Blog 25

I think when I wrote my last blog I was feeling kind of panicky. I feel calmer today, more composed, thoughtful.

There has been one or two articles published recently referring to participatory / group / social (community) art and they question what has happened to the private experience and individual 'imaginative engagement' with art? This makes me feel better and reminds me that there is a place where I can communicate with the public or community en masse with my work. And it doesn't have to be labelled 'socially engaging', but can be individually engaging and to lots of people.

A slight deviation on these thoughts leads me to think about our financial crisis and questions being asked if culture is in crisis? What are the values of artwork beyond monetary values? Aesthetic values, anthropological values, environmental values?

Individualism and the idea of the individual artist working in a studio making art supposedly no longer exists in the contemporary art scene. Its almost perceived as 'uncool'. As people travel more, work remotely and are dispersed on an international scale, we all communicate and collaborate together via the internet, Skype, social media, the telephone, me included, yet we are still on our own in a physical space (and probably on a mental level too), just like the artist of years gone by. We have the technology now to make us feel like we are not on our own.

So what else have I been thinking about since I last wrote a blog?

I've began receiving regular email bulletins from the Association of Art Historians. The subjects discussed and the language used can be difficult to understand, but these emails provide me with bite size nuggets of thought provoking questions about areas of art practice, historical and current, that interest me. There are also a number of curators who write for these bulletins and they are an area of expertise I would like to tap into.

Subjects that have come up include materiality (which I will discuss another time), along with museology and the functioning of the museum, modes of display and exhibition as an ephemeral event. I am fascinated by how art is made (the artist's process) and how it is displayed and portrayed / presented to the viewer. What I make in my studio, how can I share that with others?

The word 'ideology' has been cropping up. What an exciting word. Beside it's economical and political nuances the idea of creating a 'visionary speculation' (I quote the dictionary here) is a thrilling thought. I keep thinking whether I should write a manifesto to give more direction to my work.

To quote the Portuguese I feel like I am on 'the edge of the world'. Not about to jump off, but happily sitting to the side looking on.

I am waiting news of funding for my solo show. I do hope this comes through soon as it will allow me to move forward with this project.

I'm also considering the idea to take a trip this summer to the outer islands of Scotland and visit some of the galleries, see if I can set up a new project for next year.
 

Blog 24

For my dissertation in 2009, I questioned what is the role of the artist in contemporary society? And all those old haunts of mine are coming back again. I have so many questions about the role of art and the the artist today and what is my role as an artist in all of this?

I've been catching up on my art journals these last couple of weeks and they invariably bog me down with all the numerous layers of thought and activity that are happening in the national and international world. Art that is participatory, includes community involvement or activism are key areas constantly addressed, yet I am not a community artist. This feels problematic for me.

On a practical level, I've been piercing my roll of paper for over 100 hours now and it was starting to feel repetitive. The process that I meticulously follow was starting to feel like hard labour. I am feeling a bit better about it now.

I think I'm trying to establish a formality to what I do. A structure and a justification. This is for the work that I make (the thing in itself) and myself as an artist.

There are three things to consider:

1. The act of making, which I approach in a simple way. I love the simplicity of it.
2.  (a) Reading, thinking, and writing about the theory and context of my work. (b) Keeping up to date with contemporary art practice. This feels the most complex and challenging part of my practice - good and bad.
3. Computer, networking time. This can be informative, is necessary, yet sometimes an all time consuming activity.

I think I'm feeling restless at the moment. Thinking lots and not wanting to think at all. Wanting to talk lots and not talk at all. Feeling a need to explain myself and not explain anything at all. In terms of the creative process, the way I am right now is said to be a good thing. Arrrrghhhhh!