Beverly Bennett.

I forgot to blog about this lady... I recently saw her work at an exhibition at the Bluecoat in Liverpool. At the time, I didn't appreciate the work at all. It was only after walking away and coming home that it really had an impact on me. This is the sort of work that really baffles me, I can never decide if it's not enough, or just right. Say if I was to take this work to a review, what sort of reaction should I expect?

Well there's really only two options, there's either 'it needs work', or, my personal favourite... 'what does it mean?'

I've got to say, I love it. More than anything, I love the fact this lady probably just thought, 'you know what, I'm going to scrape a few lines into this paper, and while I'm here, stick a few pins in this card and stick it in the wall!' (insert any dialect here.. makes it more amusing!) I'd love it even more if that was the case. It could be about absolutely anything... the fragility of the paper could link with almost any global issue. The fragility of our nation... the fragilty of the global economy.

However, having read up about this exhibition, which is actually called, 'Action', linked with Sonia Boyce's 'Like Love - Parts one & two'; it turns out I am completely wrong... obviously! 'Action' is part of Bennett's MA degree, which was completed six months ago and forms the basis for her pieces; interacting with the medium of drawing using a mix of paper, pins and sharp scoring tools, which she describes as 'a sort of Hansel and Gretel approach'... Not really sure what that means! The fact it is mounted at eye level is to give extra impact; allowing you to come face to face with the pins. Bennett describes it as 'quite scary and violent', 'very alluring and delicate'. Boyce depicts Bennett's work as an avenue to explore concerns about the depictions of performative actions in art - 'Subtle artworks become evidence of her interaction with the medium of drawing, and then the audience becomes witness.'

... Yeah, now she's lost me.