ARTISTS TALKING

Sean Edwards is one of the three graduates from the 2003 a-n Magazine degree show reviews feature ’School’s out’ who has given updates on their practice in ’School reunion’ as part of 2009 Degrees.

Recently people have asked me how I have 'gotten' something – an opportunity, exhibition or representation. How do I answer this? I don't 'get' anything. I make things – sometimes called work – and I talk with people about things. An artist should make things not 'get' them.

I met Michelle Cotton in 2005 at my Slade MA show. I was making a work to do with black and white striped jumpers and she happened to have one on. We spoke a little about the exhibition and S1 Artspace in Sheffield where she was then curator. Discussions continued via email (it is because of the Internet I was able to relocate to Wales) and after a while we met in London for a mobile studio visit. In five years I have only once ever had an actual studio visit and that was from Michelle. We met again to see some shows and conversations continued leading to a solo exhibition of work at S1 Artspace. I see the exhibition as a result of a collaborative process deriving from these discussions.

Michelle later recommended that I talk with George Henry Longly. I did and still do. I curated him into a show at g39 in Cardiff in 2006. She also put Ryan Gander in touch with me. Discussions with Ryan led to my first solo exhibition in London at Associates. Associates morphed into Limoncello who now represent me. Being attached to Associates had huge benefits in terms of that uncomfortable word – 'exposure'. The next year, I was included in another 'emerging artist' programme, 'Nought to Sixty' at the ICA, as well as a number of other solo and group projects. For the first time my work was being bought. Until this point I had never considered that as a possibility.

I can trace a lot of these opportunities back to Michelle and, in turn, Ryan. It's easy to say artists need people like Ryan and Michelle but I think it's truer to say art needs them – more people operating for the sake of others, for a shared practice. Carrying pollen from one place to the next.

Maybe I need to take some credit myself for making the work and spending the time in the studio, though it's hard to congratulate yourself for something that is a privilege. Recently, with increased exhibiting I have spent less time being able to make work selfishly – everything is for something. Though, currently gathering reviews of Bruce Springsteen's Nebraska together for a more personal work. I may call it Hey ho rock and roll deliver me nowhere. I'm hoping it will allow for a shift.

When I'm not doing all the above I'm a Professional development officer at g39, Cardiff for four days a week. I sell work but by no means enough to live on. But if someone asks me what I do, I'm an artist. I can offer advice to artists, not by following a template but from a lived practice – one of which I am never quite sure. What it always comes back to is the work. It's the ultimate priority. With work will come discussions, and I know it's in the discussions that you'll find it.

www.limoncellogallery.co.uk

Sean Edwards

First published: a-n.co.uk May 2009