I have been collecting together some images from the last terms studio work, trying to decide what is ‘sketch’ and what is work. It has been surprising to me that through this process i have begun to see the connections between some of the pieces, ma separately, yet more connected that I could previously have seen.
I’ve been trying some new tools in recording my idea, as life during the Christmas holidays with the children has been pretty barmy. I take any snatches of time I can manage, noting down the thoughts that come into my head, the reflections that inevitably spin around my head in moments that grab me unexpectedly. I’ve been using an idea creation software package, then importing it to annotating software. These are the notes I took after noticing a pair of feet underneath the mirror at the hairdressers.
Although I have not re annotated, merely recorded my initial responses, it has given me some comfort to take fuel for the work coming up… Hopefully!!!
I cannot hide from the fact that I do not want to make representational paintings, but when I see something that moves me, such as wrinkled nylon tights, the desire to recreate in paint the sensation I am viewing/ experiencing baffles me. While sculpture can sometimes satisfy, at moments such as the one recorded above, my initial thought response is a desire to engage with thick voluptuous paint to recreate the sensation.
Next term I will try to spend a couple of weeks exploring this paint and materiality equation, and see what evolves….
I decided to take a walk around the near deserted BA studios, to enjoy some of the work of my peers, and consider what I’m attracted to and why. The following images had the greatest resonance for me.
Reflecting now, I see light, colour, form and mostly flatness, even in the 3d works. The apparent simplicity of the grey work appealed enormously. Quiet but strong, that’s what I want.
Yesterday I had the privilege of a morning with Jo Melvin, talking about her curation of Barry Flannagan, with some reference to her understanding of it.
I had many questions before I arrived. The most significant was trying to understand how the hare sculptures fit into his previous/ other work. I could not understand the link.
Looking at and appreciating the very tactile nature of the work, I also struggled to reconcile the ‘DO NOT TOUCH’ signs, plinths and barriers.
These were resolved for me as Jo carefully led us around the work. Not by her answering, but by gently meandering through his interests and concerns in his work, the relationship with materials, and with galleries.
I particularly enjoyed looking at how he investigated with great respect for the authentic properties of the materials. I also really enjoyed his drawing, to record, to explore and to express.
One of the most curious things was the bewitching mystery with which Jo imparted her understanding. Throughout the seminar, I felt her prompting, reflecting and mediating some information, but at no point did I notice her telling us how to understand the work. Yet at the end it almost felt like we had spent an hour with the artist himself. What a privilege to have a representative value the work she’s representing so highly.
In a moment of inspired madness, I went to the foundry today to make a wax slab.
I had looked forward to a whole day in my studio with uninterrupted creation, but the morning fell flat, with little more occurring than a few ‘sketches’ with materials. Playing with paint, powder and Vaseline ordinarily has me absorbed, but everything was stopping short of magic. Kind of interesting, but already made in a different form elsewhere. Remakes remakes remakes. Then Roger presented us with chocolates over lunch, at which point I realized I was staring at the vacuum formed plastic insert, with a familiar sense of tactile interest.
I wanted to cast it. But it’s the last Friday of term, POST lunch. No ones going to let me in the workshop to start a new work. Or maybe they might…
First was a plaster cast, showing the sumptuous tactility of the repeated forms bulging in bulbous glory. That was almost enough, but I persisted on to melt the wax. The image in my mind of a wax block with the repeated circular cups delving into the form was compelling me on.
This glorious bulk is the hot red wax in its mould, just waiting….
It made me think, I might like to mould with jelly??!
Of all the work I have done today, this simple work is the one with which I am most pleased. But why?
I have worked with squelching paint piled onto a surface, powdered pigment and copper, string, paper, chalk and fabric. I have been exploring the materiality of my practise, seeking what pleases and pushing at my own boundaries.
The more I have worked, the less I have wanted to come away from the wall. The nature of the materials I have been working with have led to the creation of floor based works, yet I returned to mono printing as a natural conclusion to my afternoons work.
To add to the mix, I realised today that all the sculptors I have recently looked at (Eva Hesse, Rachel Whiteread, Phyllida Barlow, Louise Bourgeois, Joseph Beuys, Naum Gabo, Barbara Hepworth….) of their work I love the drawings way more than the sculpture.
What do I make of that?
David Bachelor once called me a semi sculptural painter. I’ve never been able to square that statement with my reality.
All food for thought, interesting and perplexing. My next art theory work will be considering materiality. The plot thickens…
After exhibition clear up, and post crit debrief with lovely friends, we headed to a~block to an exhibition ‘navigating spaces’, and also to tommy ramsay’s ‘everyday spaces’.
Rather than describe the exhibitions, here are some photos selected to reflect what interested me most.
This is the work of Lewis, my studio bud, so I instantly recognised it. He had previously filled a room with leaves and buried underneath was a light box. For this space, the leaves were spilling out of a cupboard, door slightly ajar. When you open the cupboard door, the light comes out from beneath a deep (could be bottomless, like the stories of childhood) pile of leaves. I loved the idea of action and choice Lewis added in this exhibition, but most of all, the sheer tactile engagement with light and crunching leaves beneath my feet and before my eyes.
Next, I came across these two works, in opposite rooms but with equally engaging sensory effects. The pile of rice with the sweep marks where the circle had been drawn moved my sensory-ometer to HIGH. I enjoyed the cloth form playing with the gravitational pull tugging on its bulk. The folds of material cast a visual delight of light and shade across its bulbous belly.
Then, as if my sensory delight had not been filled up enough, the final piece really took the biscuit (metaphorically speaking, that is!)
Context: old dusty room with time ravaged markings and beautiful natural light
Materials: ruddy physicality of mud, crumbly and gently aromatic. Raw, unvarnished wood, gently incubating light airy balloons with magnificent colour. Finally, light of two colours creating a hazy interplay of light and shade.
We discussed what I was concerned was my superficial aesthetic response. I loved this piece because of its textures, coloured glowing presence. I liked it because it made me feel good, feel present and feel alive. My wise friend suggested that perhaps I was too harsh to judge that response as superficial, that of all responses it is the most life affirming of all. She pointed to that stage with growing babies when they reach out and grasp, that multi sensory engagement with material is the primary response, in her opinion.
I need to think on this some more, but it seems my self censoring is not just in the making, but also the responding. I have much to reflect on, but interestingly, that conversation has led to a deep desire to get on and engage with materials in a strongly life affirming way.
So here’s Rosie, my studio buddy, working with butter for her exhibition piece. It provoked many interesting conversations, and I’m particularly interested how it relates to my practise. I have been encouraged to explore the materiality of my work. Phyllida Barlow has been in my mind. References to Louise bourgeois have also chased me.
To what extent can I go with this materiality? Concept and meaning have always been present in my work, sometimes over present and too tightly controlling, not allowing the work to proceed. But can I explore the materials without any reference to meaning? (Other than an honest exploration of material)
I’m wondering if I need to take one more step backwards, away from purpose driven creation, into experimenting with the materials that appeal, and see what they do, how they react and respond to making.
Spotted these on my way thought the studio on monday. Luscious bulging forms. Gravity playing against restraint. Quite wonderful!
findingawaythrough 