ARTISTS TALKING

# 131 [30 November 2009]

Croak. Monday morning - the first one after a very intense load of work in schools and also my first day off in ages. I am struggling to get going. I say day off, but actually that just means no paid work - studio and some food shopping instead. I hate the way the studio always comes between domestic chores.

I feel pretty bruised (head and mind) after helping mum move house at the weekend and working so much and all I feel like doing is sitting drinking tea and watching studio Ghibli films, but then I would loathe myself for being lazy.

Doing some visiting lecturing at Sheffield Hallum on Thursday, which I am really looking forward to - not been there for years so will see some of the new galleries. Also like hearing about students' work a lot - I plan to soak up some of that fresh-faced enthusiasm and steal it back to Liverpool.

Also packing up a few things into boxes and trying to have a clear out pre-move at the end of the year. Hate living in such clutter and am convinced this is part of my problem!

# 132 [1 December 2009]

It turns out that I still haven't shaken the cold thing I had a couple of weeks ago, so I have been wrapped up taking it a bit easy. Today is posting loads of things (the joy and pain of selling books off my website), starting on tax return (last years) and sorting out receipts for this year so far. Also putting a presentation together for Thursday's lecture.

I watched School of Saatchi again last night and I was a bit bored to be honest. It's partly the overfamiliar dramatising editing tchniques from reality TV: "anyone of them could be a DISASTER" surprise, Charles really likes most of them. But it is also because I don't think making stuff necessarily makes good TV. It is incredibly easy to pick apart an artist's work, especially after an MA with much picking apart, this format just means they are incredibly vulnerable throughout the making process. Because the artist are under pressure and being fairly timid (partly from being put in a very difficult collaborative/commissioning situation too!) they don't believe in their work in the same way as they usually might, and neither do I.

# 133 [1 December 2009]

The CCS (Creative and Cultural Skills Council) have released the Visual Arts Blueprint after much consultation:

http://www.ccskills.org.uk/LinkClick.aspx?filetick...

Below are some examples of the recommendations it makes:

Ensure that internships are fair and offer high quality career development opportunities by 2010

Ensure that visual arts courses have strong, relevant links to the profession by 2012

Ensure that the visual arts has a role to play in broad education  initiatives by 2012

Support and encourage technical and business skills training in all visual arts degree programmes and courses by 2012

Recognise and support artists' networks and peer exchange opportunities (working with VAGA, Scottish Artists Union and Other - wish they'd named AiR too though!) by 2011

Improve working conditions across the visual arts sector (working with agenices and borrowing best practice models from other industries) by 2012


The report also goes on to expand on these recommendations and many others and also profiles the creative sector (not just artists remember though), outlining who it is comprised of (95%white!). This may not sound like a massive thing, but considering 'artist' has not been mentioned as a job role before, these basics are important, especially if the CCS are to promote their plans across the UK. Anyway, it looks a bit of a beast, but they have peppered it with lots of nice images, so the content is not as daunting as it may first seem!

I'll have a proper read and get back to you...

# 134 [7 December 2009]

I've been having to write my entries in notepad this weekend, because I can't seem to concentrate for more than two minutes at a time. Got lots of reading/writing to do and none of it is coming very easily.

I did a talk/some tutorials at Sheffield Hallum last week and it reminded me of a few things I have been thinking about, mostly slow burn careers. It also made me question how I talk about my own work - I usually manage to get round it a bit by talking about money and things. But, as this was a professional practice lecture series, I could only talk in terms of my own experience. So, for the first time in ages, I went through my experiences since BA (8 years ago) until today, warts an all.

I realised I put myself down a lot and I thought afterwards that maybe I should have done two talks - one presenting the glossy, perfect timeline in retrospect way, and then the same talk again, but with the problems and everything included. That might be a better way to illustrate the reality of it, and would highlight the fact that often you will only see glossy talks. Oh well, lesson learned.

I heard myself saying at one point (to 3yr BA's) 'I'm not that much further ahead than you lot really'. I had to think then, because, actually, I know that I've been working my arse off for ages, and it feels like it's just starting to build into something. But obviously I have some issues still feeling like a graduate. The terms 'emerging' and 'mid-career' are difficult ones and I see myself as floating between the two. As I started giving too much of myself away at the end of the talk (always uncomfortable when it's not a dialogue) I said something about money. This is one of the things that is trapping me, and my work in the former category: I find it very difficult to imagine making things that cost more than, well, not much.

At YSP they asked what I might need for a production budget and I couldn't answer: I knew if I said a number it would be ridiculously low. When they said that the book budget would have to be under £2,000 I stuggled not to let out a whoop.

Basically I am like the bloke in Warrington who won millions on the lottery but just moved round the corner to a bigger house and upgraded his car to the new model. It's not that I don't have ideas that I want and can't afford to make, quite the contrary, but I don't know how to make the leap. I am daunted by project managing rather than making things myself and am not confident of my ability to deliver, having never done it before and therefore I avoid applying for opportunities with 'proper' budgets.

There, look - I just gave too much of myself away again...

# 135 [8 December 2009]

I would like a mentor please.

To be fair, I think I get bits of mentoring here and there off various people in all different roles - advice and encouragement that is really valuable and much appreciated. But wouldn't it be great to have someone to build a longer term relationship with? Perhaps work with.. or someone who could remind you of your goals and give you a nudge when you're heading off track or making wonky choices. Someone whose work you love and admire.

I saw this today, twittered by Hayley Harding of Axis fame:

http://www.rolexmentorprotege.com/en/visual-arts/i...

and thought it looks like an amazing year. This year's visual arts mentor is Anish Kapoor. A less famour version please!

YSP did offer to help me get in touch with groups in the area while working towards the exhibition.. perhaps this is a good chance to make some valuable links. Architects were mentioned.

Must not waste this opportunity...Must not waste..etc.

# 136 [10 December 2009]

My husband just sent me this link and I have been laughing out loud throughout. It is an exchange of emails (with pie charts!) and also a very good and hilarious example of how things can go wrong if you ask people to work for free (also if you have a shoddy business plan).

Please design a logo for me. With pie charts.
For free: http://www.27bslash6.com/p2p.html

Warning, much effing and geoffing.

Enjoy.

# 137 [10 December 2009]

Tax return is filed! I made a pathetic £5,372 in 08/09, so it's no wonder that I started this blog in January in an attempt to address the very serious issue of making more money.

I think I have at least four times that coming in this year, but I reckon at least half of that has been for materials, printing and travel and other expenses: it adds up so quickly. So that doubles my income at least - and takes me just above the poverty line, not bad for a blog.

The receipts since April this year have been piling up and I am collecting EVERY bloody THING: I had my finances investigated the first year I was self employed after my MA and that is not pretty. If I am picked to do that again, I will have to be much better prepared... especially given the increase in work and the fact that I will be putting expenses down for the first time.

Next year, the tax return gets done in April, it all gets too fluffy when you leave it so long!

# 138 [14 December 2009]

Just pondering who to nominate for the Liverpool Art Prize next year:

http://www.liverpoolartprize.com/

Lots of good artists working in Liverpool at the moment and some people whose work I love... but you can only nominate three people. It's a funny little prize, which I think was the Liverpool-own version of the turner prize for 2008 (Capital of Culture year of course), although I'm not 100% on that. £2,000 or £1,000 in prize money will no doubt make quite a difference to someone. The exhibition is also a nice chance to see a good chunk of someone's work rather than the odd piece in group shows.

Karl-Heinz Klopf from Linz came round for a cuppa the other day.During the first visit to my flat he was video-interviewing me, so it was nice to not be thinking about the camera shoved in my face! :) I was asking him about his career and when he felt like a mid-career or fully fledged or made a living or however you might describe that stge of a career and he said he still didn't. Quite unexpected from an artist with a very impressive track record and a lot of good work behind him. He said most of his income went back into making work... maybe it never changes!

# 139 [14 December 2009]

The final of Saatchi art school - so after just two commissions, the artists are to put on a group show at the Saatchi Gallery. We are not told how long they had to do it, or what the budget was, although it seems like about 3 weeks from come clues given.

I can't help thinking this is designed to set them up to fail a bit. Work would have to be fairly bombastic to stand much chance of registering in those spaces.. also much stress upon inviting the 'right' people, although it seems that they have Saatchi's mailing list, so perhaps he's just saving on admin wages.

Suki's work was a bit subtle for last week's task and this happened again here, although I can't helping thinking this is not her best work and she might be a better artist under different conditions?

Eugenie - she's only a first year student and 19, so their comments that she is confused and not experienced enough seem expected. But with one epic fail and one lovely fence she pulls it off as she seems to presume she will.

Saad - apparently has struggled for inspiration in both tasks, but wait... didn't he just have a good think before plunging in? Then he wiggles around in a sheet - as good a way to generate ideas as any.The editing doesn't help the way you see the works either as they are given the slant of the judges: you can't help but be underwhelmed by this work.

Sam's electrical thingmajigs are interesting but don't hold my attention for long. I don't like work that is led by technology instead of ideas and he seemed to be falling into that trap. The first piece with magnets inspired by Brunel was elegant, not so here.

The fact that Eugenie won is probably the best indicator that it was Saatchi's art school and not 'the best artist art school', see also lots of very well spoken people at the opening. Can't help feeling like she won, but without getting to be taken seriously. I was so very glad that Matt got to be in the London leg of the show, also that Eugenie gave him her studio for the first year. He wanted it and seemed to deserve it more (I realise hard work does not necessarily make a good artist, but he is good too). I felt all of his emotions as they came out of the TV and filled my lounge, they was so palpable. I recognised myself in him at that final judging moment.

But then again, I would never have made that call to the council to get the fence removed, far too low in confidence and expectation.

Anyway, if you fancy having a go at a mini art school, without the TV and with a bit more space to breathe - Apply for A Curriculum at A Foundation in Liverpool next spring. Online applications on Saatchi's website here:

http://www.saatchi-gallery.co.uk/acurriculum/

# 140 [18 December 2009]

Really nice time at the Royal Standard (my studio) Christmas Party last night.. mostly I loved decorating the gallery as a log cabin and making cardboard mountains and of course, the dancing at the end of the night. But it's nice to just spend time chatting to people you see around the building and also meeting new ones.

Received a catalogue in the post from my friend Jane Edden this morning, from her recent solo show at Flowers East (which I sadly missed due to stupid train prices). As usual her exacting standards have made me want to work harder and be neater, but I am just very pleased to add this beautiful book to my collection. Kark-heinz Klopf from Linz also gave me a book about his work last night too so I am doing well.

Have also just sorted out dates to teach a drawing class at a summer school next year. I was asked to devise a week-long course so have gone for experimental drawing after thinking what I really love to do. Best thing is, the arts centre I'm teaching at is Truro Centre for the Arts on Cape Cod!! It's amazing to be paid to go there for a week of work right on the beach, in August. Can't wait and as their apartment has space, Dan should be able to come too... The arts centre also have a shack residency thing (basically a posh shed in the middle of nowhere on sand dunes) for two week sessions, so I might apply for that and see if I can stretch the whole thing out. Unsurprisingly; it's very competitive, but worth a try!

Now, almost hangover free, it's back to the studio (I have spent the week in the project space starting some new work) for some casting... taking the painkillers with me though!

http://www.the-royal-standard.co.uk/events/

http://www.flowerseast.com/FE/Artists_Originals.as...

http://www.castlehill.org/