absurd. 

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ISLAND WORKOUT

A DURATIONAL PERFORMANCE TESTING RELATIONS BETWEEN BODY & SPACE 15MIN 42SEC (ORIGINAL PERFORMANCE 2HRS 13MINS)

COMMISSIONED FOR COASTAL CURRENTS -THE ANNUAL ARTS FESTIVAL, HASTINGS SUSSEX SEPTEMBER 2017

WATCH THE FILM OF THE PERFORMANCE HERE

READ THE CATALOGUE HERE 

September 2017

 Island workout

15min 42sec (original performance 2hrs15mins)

A durational Performance testing relations between body and space

 Burgoyne unites process led, rule based repetition, endurance, accumulation and duration. Taking anomalies of the space, he seeks to test or expand alternative relations between body and site with regard to space and thinking. Be they absurd or beguiling, Burgoyne proposes new dialogues and frameworks that seek to generate a condition of becoming, translation and flux instead of stasis; a site of experience rather than merely location. 

Commissioned for the Contemporary Arts Festival Coastal Currents, Burgoyne will evolve a durational work within the raised space above the Warrior Square toilets. This is an in-between space; buffeted by the sea to which it looks out toward and passed by a constant flux of traffic that moves to and fro behind it. 

Burgoyne will be seeking to immerse us its island like status. To do this will be to extend the site specificity of this elevated setting as one between a drifting raft of the medusa and an elevated space albeit propped up by its paradoxical toilet status and all that this may evoke. 

The performance and subsequent film to be shown in the window of the British Heart Foundation window located along the seafront, sees Burgoyne along with his colleagues move back and forth following the changing, sporadic rhythms of the traffic and tides whilst emphasising the limits of the space. In doing bringing the tempo of traffic and tide to the inside of the toilet area. The outcome sees a static toilet roof become a turbulent site seemingly swaying and rocking, as the absurd keep fit workout of sorts ensues. 

Shown in the BHF window, the film will be indicative perhaps of the benefits of keep fit, whilst evocative, in its sporadic tempo and movement by the performers of the towns heartbeat. 

Between a naïve sense of hope and misguided logic, this live performance and subsequent film embraces endurance &repetition in an absurd evocation of the pros and cons limits of space may signify when tested. In doing so, is to propose Island Work-out may be symptomatic of more than it seems. In its virtual form, the performance by Burgoyne will shift from one suggestive of expansion and contraction akin to a breathing presence, to a closed entity evocative of remoteness and the alienated. 

You can read a Review of Coastal Currents and the performance by Greig Burgoyne Island Workout

Read the festival  Brochure giving you an idea of the programme if you missed it.

Watch the BBC TV coverage of Coastal Currents 

ACE funded

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STATE OF LINE- A SURVEY OF CONTEMPORARY DRAWING 

ARTWORKS 1830 GALLERY HALIFAX

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13th July-3 rd September 2017

‘State of Line’ is an exhibition of the work of ten contemporary artists exploring line in drawing. This exhibition is the fourth in a series of shows at the Artworks, Halifax to celebrate and explore the potential of drawing to transform lives.

 

The ten artists include Greig Burgoyne, Lucy O'donnel, Evy Jokhova, Esen Kaya & Sally Taylor. They have been selected because of the diverse and fascinating ways in which they consider and employ line within their drawing practice. 

 

Tim Ingold (2016), author of ‘Lines’, says:

‘It only takes a moment’s reflection to recognise that lines

are everywhere. As walking, talking and gesticulating creatures, human beings generate lines wherever they go’.

In addition Burgoyne was commissioned to produce a set of drawing games.

ACE funded 

WALK/COUNT/FOLLOW/LOST -A STUDY IN PATCH DYNAMICS

PART OF 'EMBODIED CARTOGRAPHIES' CURATED BY FAY STEVENS FOR FRINGE ARTS BATH MAY 2017 

WATCH THE FILM HERE

 

Visible and mobile, my body is a thing among things, caught in the fabric of the world  

Merleau-Ponty

'Walk/Count/ follow/Lost' -a study in patch dynamics is a live (walking) performance that embraces the experience and implications of limits that walking both confronts and seeks liberation from. Walk/Count/Follow/Lost seeks to elevate the concept of patch dynamics, which is the idea of pockets of heterogeneity existing in the midst of homogeneity.Walk/count/follow/lost extends in scale and scope spaces limits, colliding with both an incidental and targeted audience. Counting ones footsteps aloud while walking a given space in four orientations. Recorded simultaneously and then played back and followed. In doing so the space measured through walking becomes instructions to reiterate that space. The logic of the walking act and space instead see that logic unravel as new orientations and re-navigations evolve that will both displace logic and reconfigure that meeting of site, its audience and performer. 

The absurd sense of being led astray (by oneself), ‘off grid ‘ looks to debate the organised gesture that is walking, where those leading becoming led perhaps in search of what De Certeau called the elsewhere. This is the place beyond the homogenous, ordered, and commoditised albeit paradoxically taking the form of someone appearing to be led by his or her mobile phone. The resulting performance will be to bring about a ripple-like shift beyond the generic; an emergent patch dynamic from within the norm.

Embodied Cartographies is an evocative proposition, an exploration of work where walking is used to investigate how the human body engages with, documents, inscribes, marks, perceives, and understands terrains both urban and rural. Artists in this exhibition including Kenji Lim, Greig Burgoyne and Robert Luzar explore the theme of embodiment and cartography in a variety of lateral and exciting ways with the range of creative and conceptual artistic practices including film, drawing, sculpture, sound, photography and performance. As such the exhibition and symposium at Bath Spa University engages in a thoughtful way, with the concept of cartography as embodied and offers a philosophical and inspiring engagement with the practice of mark-making as language, performance, choreography and wayfinding.

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WHITENOISE BOOK LAUNCH RIBA LONDON

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  6TH JUNE 2017

RIBA  bookshop (Royal Institute of British Architects) 66 Portland Place Marylebone London W1B 1AD 
The bookwork WhiteNoise is an extension of the immersive, contingent and expansive collaborative residency WhiteNoise that took place at the Centre for Recent Drawing in London, between Greig Burgoyne & Rossella Emanuele. Combining commissioned writing and conceptually driven design akin to the process led, performative and rule-based agency that the residency explored.

Conceptually, visually and physically WhiteNoise bookwork opens up a new direction in Burgoyne & Emanuele exploration of possible crossovers between contemporary drawing and performance as a temporal and collaborative experience. Beyond markmaking but rather through the use of Japanese folding and colour coding, WhiteNoise bookwork offers rhizomatic orientations with multiple entry and exit points akin to Burgoyne & Emanuele approaches developed during the residency.

Offering a systematic dialogue between hand and eyes WhiteNoise bookwork generates a space of becoming that translates B & E performative dimension, its durational materiality and its ordering, chance-led or repetitive systems into a bold and immersive bookwork.

Printed with fold out dust jacket, incorporating Japanese folds and overprinting WhiteNoise is designed in collaboration with CHK Design studio in London. It has been printed in the Netherlands by Wonderful Books, a specialist in delivering outstanding limited edition bespoke bookworks.

Published by Marmalade Visual Theory London & distributed by Central Books.

Limited edition of 250 copies 

Full colour incorporating French folds & overprinting

Stitch and sewn /bound with card cover with 84 pages

Priced £17.99

The book is available at http://www.centralbooks.com/books/arts/white-noise-marmalade.html

and other contemporary art spaces/ bookshops including e.g. ICA London

Project supported by UCA research funding

SEPTEMBER-DECEMBER 2016

A collaboration with La Verita Dance Company Brussels, this project was part of BreathingSpace -A site specific commission for La Barcarolle Centre Culturel Balavoine in Arques (62) France from September to December 2016. The project explored Deleuze's idea of 'islands'. A late work of Deleuze, he spoke of islands that are formed by splitting and fragmenting from a greater site, and those islands formed form within , growing from within, akin to surfacing. 
The wall drawings in measuring and relocating space , sought to extend ideas of autonomous space and its heterogenous dynamics within the generic and regulated public spaces. whilst the drawings in their measuring and calculating of walked space /uniting body and site , the very logic and rules of obtaining this information and utilising it to realise the drawings , led to anomalies. Instead of emphasising that united public space , it intensified a fragmenting and removal from it. The performance sought to physically manifest that parallel space with its anomalies and speculate its experience. In doings so take location beyond one of stasis, toward of flux and transition. 
The wall drawings with there optically shifting sen of imploded space meet the expansive gestures of the body , seen together a space akin to breathing may be the outcome, where we are simultaneously moving in and out of space -one we travel that splits and ripples with in front of our eyes and another that meets us as it grows.

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DRAW TO PERFORM 3 - INTERNATIONAL SYMPOSIUM OF DRAWING & PERFORMANCE. 
C
URATED BY RAM SAMOCHA. CROW'S NEST GALLERY LONDON

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JULY 2016

Burgoyne offers up Counting/walking/-a study in limitless limits. 
Beginning in one corner or centre of the space, each person has a pool of either ketchup, mayonnaise, brown sauce or Mustard to walk through and into in the process of measuring the space by walking. These materials chosen for their ubiquitous appeal and aroma, add to the absurd logic that is a key facet of his performative drawings and drawing practice as a whole. 
Each assistant along with Burgoyne, walks a pre determined route around the space . In doing so they count they're steps out loud. The elastic around their legs as restraint is a tool to maintain standardised steps by all the performers. For Burgoyne the very idea of reiterating the limits of the space though word and movement, is paradoxically the very means to suggest an alternative limit less space , in the durations count aloud.

  

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CONCEPT CZONG INSTITUTE FOR CONTEMPORARY ART (CICA MUSEUM)

SOUTH KOREA

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MAY 2016

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QUADRATURIN LA CONFECTION IDÉALE TOURCOING FRANCE. 

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WATCH THE PERFORMANCES HERE 

DECEMBER 2016-JANUARY 2017

La Confection Idéale –Espace D’art Contemporain Tourcoing

En collaboration avec ESBA Tourcoing et Dunkerque

As part of the on-going series exploring contemporary Drawing ‘It’s not only paper’ at La Confection Idéale, Scottish artist Greig Burgoyne presents Quadraturin

This new project of film, installation, contingent making and performance takes its title Quadraturin from the collected short stories of Sigizmund Krzhizhanovsky. In this story it begins in the tiny apartment (room?) of a man. By chance he is visited by a salesmen selling a potion by the name of Quadraturin which when brushed onto walls or ceilings will make the space bigger- albeit from the outside it appears unchanged. In his eagerness to see his tiny space expand he liberally spreads the potion over all the surfaces in his lodgings. Over the next few days his dream of more space becomes an existential nightmare, as the room shows no sign of halting its rapid increase in scale. The tale culminates in the man being lost in space.

The context of this project starts with the C’ommission for Re-measuring space’- set up in 1930’s Soviet Russia. Advocating 9 sqaure metres to each person, the commission routinely checked and re-verified that each individual (if you could call them individuals) had no more than the regulated amount of space. Quadraturin takes this logic of the absurd as the starting point for a series of process led rule-based explorations of site and space at La confection idéale.

As is his practice Burgoyne uses the materials of the office in acts of drawing that either measure or cover. Quadraturin is a dialogue of navigations and re-orientations between body, site and spaces limits. Here a logic is intensified at times akin to dancing, at others closer to the staggered steps of Sisyphus where any utopian notions of liberation may seem a distant memory.

The outcomes of this mini-residence in the form of film, installation, contingent making & walking, seek to activate the site beyond one of location and stasis toward one of transition, experience and flux, potentially to move beyond a space while in the very act of reiterating its limits.

Quadraturin is more Beckett than Lefebvre in its desire to expand upon 

Bernard Schumi’s question ’ Does space have limits? if it does what is beyond those limits or if space has no limits, does space simply go on and on?  Both Immersive and absurd, our forays into space may be best avoided.

 

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THE PRISON DRAWING PROJECT SCARBOROUGH JAIL YORKSHIRE

SELECTED ARTIST FOR THIS PROJECT COMMISIONED FOR COASTIVAL FEBRUARY 2016/17

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WATCH THE FILM & PERFORMANCE HERE
CATALOGUE HERE

FEBRUARY 2016/17

  The prison Drawing Project Scarborough Jail Yorkshire UK February 2016/17 
Greig Burgoyne
‘Only when we move do we see the chains’ Rosa Luxemburg

Bad drawing / paper cell was commissioned by Coastival/ ACE as a site specific drawing performance presented as a film grafted onto the space that is the cell. It takes the notion of drawing as an act of covering and form of measurement, in an immersive act of attempted liberation. Measuring using rolls of paper, the film chronicles what could be seen as a bad day wallpapering a space, no assistants, paste or ladders just a desire to cover and negate the cell. Only stopping when exhausted, Burgoyne offers the viewer a spectacle of endurance undaunted by a failure doomed from the start. In his attempts to be free of the cell, he is potentially submerged in the paper as a result. The outcome is a film projected across the cell walls that unites the tension between the restricted, solid space with a fluidity and potential of the performative act. Consequently, the solid and static of the prison cell could be in doubt and liberation maybe indeed be possible.

Bad drawing/paper cell, was selected & commissioned for the The Prison Drawing Project as part of Coastival, the annual Arts festival for Scarborough Yorkshire February 2016

ACE funded

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SCAPELANDS DRAWING BOX TOURNAI BELGIUM 

GALLERY 1- DRYBOARD MARKERS ON WALL/ GALLERY 2- NICEDAY HIGHLIGHTERS & POST IT NOTES ON WALL-DIMENSIONS VARIABLE

INSTALL VIEWS ABOVE

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WATCH THE PERFORMANCES HERE

OCTOBER /NOVEMBER 2015

‘Evidence of reality had never been as pressing as in this slip toward disappearance’ (1)

‘At certain times it seemed to me this transparency was the only solid ground that remained to me, and, if I went forward, it was by resting on my own image thus reflected, while this reflection was perpetuated to infinity, indifferent to the ruins of time. A reflection that had no doubt attracted me by its fragility. The assurance that in resting on it, I would inevitably fall fast, but the fall was infinite, at each moment of the fall the reflection formed again under my steps indestructible’ (1)

Scapelands is a reflection of sorts, where anomalies of spaces within the site have been studied, debated and in turn amplified, expanded upon and even imploded. Process-led and rule based Burgoyne is extending his exploration of repetition, duration and accumulation through drawing in the broadest sense.
Scapelands is a term given by J.F Lyotard to suggest estrangement from a place, as though one is alien to it, the known of landscape becomes unknown.
From Photocopy paper, dry-board markers to highlighters, the ubiquitous media of the office slides from a functional logic and clarity to another whilst paradoxically still bearing order and logic albeit of another kind. In doing so, magnify formal credentials of weight, colour and line.
Scapelands pushes body and site relations proposing we re-negotiate generic space and enter a new and transformative dialogue with space that may both alienate yet offer greater potential than otherwise exists.
Scapelands offers three propositions to navigate. Awkward concentrations of paper, both comical and absurd through process and rules have established themselves at odds with the seemingly clear geometry of the gallery site, having collapsed perhaps the very symmetries of the space. In doing so, pull together an infinite potential of space from a finite and bound sense of place. These rolled spaces are complemented by wall drawings at key points within this long narrow space. The wall works as Schematic and playful games seek to debate the space we think we know with a reactivated space we might be now encountering.
These like all Burgoyne’s works he sees as propositions only completed or brought into being as a context they are in, through what Deleuze calls their multiple entry and exit points of interpretation and representation. As drawings be they volumetric or spacial they aim to advance the notion of becoming where drawing and meaning is in constant transformation or as Jean Luc Nancy calls‘ a truth... showing the infinity of becoming visible; The movement through which appearance is possible cannot be finished thus it is about showing what does not show itself’(2)
Absurd and ridiculous as it maybe, Scapelands is engaged in the serious play of drawing as it grapples with process and idea, thinking, body and space.
Through markmaking, endurance and a tactile rapport with space Scapelands is a contingent and speculative re-appraisal of limits and all that is fixed.
Through gallery 2 the starting point was the irregularities of 2 doors- 1 whole, full, the other divided by a wall, part blocked – a space disunited from its forming.
Burgoyne sought to bring this form/ space anomaly together not represent it. Through rules of measurement and process he was keen to offer up an afterimage through an accumulation of experience of the markmaking, generate in one’s mind the space lost. Highlighters draw our attention to things, the text we read,and an aide memoire no less. In calculating the number of pairs of post-it notes required to make up the lost space Burgoyne offers a fugitive experience of the tension between the temporal and stable-that which exists but cannot be seen. The result both mentally and physically sees walls and floor shift in competing flux as one moves in and around the space.
Indeed only in closing our eyes might we momentarily see the space lost.
Scapelands is drawing as a reality of disappearance where neither inside nor outside may prevail.

(1) Celui qui ne m’accompagnait pas / The one who was standing apart from me
Blanchot. Maurice 1993 Stationhill Literary editions. Translated by Lydia Davis

(2) Le plaisir au dessin/ The Pleasure in Drawing
Nancy. Jean Luc 2013 Fordham University Press New York translated by Philip Armstrong

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WHITENOISE

A COLLABORATIVE RESIDENCY & EXHIBITION BETWEEN GREIG BURGOYNE & ROSSELLA EMANUELE AT THE CENTRE FOR RECENT DRAWING LONDON 

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WATCH THE PERFORMANCES HERE

READ A REVIEW IN FAD MAGAZINE 'TOP 5 SHOWS IN LONDON'

MAY-JUNE 2015

Centre for Recent Drawing London May - June 2015

Reception Thursday 4th June 6-9

Exhibition 4-12th June 2015

There will be a publication with commissioned essays and interviews following the exhibition.

 

“The premise of our collaborative residency is that we would not be present at the same time in the gallery space. This working strategy brings the benefit of an inbuilt dialogue and testing of drawing and performance artistic processes. The gallery space becomes a speculative site for contingent making and activities, where each artist negotiates its intervention by responding to what the other has left or not in the space.

In the form of markmaking, walking, combined with repetition, accumulation and endurance, the resulting drawing, installation, film and/or sound works aim to debate how drawing can explore systems of space and thinking. By this we mean the forces of energy and 'becoming' brought into the space in the making of the work and those energies and forces that exist already in and outside of the context and site together.

 

The notion of the rhizome is a useful means to test out drawing as perfomative practice as it allows us to open up a non-hierarchical way of thinking and responding where there are multiple entry and exit points of interpretation and representation, be it language, gesture, architectural elements and rule based markmaking; its ordering may be random, instinctual or considered. The resulting work we see as propositions only completed or brought into being as a result of the context it is in. The culminating exhibition aims to reconceptualise the body/site relation through performative actions that take the gallery space beyond a condition of stasis to one of translation and flux, a site of experience rather than location; extending the Bergsonian sense of the ‘not yet’ to a becoming of multiplictiy, endurance and duration.” GB + RE

 

This exhibition is made possible by Arts Council England, the University for the Creative Arts and  the Dovehouse Trust. C4RD is a Registered UK Charity 1123530.

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FAX KARST PLYMOUTH MAY/JUNE 2014 CLOSING EVENT 15TH JUNE
ORGANISED BY THE DRAWING CENTRE NEW YORK

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MAY - JUNE 2104

Fax Karst Plymouth May/June 2014 closing event 15th June
Invited artist for this international touring show organised by The Drawing Centre New York
Fax explores ideas of reproduction, distribution, communication and technological obsolescence. The resulting work is permanently added to its accumulative archive. Featured artists included Richard Wentworth, Martha Rosler, David Blandy and Clunie Reid.
Fax on paper dimensions 21cm x 8.89mtrs based on sequential drawings each on A4 paper using flipchart pens and using 1 pair of post-it notes.

 

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GAPFILLERS BRIGGAIT PROJECT SPACE AT WASPS STUDIOS GLASGOW

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WATCH A FILM/INTERVIEW OF THE WORK IN PROGRESS ON ART IN SCOTLAND TV 

READ THE EXHIBITION REVIEW BY ART CRITIC PHIL MILLER IN THE GLASGOW HERALD 

MARCH - APRIL 2015

Briggait spaces 1 + 2 Wasps studios Bridgegate Glasgow 
Performance/ installation 9th march – 13th March 2015  
Opening event 13th March 6-9pm
Exhibition runs until 17th April 2015 

Dryboard markers & post it notes on wall/ dimensions variable/

We all live such distant and anonymous lives, disguised we suffer the fate of strangers. To some this distance is never revealed; for yet others it is revealed only now and then... for yet others it is one painful constant in their daily lives. 
Knowing clearly who we are has nothing to do with us, that what we think or feel is always in translation... an exile from our own feelings 

- Fernando Pessoa  

What is revealed and what is distant and if that space can be bridged are key aspects of this 5 day 40hr drawing performance that takes the idiosyncrasies of the front of house project spaces at Briggait as its starting point. Gapfillers aims to rethink space and create a new dialogue between performance and audience in the endless and open that is space as an event. Migrating across walls with post-it notes and dryboard markers, Gapfillers is process led, rule based immersion in the fixed and relational that is space and time.      
From fish market to vast renovated project spaces, this exhibition unites repetition, accumulation and endurance alongside specific references to the site; notably its junctures, levels and asymmetry. Burgoyne is keen to bridge the anomalies between the spaces organisation and the inter-relational dynamics of moving in and around those same spaces.     
As an outcome the series of wall drawings led by their rules and processes in seeking to fill those anomalies within the site may in fact be renouncing itself in the very act of extolling its presence. In doing so Gapfillers may be less a ‘fullness of space ‘and instead a ‘fullness of emptiness’ and perhaps an exile from itself. 

Common to all Burgoyne’s wall drawings, films and installations, he exploits the materials of the office. From Highlighters, flipchart pens, biros to post-it notes. 
Burgoyne is testing their standardised credentials of colour, regularities of line, absorbency and opacity. Burgoyne sees his resulting work as finite propositions, only completed or brought into being as a result of the context they are in. In doing so, inviting the audience to play a part in the completion of the work whilst challenge, and at other times liberate, our rapport with space beyond something contained and subsequently closed to further development.

 

APPARATUS ESCAUT ARCHITECTURES BRUSSELS 
GROUP EXHIBITION

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MAY - JUNE 2014

 
5 Drawings each 1.5x 2.89mtrs Fabriano 4 and niceday whiteboard markers

2 drawings- each 70x100cm on Fabriano 4 liscio. 1 large BIC crystal biro per drawing with cartridge positioned in centre at original starting point when it runs out of ink


A series of site specific works that act as propositions only activated by the engagement of the viewer in the experience of the work in situ. Rule based repetition; endurance and accumulation seek to explore how physical spaces can be reconfigured through gesture and duration. For L’escaut a project space engaged in architectural and spatial concerns, Burgoyne created a series of propositions centred around the columns that dominate the space. In the largest works suspended between floor and ceiling, the starting point was the dimensions themselves.  

Beginning with the furthest away drawing at the back of the space, determined by rule based processes the drawings appear to rise and fall. The lengths of which are unknown in advance but in turn determine the starting point of the drawing that will follow it. In doing so Burgoyne hopes the resulting drawing might contest the contradictions between the physical role of support and volume alongside how we might see this in our perception and experience of moving around the space. The outcome maybe the liberation of our perceptions as to what maybe solid and secure and as a result the need for re-evaluation in our rapport with the space of our mind and the physical one we encounter. 

The smaller works that accompany this show begin in the centre of the paper , through repetitive gesture until the ink runs out, the cartridge placed at the starting point may measure, penetrate or not the resulting markmaking.

WE ARE OAKWOOD PASSAGE STOUR VALLEY ARTS KENT

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MARCH 2014

Niceday highlighter pens on paper 1.5 x 3.8 mtrs 

For this project Burgoyne sought to unite an admiration for the late drawings of Van Gogh, in particular the hospital gardens in St.Remy. Van Gogh’s drawings are intense, at times their markmaking becomes of such intensity that one is unaware what is being depicted. His planes of line hatch spaces and a turbulence of both mind and body for viewer and artist alike. Burgoyne wanted to explore this idea of seeing something yet perhaps losing it in the process of recording it. ‘You can’t see the wood for the trees’ is a rule based process of stacking marks using a colour sequence of niceday Highlighter pens was the result. In reaching the top of the sheet of paper pre measured as the distance from floor to gallery ceiling, the process led markmaking generates a tree like form, cypress like even. Yet the wonder and disorientation upon experiencing the resulting drawings Burgoyne hopes transcribes less what is seen but more what we can’t see when we look

 

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WE ARE ALTERNATIVE STRUCTURES 

 T-A-P PROJECTS SOUTHEND ON SEA/ CURATED BY BORBALA SOOS

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READ A REVIEW OF THE PROJECT IN A-N MAGAZINE

JUNE - JULY 2013

Dryboard markers and post-it notes on paper 1.5 X 4.8m

OMON RA THE DRAWING PROJECT  IADT GALLERY DUBLIN 

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OCTOBER 2013

Wall drawing 10mtrs length approx. flipchart pens and dryboard markers on wall

Suspended works on paper -each 5.2mtrs long x 1.5mtrs dryboard markers and post notes

Invited artist as part of the ongoing drawing project where contemporary artists respond to the site.

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DÉCOUVRIR/DISCOVER 

CENTRE D'ART CONTEMPORAIN ESPACE 36, ST. OMER, FRANCE 
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NOVEMBER- DEC 2012 MARCH 2013

Works on paper dimensions variable/ dryboard markers on paper 2.7mtrs long approx.

A Residency in cooperation with Musee de D’hôtel Sandelin situated in the Pays-de-Calais region, which explored the links between how we move through private and public spaces. Burgoyne made interactive floor plans that sought to record the links between how people move in public and private spaces. The result was a series of large scale drawings that could be seen as portraits of peoples’ thinking.

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DROMOLOGY SOUTH SQUARE GALLERY BRADFORD 

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DECEMBER 2012-JANUARY 2013

DROMOLOGY – THE LOGIC OF SPEED 

08 December 2012 – 27 January 2013 

Jack Brindley | Ben Bucki | Greig Burgoyne | Simon Farid | Steve Hanson & Robert Galeta | Warren Hayes | Johnny Herbert | Sam Kennedy | Richard Zeiss 

Dromology, a term coined by the social theorist: Paul Virilio, is the starting point for this group exhibition which explores the complex relationship between technological advancements and our use and perception of physical space. 

The digital age has accelerated various aspects of our lives including the way that we work, communicate and learn yet it has simultaneously reduced the speed and frequency at which we travel through space. Where once the pursuit of knowledge required a physical journey and communication required a physical proximity, humans now remain more static; performing a variety of activities from a fixed point in space. 

Technological devices such as smart phones, laptops and Sat Navs are constantly filling the air with signals and messages that we cannot see or hear. The internet and wireless technology have transformed physical space into a global highway of invisible connections and discreet exchanges. Space must no longer be physically occupied by a person or object for it to be used or penetrated. Instead, technology has broken physical boundaries and become our most powerful tool (or weapon as Virilio might have it) allowing us to infiltrate every corner and span every continent. 

The artists in this exhibition come from across Europe and use paint, photography, drawing, film, live streaming and text to explore the relationship between space and technology. Their unique and personal responses to this global theme form a conversation which spans philosophy, environment and time but always returns to the individual living in the present. In an era when space is becoming increasingly occupied by the immaterial and invisible, the works in this exhibition form a material presence which encourages visitors to pause, reflect and consider their own interaction with technology and physical space. 

Wall drawing- dryboard markers on wall dimnesions variable 4.7mtrs length approx. 

GREIG BURGOYNE CV

 

Education
Born Glasgow Scotland 
MA Royal College of Art London UK
Academy of Fine Arts Vienna Austria

Solo Projects in 2019 include

 

First Night of experimental Boredom Lodge 222 Dordrecht Holland Curated by Frans Van Lent January/February 

Expect the unexpected The Lowry Manchester June-September

Brief encounters (with Dierdre McLeod) Edinburgh Arts Festival August

74years OA.Network commission Goodnestone Park Kent June-August

Reality Hickster Projects Rome August

Between the sunny and the opaque Drawing Projects UK October-November 

Restless Linings Kosar Contemporary Bristol November

Recent Solo Projects

2018 Identity invited artist as part of the International festival SynodeDort400 Dordrecht Holland curated by Yvo Van Der Vat (installations , participatory live street performances, screened film works and non participatory live performances.

2018 Celui qui ne m'accompagner Pas Commissioned by Médiathèque du Moulle, Hauts de France, Curated by Christine Gist in cooperation with Espace 36 Association D'art Contemporain (wall text work, interactive sound work , live performance, incidental 3d works and series of vitrine presented digital prints )

2018 Someone Standing apart from me Commissioned by Livestock Performance platform MART Gallery Dublin (live performance with residual installation element)

2018 Pier To Pier / Pier Dig  Commissioned by ArtWalkPorty, Portobello Beach, Edinburgh (live durational (6.5 hrs) performance on Portobello beach)

2018 Curator- Coastal Currents Arts Festival Hastings 

2018 Resident artist H E A R - Haut École Des Arts Du Rhin, Mulhouse/ Strasbourg France (live performances and seminars (in french only )

2018 Performative paper for CIST Reinventing places through art; rethinking art with space​-CIST 2018 Rouen Université/ Paris Diderot Université France

2018 Island workout no.2 Université III Lille France (lecture (in French only) and live performance)

2018 Organ-Icon-Une aventure de corps Bureau D'art et Recherche, Roubaix France (Live performances with Residual element, and film projections )

2018 OKNO La Confection Idéal, Tourcoing France (live durational performance , residual installation element and window back-projections nightly)

2018 Restless Linings (group show with Robert Luzar, Joe Graham, Lucy O'Donnel) Wimbledon Space London (live performances and residual with residual element) 

2017 Stitch Up commissioned for P/ROPS at NEST Ghent Belgium (performances, film screenings  and adhoc installations) for Gent Matinees

2017 Island work out Coastal Currents Contemporary Arts festival, Hastings (Site specific live performance commissioned By Coastal Currents Arts Festival)

2017 Academic paper presentation -'Splace'-co-creating sites'- Drawing Conversations 2 conference - Body space Place

University of Coventry

2017 Close Encounters in collaboration with Sociologist Andrej Zeleniec/ Commissioned by The Stove Network Dumfries Scotland (public participatory walking events in public space/s)

2017 State of Line- A survey of contemporary Drawing The Artworks 1830 Gallery Halifax  (films/ screenings and Live performances)

2017  Performative paper on 'Drawing as Elsewhere' at Drawing Matters Symposium York St John University

2017 Embodied Cartographies Curated by Fay Stevens Fringe Arts Bath 2017 Arts Festival (installation/ live performance)

2017 Launch of  WHITENOISE a book of commissioned writing and interviews, published by Marmalade Visual Theory/distributed by Central Books at RIBA London subsequently featured at London Arts BookFair Conway Hall, London; BABE (Bristol Artist Book Event), Arnolfini Gallery Bristol

2016/17 Quadraturin La Confection Idéale Tourcoing France (Live performances and installations)

2016 Breathing Space Centre Culturel Balavoine, France in collaboration with La Verita Dance Company Brussels ends 16/12/16 ( wall drawings, live performances )
2016 Concept – Czong institute of Contemporary Art South Korea (films/ performance)
2016 The Prison Drawing Project, Dean road prison Scarborough Yorkshire (Live performances/ installation/film )
2015 WhiteNoise play vs purpose was presented as a paper at the symposium Drawing Conversations at Coventry University 
2015 Scapelands Drawing Box Tournai Belgium (site-specific wall drawings Live performances and installations) 
2015 WhiteNoise Centre for Recent Drawing London 
Supported by ACE and UCA 
2015 Gapfillers Briggait Project Space at Wasps Studios Glasgow (site-specific wall drawings Live performances and installations) 
2014 Fax Karst, Plymouth curated by The Drawing centre New york (site-specific drawing installation) 
2014 Subject to change Limbo Margate (site-specific wall drawings) 
2014 Apparatus Escaut Architectures, Brussels (site-specific wall drawing installations) 
2014 We are Oakwood Passage Stour Valley Arts, Kent (site-specific wall drawing installations) 
2013 Warped Space Frost Art Museum Drawing Project, Miami Florida USA (site-specific Live performances and installations) 
2013 OMON RA The Drawing Project IADT Dublin (site-specific wall drawing installations) 
2012/13 Dromology- The Logic of Speed South Square Gallery, Bradford UK (group exhibition) with Jack Brindley (site-specific wall drawing installations) 

 

Research awards 

2017UCA Research grants for Drawing conversations 2 & Drawing Matters Symposia

2015 UCA Research grant for WhiteNoise publication (UK) 
2015 Arts Council England, research and development grant for WhiteNoise residency and 
exhibition at the Centre for Recent Drawing, London 
2001,3,5 Arts Council England, research and development grant –Art in Romney marsh (curator) 
2008,9 British Council – travel award Canada 


Recent Published work 

 

2018 L'independant exhibition review Lille Hauts de France France 

2018 GLASGOW HERALD phil Miller / visual arts roundup 

2017 A-N REVEIW 'Coastal Currents arts festival- developing a dialogue' Dany Louise

2107 Coastal Currents Arts Festival Sussex Brochure  
2016 Exhibition catalogue The prison drawing project (ISSU online)

2016 Exhibition review The Prison Drawing Project Drawing research Theory 7 Practice (journal) issue 2

2016 My process Featured artist for May 2016 Central Station Glasgow (online) 
2016 Drawing Conversations symposium Play V Purpose Published by Coventry University school of fine art 
(digital/ online) 
2016 WhiteNoise a Collaborative drawing project Drawing Research Theory (DRT) volume 1 
Intellect Books January 2016 
2015 Drawing Paper #8 featured artist Liverpool UK(online and print) 
2015 WhiteNoise featured exhibition Top 5 shows to see in London - FAD MAGAZINE June 
2015 Gapfillers Glasgow Herald Arts Section (April) - exhibition review Phil Miller 
2013 We Are All Alternative Structures exhibition review A-n 
2012 Decouvrir La Voix du Nord (newspaper review) France, November 
2012 Une Point Jeté Deux Rives L'Indépendent (newspaper review) France November 
2012 Decouvrir Exhibition catalogue published by Espace 36, France

Work held in the following Collections

 

Bank of Montreal, Canada
Russian State Museums
Swiss Bank corporation
Stadt Mainz/ Dept of Culture, City of Mainz
Roost Group UK
DAAD Bonn Germany
Agentur 42 Mainz Germany
Corr Contemporory Art, London, UK
Royal College of Art
Sir Christopher and Lady Lewington
TI Group UK
East Sussex NHS Trust
Private collections in the UK, Europe and Canada

GREIG BURGOYNE

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©2019GreigBurgoyne

NO IMAGES OR TEXTS MAY BE REPRODUCED WITHOUT PRIOR PERMISSION