I have been thinking about turning the way I view my own work from previous projects on its head – instead of intuitively looking at composition, progression I am taking a step back from what I feel is the final outcome, changing my perspective on my primary collages and sketches and planning to weave them into a projection, or into the filmed documentation showing the progression and transition of an idea. David has also given very solid advice to not go with what you feel or what your normal stages of work would be, but to refresh my approach and try something that is out of my creative box, allowing me to grow as an artist. The notion of my sketches and collages as a projection would be quite minimal as I often feel like I have shown my methods and documentation with but separate to the final outcome, stopping once the physical object is completed. It would be interesting to take the sculptural interpretation of the collages and continue to make the physical work, but for the final outcome to be a visual experience rather that a physical sculpture, and this would be broadening my creative intention towards my practice. Reading peter Eisenman’s ‘Diagram Diaries’ I came across these two quotes: the first is about the technical aspects of lines and dimensions and the process through which shapes become diagrams; “Technical preconditions that would allow modern architecture to refound itself... on the twin basesRead More
“Winter narratives “ Is my first residency ever, and I was actually quite anxious about it. But when I reached the location, and met up with all of these lovely artists, I was feeling comfortable right away. The location of the program, i.e. Highness farm, sits by the ravines of the Mahi river, and is a habitat for various beautiful insects and birds, which is quite different from the location of my studio, which sits in the middle of a concrete jungle. This change is beautiful, I sketch and paint, and when I get bored, I just go for a stroll around the property and often spot some migratory birds and cute insects. The fact about this residency, which includes a varied set of artists of all ages and different kind of knowledge, makes an amazing ground for exchanging powerful thoughts. I am finally feeling fresh and positive, and maybe, also got some lead to my future body.Read More
The beautiful gallery space at Artcore seems to have been made for this installation of 'Small Promethean Acts'. The circular room has a very high ceiling from which a circular glass mobile hangs in the centre. Eight small speakers hang from the ceiling in the middle at head height so that you can place them to your ear to hear recorded stories about small acts of care collected from the public in Derby. It is lit with a warm light from spots on the wall and there is light enough to see 20 or more small assemblage sculptures made from tiny stoneware figures that have been made to fit around found domestic objects.
Not all the work was made for this installation. Some existing work sits next to new work made from things found, mostly on the streets, during the residency - like a serving platter, a Ruskin bowl, a child's hoover toy, plates, and a teapot. Others are older items that were found and kept over the years, like the singer sewing machine, an old typewriter, some taps, a string pot and a dustpan.
The sculptures are displayed on old white furniture of different sizes, used as plinths and arranged in a semi-circle ending in a snail shape that you enter to listen to the stories. They do not illustrate the stories, that are told quietly in a small hum that emanates from the speakers
The magic of encounter, the constellations and points of arrival and departure when you weave things together in conversation
I’ve been reflecting and reading about 'creative engagement'. For all the years that I have been able to call myself an artist I have wanted to engage people – take them on a tour or talk to them in the street. In the early 90s I made a lots of street performances that were about talking to people – about things. They would ask what I was doing - usually something strange – and the conversations that ensued would be the real ‘art work’. It was never possible to really capture this process although you could sometimes see glimpses in video documentation or ‘vox pops’ .
Visiting the Hepworth with my granddaughter, we were really taken with the materials they provided for ‘creative engagement’. Together we played with the wood, metal, soft ‘holed’ material that had been carefully designed and provided. The physical engagement with tactile and physical objects that related to the work on show, created conversations and a joint experience and exploration between us.
I also visited Manchester Art Fair and galleries and loved the Promethean vase on display. (Minton vase, 1875-1878) with captives hanging from the top of its beautiful blue Celeste glaze. It reminded me why my small sculpture for Small Promethean Acts reference this classic story: Prometheus stole the secret of fire for mankind. As punishment the gods chained him to a rock and commanded an eagle to peck
Salt and Water. Water and Salt.Salt and Water. Water and Salt. One is born from the other. Each can be separated from the other. Once called White Gold, a currency, the rise of wealth, the cause of war and exploitation. Sacred, holy it wards of evil. Its spillage is sinful and can bring bad luck. A sign of hospitality, loyalty and treachery. The more I research salt the more connections it seems to have with the human condition, culture and identity. I wanted to use the residency as an opportunity to really consider the medium I work with. To explore its properties, to play with it, to learn about it, to understand its benefits and limitations. Playing with materials is such a vital part of my artistic process; it allows me to experiment and expand my thoughts, seeing the materials move, change and react allow me to visually transfer text-based research and ideas through symbolism. I will not adopt a masterly tone and bore you, rather allow me to take you on a visual journey Both salt and water are essential and detrimental to our existence. The first part of this process was seeing what would happen to a chunk of Himalayan salt under a running tap within a few minutes the water created a hole within the salt. What was dry on the surface was now glistening and part translucent. Read More