ARTISTS TALKING

# 8 [18 November 2009]

Sharing with Rachael today and considering that not only is it important for the work to flow naturally, but the collaboration itself does too and it is, which is good. We have not had chance for many meetings, but it appears we are existing all the time in the back of each others minds about what we are thinking, doing, what the house is revealing. I like this part of the relationship, it feeds the creative process as both an individual and a joint work. We will be meeting next week to share developments and work so far.

For myself, as usual, it is a thinking, then working, more thinking, then more working process. I have not been up to Haden Hill House recently, I want my memories, the 'absorbed' to work for me. It is all part of what I do myself and their is an overlapping of ideas between that and this project. So far, I have been thinking about the cutting and mirrors, but I have gone away from the literal aspect of these ideas and tried to develop them a little. I have been using the reflections in a way that gives a time element, recording by photo the reflections and drawings then by way of process returning the reflection back to it's correct orientation, but it is still the mirror of reality. I am using objects as a basis for drawings. For instance, to reflect the religious aspect of the family, I have made a small tryptich alter piece on which will sit drawings. I have also been playing with constructions.

Time does play a part in my work, not only light as I understood till now. My practice is moving slowly away from that of drawing only, I will ask what development this project thus far has brought for Rachael. Is there a conceptual element to my practice which at one time I would have rejected as an interest?          

# 7 [13 November 2009]

Well it is certainly an interesting collaboration with Rachael. The instinctive element to our ideas, forming whilst working on our own, is as mysterious as the project, in a good way. I don't know whether it is the House, or ourselves that are getting in tune with something, but the ideas work well and come from a united source. That source is unknown to me too, as yet. Is the house pulling us together? Is it something we both are open to as artists that forms an integral part of our practices, that fuels the internal responses to somewhere?

I'm interested now to see what is discussed at our next meeting, I think there is more to reveal than just the project.  

# 6 [12 November 2009]

Our method so far of working independently then coming together to discuss our latest developments is proving to be a bit of a metaphysical journey in itself. Our ideas and thoughts seem to be converging despite working so independently and with very little dialogue in between meetings. Certain words spoken in our exchanges become key words - words that spark a new idea/direction, which is what I love about collaborating, but some words also consolidate an idea that was already forming subconsciously. This latter element to the process seems to be very instinctive. Maybe we are more susceptible to electrical brain signals in our town so we can subconsciously hear each other's creative thoughts over the Netherton airwaves? Maybe not, in which case it's just down to the forces of instinct which I certainly can't define.

Well anyway that possibly all sounds a like crazed babble so I'll list my latest developments in an attempt to keep it real. Anthony is right, I think light (and time) is actually the key to the whole project. Whilst he has been experimenting with mirrors and reflections I have been planning lots of 'ocular' devices that allow you to look into the past - a physical act of looking connecting you with an object that might spark real and imagined personal and collective memories and emotions. I'm not so good with words here -diagrams of my workings might well be the next blog post! 

# 5 [29 October 2009]

Rachael back from her Malvern project so got together yesterday to re-cap where we are at. I have been thinking about the cutting and it has lead me on to ideas for objects, reflections and using the inspiration from the house contents for adding dimension to the drawings. Reflections will be interesting. I am working on several ideas including a cabinet set-up of objects. The link to art history will come in the form of Metaphysical art of DeChirico, breaking up the drawings into component parts in a tunnel of perspective that will be balanced to suit. The exhibition in Haden Hill House itself will be linked directly to the atmosphere in it. Dates around next June-July. Rachael's ideas for constructions and so on will balance in nicely to what I am planning, so the show should be good.

I am using the thing as a testing ground. I feel that the ideas will bring a natural development to my work and I am keen to see Rachael trying out new ideas too. The whole idea for my drawings is to keep the delicacy and how they work against Rachael's pieces will be interesting. In our conversation it became clear, from comments Rachael made, that light is a key element to the drawings, confirming ideas.       

# 4 [6 October 2009]

Discussed in our meeting today more about our ways of working in relation to Haden Hill House. I am interested in the way that Rachael wants to dig down into the core of the subject and bring to the surface all she finds there. I like this in terms of the intimacy it shows, how certain details, not at first visible, become a spark for enquiry.  

Myself, I have worked on my first drawing, that of the rear staircase. I was taken by the view up to the void at the top, where the servant room is, it is just visible from my viewpoint. I am pleased with the feel of the drawing in relation to my interaction with the space. I was keen to work on the corridor, yet I found upon starting a drawing of that, it did not work, something was not 'right'. This, together with Rachael's insight, has made me question further what it is I am focusing on, what ignites the drawing to make it 'work'. I have realised I am not fully aware of this and that the requirements for a drawing to work are possibly narrower and more important than I initially thought.

I will now think on this, I will also go back to the house to take a look at some other areas that are sticking in my mind. I am waiting to see what Rachael uncovers from the space to see if it affords some new way of initiating a drawing, or maybe more importantly, to see if it reveals more about what it is I react to in my own connection with a space.    

# 3 [3 October 2009]

I haven't had much time to reflect on our Haden Hill visit but I have been thinking about how this collaboration will move forward. I'm inclined to let it take shape naturally. So far we have been talking through each other's ways of seeing generally and our reactions specifically to seeing Haden Hill. I like this approach of seeing how our ideas are shaped and modified just by comparing them in our informal dialogue; it's new to me. As usual I am becoming engrossed with the processes of the process... I must not stray too far from my original thoughts of creating texts inspired by both the interior space and Anthony's interpretations of that space. I shall steel myself and focus!

# 2 [30 September 2009]

Post by Anthony.

Been up to Haden Hill House this morning, the sunlight was just strong enough, coming through the haze to give effective light inside. There are some very interesting staircase images, the ones that lead up to the top of the house and the servant quarters, I think that I am not going to look to the very top, something about leaving it just out of sight. Most interesting corridors too, it is not possible to see into the rooms because of the placement of walkways, I like that, the mystery. If I stand still long enough, it is possible to get a sense of the people moving around, not in a 'ghostly' sense, but the memory of the essence of them, going about their business, the way we all go about our homes when they are quiet, private places.

On a technical note, the angles and perspective are tough, I am going to have to move from my 10x8inch format as well. This is how the small changes come to the drawings.

The house is'nt mine, or anyone elses I know, it is past, all memory, all of another time and of other lives. This is new for me, finding their existence and making it ours.

Waiting now for Rachael to get back this week and then we can get together and share our responses so far.  

# 1 [28 September 2009]

Post by Anthony Boswell.

Collaboration Space originated in both of us coming into contact via our shared location and projects through Longhouse. On our first meeting, we discussed our individual practices and shared interests. With the idea of a joint project, we both discussed the areas in which we would both be able to give individual and newly shared input. It is hoped the result will be not just a singular piece of work by the collaboration, but to inform both of our practices individually.

As the theme would be that of the interior, we initially gave ourselves time to go away and reflect on ideas and needs. On meeting again, we looked for the common themes that ran throughout. Needing an interior for a starting point, we settled on Haden Hill House, a location near to both of us and owned and ran as an open museum by Sandwell Council. The visit revealed areas of the house that where off the common route of visitor interest, the servants areas and quarters. Little is known about these people, giving interest to Rachael's idea of private and collective histories and my interest in rooms and spaces.

Walking through the house, I had my usual response to the spaces, Rachael finding ideas within the objects, or suggestions of them, the personal side of the servants. We both found ourselves reacting metaphysically.

We are gathering our first responses, thoughts, visual clues. The aim will be to portray the house in a way that will be received as universal, to make a work that will be anonymous and embodying the collective memory.