I have just come back from a very useful research trip to the east coast of Scotland stopping at Edinburgh and Dundee to visit some galleries, take part in a professional development course and review a collection of artists' books. It was very worthwhile and my head is buzzing with ideas, thoughts, reflections.
Living on an rural island to staying in a city was an explosion to the senses, the noise, the smells, the traffic, the people, and I walked everywhere, through different districts, shopping malls, housing estates, green spaces, grand buildings. It was brilliant, although by the end of the trip I did relish the return to the island.
I've had a conversation recently regarding my location and to what effect it has on my work. At home there are few distractions, a place to concentrate on the job at hand. Visiting the city like that allows a brief intense period of focus. It was really good to be in galleries looking at the artwork on display with a fresh pair of eyes and mind and it will be interesting to see how I respond to this experience over the next few weeks and coming months.
The course I went on was about making applications and proposals. We were a broad group of creatives ranging from architects, film-makers, artists and designers and this meant the information given couldn't be too specific which was disappointing. What the course did do was ask me some fundamental and thought provoking questions about my practice, some of which personally, I found difficult to answer or am uncomfortable with.
Some galleries I couldn't find, some galleries were shut or 'between shows', some galleries didn't appeal and some galleries were an unexpected surprise.
David Batchelor 'Flatlands' at the Fruitmarket Gallery in Edinburgh was a revelation. He is primarily known for his sculptures but for this show he presented 2 dimensional work and drawings about sculpture. Here was his ideas for sculpture, as well as drawings of sculptural work unrealised or complete, often using these drawings as instructions for installation.
It was his process of creating which excited me the most and he works in series over long periods of time, 10 -15 years sometimes.
Famous for working with colour he has written a number of books on the subject of colour and the monochrome. One of his books in particular is now on my wish list, 'Chromophobia'. Because I always work with black and white I have been curious for a long while as to why that is, maybe his text might enlighten me?
At the Ingleby Gallery in Edinburgh was Garry Fabian Millar 'The Middle Place', a series of 40 photographs taken over a period of time of one place, at a fixed point with the lens. Every image was slightly different, but only ever so, and I could pick out some favourites. Each image was presented in a white frame for group continuity. I actually found the choice of display a little boring. It seems that anything as a series is either pinned to the wall, or put in a frame of equal size, style and colour. What about juggling things up a bit, ever so slightly, to create a slight blip, to break the monotony up, a little bit, yet still as a continuum?
In complete contrast was Summerhall, a creative arts hub in Edinburgh. One of their exhibitions called 'Phenotype Genotype (PhG)' has on display a collection of artworks from Summerhall's scientific past, illustrating the avant garde from dada, surrealism, arte povera, conceptual art, minimalism, pop art and the YBAs. Presented in old fashioned glass cabinets, it was a mass of the ephemeral. What struck me the most was how dated a lot of the work looked and it has made me now wonder how dated will my work look in years to come? There is looking dated as in 'a classic' (good) to looking dated as in 'naff' (bad)? I feel concerned.
In Dundee I had the pleasure of visiting the Centre for Artists' Books in the Visual Research Centre housed at Dundee Contemporary Arts Centre. With a collection of over 1300 books it enabled me a flavour of what an artists' book is or could be. It appears that generally an artists' book may contain handwriting and hand drawn imagery but is then printed by machine for publication. To connect with the viewer more personally a number of books were signed by the artist, with an original signature, and many books were limited editions. Hand crafted books appear to be a slightly different scenario and I think I prefer the sense of the handmade as opposed to the 'catalogue', hardback style design. It has certainly got me wondering as to how could I create books within my practice? I will have to try out some test samples. I think another step would be to visit an artist's book fair and see what is currently being produced, on the market right now, and what sort of prices they are.
This blog is just a sample of what I have seen, done and thought about during the last week. It has been so worthwhile, a success, and there is so much more. Being part of the wider art scene whilst living on an island can be difficult. The computer and social networking has to be key to my connection with the wider creative community but I love where I live and it is key to my daily existence. I have just joined Twitter but have yet to gain confidence in regular twittering. I have a small number of connections on LinkedIn and many friends on Facebook. 'Collaboration' was the buzz word on the applications and proposals course. Too much networking though means less time for creating and I need time for making. It's about getting the balance right.
And there is so much making to do.
Monday 13 May 2013
Saturday 4 May 2013
Blog 37
I am piercing paper again in force developing a series of small drawings testing out blocks of pierced paper verses flat spaces, looking at how the edge of the paper curls when it is pierced, liking the rough and smooth textures of the flat and the raised surfaces, looking at relationships between each drawing.
Working small, postcard size, is a good template to test out ideas. I would like to create a series of large scale works for exhibition.
I have purchased a mini starter pack of 20 watercolour paper sheets from Ken Bromley Art Supplies to see how the piercing process performs on different specifications of paper. It might be the case of simply changing the specification of paper that I use that could make all the difference. I actually like the exercise of piercing 20 sheets of paper, all in the same way, all to the same process, and I am getting different results.
In July I will be exhibiting in a show with the group Plastic Propaganda. We will be in Amsterdam, my premier showing outside the UK. I have been looking at ways to present my pierced drawings and getting costings for different framing solutions. In the ideal world I would like to present my works as they are, without any constraints at all, a piece of paper, as is, but that is not always possible, so I need to find hanging solutions that are as minimal as possible.
Plus it is so costly to have work framed and prepared externally for showing. Along with courier services, transporting artworks abroad, getting to the venue myself, accommodation. The £££ keep rising for this show.
Artist Karla Black suspends coloured paper in a space using thread or ribbon. I have tested out clear plastic fishing wire. In certain light you cannot see it. The paper looks like it is suspended, there, in the space, on it's own. Fishing wire as a material in itself is interesting. If it has a kink in it, you cannot straighten it out, the curl remains there. I have been thinking, how about crocheting with the fishing wire and then unpicking it, capturing all the kinks and curls. That would go well with my dress making paper yarn that I am making.
Next week I head to Edinburgh and Dundee. I am on course to learn more about making applications and writing proposals. I have also made enquiries to view a collection of artists' books at the Visual Research Centre in Dundee.
Reading, research and theory all play an important part in my practice. Is there a way to disseminate this thinking to my audience that can be stimulating, thought provoking and interesting? Where do books as an object and subject fit into my practice?
I have just been interviewed to discuss my solo show and project that I completed at An Tobar Art Centre this last year and I have caught up with an artist whom I haven't spoken with for the last 4 years. They were asking some important questions. The books that I read and talk about in my blog, the place where I now live, and the physical and the intangible costs to my work and practice, what influences are they having, if any, on my work?
I am busy.
Working small, postcard size, is a good template to test out ideas. I would like to create a series of large scale works for exhibition.
I have kept my weekly newspapers and magazines and used this wastepaper for pierced paper ideas, looking at patterns and shapes, formats.
And I have been folding sheets of paper together and stitching them together, a sort of book, but still a sheet of paper.
Larger Scale Work in Progress
I have purchased a mini starter pack of 20 watercolour paper sheets from Ken Bromley Art Supplies to see how the piercing process performs on different specifications of paper. It might be the case of simply changing the specification of paper that I use that could make all the difference. I actually like the exercise of piercing 20 sheets of paper, all in the same way, all to the same process, and I am getting different results.
In July I will be exhibiting in a show with the group Plastic Propaganda. We will be in Amsterdam, my premier showing outside the UK. I have been looking at ways to present my pierced drawings and getting costings for different framing solutions. In the ideal world I would like to present my works as they are, without any constraints at all, a piece of paper, as is, but that is not always possible, so I need to find hanging solutions that are as minimal as possible.
Artist Karla Black suspends coloured paper in a space using thread or ribbon. I have tested out clear plastic fishing wire. In certain light you cannot see it. The paper looks like it is suspended, there, in the space, on it's own. Fishing wire as a material in itself is interesting. If it has a kink in it, you cannot straighten it out, the curl remains there. I have been thinking, how about crocheting with the fishing wire and then unpicking it, capturing all the kinks and curls. That would go well with my dress making paper yarn that I am making.
Next week I head to Edinburgh and Dundee. I am on course to learn more about making applications and writing proposals. I have also made enquiries to view a collection of artists' books at the Visual Research Centre in Dundee.
Reading, research and theory all play an important part in my practice. Is there a way to disseminate this thinking to my audience that can be stimulating, thought provoking and interesting? Where do books as an object and subject fit into my practice?
I have just been interviewed to discuss my solo show and project that I completed at An Tobar Art Centre this last year and I have caught up with an artist whom I haven't spoken with for the last 4 years. They were asking some important questions. The books that I read and talk about in my blog, the place where I now live, and the physical and the intangible costs to my work and practice, what influences are they having, if any, on my work?
I am busy.
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