Halfway there

I have been busy working on my sculpture/drawing for the PAPER show at the Barnaby Festival. I am one of the two artists making a larger work – the other one being artist Phill Hopkins.

I am making a sculpture from double wall card with drawing, collage and screen-printing which will fold out across the floor. It is going well, but it is taking a long time. I haven’t made such a big piece for quite a while. I am having to set myself deadlines for each section so I keep on track, and also keep on top of the other work I need to be doing currently.

I am also working on a small piece for an exhibition in Australia, which will explore the structures of the slab huts that the colonial settlers built.

At the same time, I am also working towards a sculpture at the In Time, Over Time exhibition at Neo artists. I have now sourced most of the materials – wood and tiles. They are a mixture of gifted and bought tiles (anything bought had a discount!) I am hoping to crack on with this once I complete the work for Barnaby.

I have also been thinking about printmaking. Over the past six months I have not had a workshop to work from, so have been limited to lino printing. Last week I also bought a medium size screen so I can do stencil screen printing, but apart from that I have been quite restricted. I went to take a look at Hot Bed Press in Salford, which I was really impressed by. For each process they have quite a range of presses and facilities – it looks really good. The only drawback is that it only really accessible 3 days per week as they run a course on Monday and Tuesdays. I think when I finish the sculptural work over the next few months, I would like to join.

Over the past week, I have been planning for future projects and applying for various opportunities. I have spent a lot of time with my head down, on the computer, which feels very virtuous.

I visited Bolton last week to meet with Bethan Hamilton who is curating an exhibition ‘In Time, Over Time’ at the Neo:gallery 22 in July. I am making a new sculpture for the show, which will reflect on various features of different architecture from a range of periods. I am using ceramic tiles for the base of the work, which I am printing onto with lino print. I am going to have to print quite a fair few, so I have been looking for discarded tiles from companies. One company, Tiles UK, has been generous so far, but I am not sure if it is going to get me enough. I will be working with wood/ mdf for the upper part, so I will be looking for some discarded parts of wood and mdf, and I may recycle some older sculptures. I am looking forward to building it, as it will be quite an ambitious project for me.

The large sheets of cardboard for the Barnaby Festival sculpture have arrived, which is exciting. Again, I will using up some off cuts of coloured card for the surface. I have cleared space in my studio, where I was previously working on some experiments, so I am ready to go.

I have been thinking and researching recently into the form and period of architecture that I have been referencing in my work, keeping in mind how I would like this to develop. Do I narrow my research to a specific period or form? Or do I keep it broad? For a large proportion of 2012, my work explored post-colonial architecture from several research trips to South and North Africa. I particularly became interested in seafront architecture on my last trip to Cape Town. Along Sea-point, an affluent area, there is mid-century ‘high rises’ that look out to sea. These apartments and buildings on the sea are utopic spaces where people spend part of their time, on this fringe between land and sea. The buildings themselves have the interesting formal quality of sweeping curves like an ocean liner, straight lines, pastel colours and patterned detail particularly in tiled areas.

I intend to extend this research by spending time visiting early to mid-century sea front architecture in Britain. A few weeks back, I visited St Anne’s on Sea, south of Blackpool to look at the buildings, which is a mixture of Victorian up to mid-century, and a few later. I would like to visit De La Warr, The Midland Hotel, and Embassy Court in Brighton amongst other buildings in the coming months.

The other projects I currently working on are exploring a range of historical architecture, such as my sculpture for The Barnaby Festival which will be referencing the inner market walkways of Macclesfield. I am also working towards a tiled work for a show in Brighton which will work from details of industrial architecture in Bolton.

I have also been doing reading to expand my knowledge of architecture and the idea of utopia. I have been reading Utopia by Thomas More, and A Critical History of Modern Architecture by Kenneth Frampton. In addition to listening/watching a lot of documentaries about modern architecture, I am starting to understand that my interest in architecture perhaps comes from an interest in the history of architecture in general, looking at a lot of urban spaces as a postmodern city.

I also recently had a mentoring session with Mark Devereux, which was really helpful and insightful in a number of ways. I explained how I was unsure if I should keep to one historical period, perhaps in the sense that others would be able to ‘categorise’ my work more easily. He felt I should keep all of the research as broad as possible at this initial stage. I think that was good advice.

Yesterday, I had an interesting visit to Sheffield – it was my first time there. True to form, despite how many maps I print out in advance, I still manage to get incredibly lost and subsequently run late – no pennies available for a taxi! Strange for a person who used to work with maps a lot in my work.

Firstly, I met Pippa Shaw at S1 Artpsace, who showed me around their project space, meeting area and studios. The project space/gallery is huge, with a very high ceiling, and reminded me of the incredibly large spaces in China, where space was no issue. Degree students were currently doing a residency there, with some interesting things being tried out. Before the project space, there is a meeting area, with some gorgeous parquet flooring, which they use for various events and screenings.

I was also lucky to be shown around the studios and meet several artists. I particularly liked the work of Emily Musgrave and Natalie Finnemore. The studios are very open, so that other artists can see the work in progress and it makes it easy for studio visits. The whole space had a really nice feeling to it. Also in the foyer, they have the editions they produce on display. I particularly liked the Eva Berendes and Simon Bill editions.

After, I walked to Bloc Projects to have a look at their project space and met with Rebecca Bowley who co-ordinates and curates the programme alongside Charlotte Morgan. Rebecca explained about the history of the space, and how they are hoping to move forwards and opportunities they offer. Again, it felt like a very friendly, positive space. The current show Bound I, had some interesting sculpture constructed from domestic objects from Lindsay Mendick and Sarah Pinfold.

Subsequently, I visited Site Gallery which had the show Dust on by Wu Chi-Tsung. The gallery spaces were more compact than I had imagined from what I had read and heard about the gallery.

I spent quite a bit of time walking around Sheffield, which was a lot more open and greener, than I had imagined. I looked at architecture, taking photographs of the variety of buildings from different periods. Of course, I loved the brutalist Park Hill, not so sure about the Urban Splash re-development though.

Over the past few weeks, I have been spending some time visiting spaces in places outside of Manchester. As part of my move up to London, I wanted to take advantage of the closer proximity to the other cities up north. I am afraid with being ensconced in teaching, and then trying to produce as much as I could in the remainder of my time when I wasn’t teaching, didn’t leave much time for reflection or directed investigation into where I would like to move my practice, and spaces I might hope to show in the future.

I have been doing quite a bit travelling first off to Liverpool, then Blackpool, visiting the Grundy, but sadly could not arrange to see Supercollider. After that, I visited Birmingham where I was really impressed by presentation of project spaces/galleries/studios in the Digbeth area. I visited Eastside Projects, Grand Union and A3 Project Space, and it was really interesting to hear stories of their development, each in quite a different way. I also managed to meet some artists in their studios which I always enjoy, hearing about different practices and modes of functioning as an artist. During my time in Birmingham, where I stayed with an old Duncan of Jordanstone friend, I also visited Mac and Ikon. The public spaces were quite different, Mac seemed to have a more family focused approach, and there was an interesting exhibition ‘Walk On’ that included work by artists encountering walking in their work. I particularly liked the animation by Julian Opie.

Last week, I took a trip to Leeds and Halifax, where I visited the artist Hondartza Fraga at East Street Arts (Patrick Studios), and The Tetley for the first time. East Street Arts is incredibly professional, I had never seen an artist’s studio of such high spec, with such level of organisation. I would be afraid to make it dirty! They also have a stunning project space on the upper floor.

After a lunchtime visit to an artist in Halifax, I visited The Tetley in Leeds for the first time. I have to say I was totally seduced by the myriad of rooms in the architecturally powerful building. They have done a fantastic job with it. There was also an interesting residency project by Lisa Watts and Samara Scott, and I got a quick pre-preview of the Ben Cain and met the new artist in residence Rob Kennedy.

In the studio, I have been working on ideas for a sculpture at The Barnaby Festival, as part of the ‘Industry’ show, and also a tiled piece for a show at Neo-artists in Bolton. I have also produced two new book editions, and been working on some other maquettes for sculptures using print and wood.