ARTISTS TALKING

# 7 [11 September 2009]

"Good Morning, we're in the press!"  I wish i could understand Finnish - my first press appearance, and i don't understand it! (we'll ask Markku to translate later). 

Today is effectively a studio day before my first Performance tomorrow evening, not only my first performance here, but my first performance ever.  I need to think carefully about how to conduct myself - what do i wear?  do i speak to the visitors?  what happens if people look bored? etc etc.  We are hoping to set a video camera up to film my drawing, and link it to a live feed on a laptop or tv.  The reason for this is to capture the detail of my drawing, which the audience won't be able to see.  Even if we cannot arrange the live feed in time, i will atleast have a video.  (this should please Victoria, who has been encouraging me to do a video piece since my Plaza work last August).  

We didn't make it down to the shop unit today, but we sourced some materials and Edwina found me some huge sheets of perspex in her garage - i will attach these to the wall, work on them with paint and polyfiller and then score my line on top of these additional surfaces.  Im not sure how to arrange the perspex sheets yet, but they will be sympathetic to the traces in the space.

At 3.30pm the students who are joining us for the week arrived, they are from Glasgow School of Art and will be taking part in Lisa Torell's Urban Spaces workshop with us. We quickly made our way over to the power station where the Art Week was opening.  I was called to the front with the other Artists, and again was oblivious to what was being said.  The event was very social, and we spoke to a lot of people, the Art community here is very close.

At 6pm we then went to the Art Museum in Riihimaki where a national exhibition of recycled art was opening, the theme ties into the Art Week well.  I have noticed that Finnish exhibition openings have very long speeches, by several people - but apparently this is normal, and the formal thing to do.  I spoke to Lloyd, who is Satu's husband - he teaches English here.  We compared the differences between the Finnish and British art systems... in Finland, even quite established Artists have to pay for an exhibition space (1500/2000 euros), Lloyd was surprised to hear that in Britain, Artists get paid a fee to exhibit in a show, and when they are installing, making work or doing workshops, there is a standard fee that they can expect to be paid.  Im finding it very interesting to learn about these differences... we have little reason to complain in Britain really.  

Tomorrow i need to install my perspex pieces, paint surfaces, and set up the video camera, and ofcourse... perform my drawing! (wow!)

# 6 [10 September 2009]

We had a press meeting at 10am in the old power station which is acting as the center for the Art Week.  Most of the meeting was in Finnish, so i didn't understand much, but was too busy being in awe of this huge space.  I was introduced to the group and met Sirpa and Satu, and then said a few words about what i was hoping to do here, bearing in mind that i had been in Finland for less that 12 hours at this point.  Afterwards a lady came up to speak to me, she was really enthusiastic about my line drawing and performance, which was touching, afterwards Edwina told me that she was from the press, and somehow i found that even more touching.

At 2.30pm we got the key to the space where i will be working.  This was the first time that Edwina or myself had been into the space, and we explored the rooms with enthusiasm.  There is one main space, with smaller rooms off of it, and some stairs that don't lead anywhere.  I said the space felt like a hospital because it was incredibly clean and subtle in its colour - mostly blues and grays, Edwina said that this is typical Finnish.  I believe that that space used to be an insurance firm or something similar, there are marks on the floor where the desks used to be, and scratches on the floor from where someone used to sit on their swivel office chair.  I liked these quiet traces of a previous use very much, my favorites were some dusty, grubby marks on the wall where some pictures or certificates had previously hung.  These traces are very much what my graphite line drawings are inspired by; the subtle traces that humans leave on architecture as the result of repetitive activity.  

At 5pm we went to a flea market / 2nd hand shop / junk yard.  I dont know how i had previously survived as an Artist without it - everything i ever needed was here, and everything that i didn't was too; doors, sinks, window frames, glass, sewing machines, bits of metal, mirrors, shoelaces, sledges, skis, crockery, spinning wheels... Im pretty sure that i will be visiting again.

We rounded the day off by going to a private view in the next town, at Hyvinkaan Taidemuseo where there was a retrospective of Jani Leinonen's drawings, paintings and interventions (although he is only 31).  It felt very much like Pop Art and was concerned with consumer culture - i liked his interventions the most, for example his Art Supermarket and a project where he painted over old pictures the public had found in their attics, making them into contemporary works of art and selling them on for a lot of euro's.  

I am in the right frame of mind to make my own work now - there is plenty to do, and have the Opening Party to look forward to tomorrow.

# 5 [10 September 2009]

I am so over familiar with Stansted airport now, it is a frequented non-place for me - i even have a routine when i go there which involves a flit around the perfume shop, a visit to WH Smiths to buy Harpers Bazaar and a sit down at Pret with an over-hot cup of tea.  I wrote down some thoughts on non places whilst i waited for my gate number to come up on the screen and observed people who worked in this non place every day, also going to Pret for an over-hot cup of tea during their breaks.  Is it a non-place for them too?

After pretending that my hand luggage weighed less that 10kg (rather than 14kg), i found a window seat on the plane, and a couple sat next to me;  

Man: "Are you from Finland?"

Sam: "No, im from England, Norwich..."

Man: "Oh, you are just very quiet - i thought you were Finnish"

The flight was about 2hrs 30 minutes and the sun set as the plane flew over the coast of Finland, whispers of thin cloud illuminated magenta and the ground below was in shadow, apart from a mass of amazing lakes and networks of wide rivers below which shone up at us like mirrors.

Edwina met me at the airport and i was fed jaffa cakes and chocolate on our way to Riihimaki.  The journey took about 1 hour and we ended with a tour of Riihimaki by street light, the train station, shopping mall, roundabouts where some public sculptures have already been installed, the high street and the empty building where i will be working.

It is Thursday morning now and we are just leaving to head into town for a press meeting at 10am - i can't wait to see Finland in daylight. 

# 4 [7 September 2009]

Packing:

sketchbook, pencil case (pencils, pens, scissors, pencil sharpeners), masking tape, big digital camera, small digital camera, holga camera, single use cameras, "Non Places" by Marc Auge, "Lines" by Tim Ingold, "Deleuze & Guattari for Architects" by Andrew Ballantyne, laptop.

# 3 [4 September 2009]

I've had a very productive afternoon doing all of the little jobs ready for Finland - its just the big jobs that are left now such as tightening up my Seminar paper.

I had a sneak preview of the NUCA MA Show today, its always motivational to look at other people's work and to see the effort that is put into the exhibition.  It was my MA Show this time last year, im not sure how i feel about that, slightly disjointed from the student experience which i loved so much, whilst also knowing that im ready to go it alone.  I suppose like many artists, i just crave contact with other like-minded people and value the dialogues that can happen as a result of it.

# 2 [3 September 2009]

Edwina has sent me an image of one of the possible sites for my installation / performance (see right).  Every glimpse that i get of Finland is precious because i have no idea what the landscape is going to be like.  I imagine the colours to be muted, and for there to be strong lines - this picture would confirm that theory.  It could just be that i seek out muted linear sites and there are plenty of other things going on around me, just i don't notice them.  Im excited about this site, with its non-colour and utilitarian aesthetic.  I wonder what i will do there...?

This is beginning to feel real now.

My application was also accepted to take part in the "Urban Spaces" workshop led by Lisa Torell, an Artist from Sweden who asks her workshop participants to consider "in between places" that are often overlooked, such as footpaths or overgrown verges.  This workshop is part of the Art Week and will act as a useful catalyst i think in producing my own installations, i am also very much looking forward to working with a group of people that i don't know yet, to make art up against a time limit, and have meetings and crits.  It will be like those tentative first weeks of Art School all over again where everybody is very sensitive and excited at the same time.

# 1 [1 September 2009]

9 days to go

I have mixed feelings about how helpful this bank holiday has been in helping me to prepare for the quickly approaching Art Week in Riihimaki.  Part of me wants to do whatever a normal 24 year old does at these times (see friends and drink beer).  And then i realise that in 9 days i'll be in Finland, as an artist, doing my best to be composed and professional.  

The bank holiday got off to a slow start work wise as i caught up on sleep following my recent trip to Berlin.  I attempted to write my paper for the seminar, something, anything.  nothing came out so i stalled by reading the work of others i admired.  still nothing, this upset me.  i read Roland Barthes, Carl Andre, Anni Albers, Eva Hesse, Richard Long and Sol LeWitt and searched through old sketchbooks to rediscover the things that inspired me last year during the Masters.

"Conceptual Artists were intuitive rather than rational.  In other words, to discover their idea - the main idea, the instigator or whatever it is - a leap of faith or a leap of aesthetics had to be made otherwise it was just another rational step.  To avoid a rational step, intuition is important"

Sol LeWitt, Art Monthly Issue 164 March 1993

Today, Tuesday, was better because i had an extra day off work, and a better mentality.  I imagine that everything that i had been reading finally sunk in and made sense.  I went to the studio for a very structured day of working, mostly writing.  The studio was beautiful and calm, why hadn't i come here sooner?  To my amazement 2500 words came out, discussing my concerns and processes, and new ideas came out too, completely unexpected.  My paper is about the traces left behind as a town changes, and how i respond to these.  As the work is going to be site responsive, i don't feel that i can write the whole seminar now - but at least i have something.  I felt like an artist today;  not an "outreach officer", or a sleepy 24 year old, and i look forward to feeling like an artist for a whole two weeks when im in Finland.  I think its going to be okay now.