The week in London went very quickly. It was very different being there with someone else – I am not so used to traveling with a partner …
My piece at Clifford Chance looked good. They even pressed it before it was hung! I was very pleased to see that it was hung on one of the polished plaster walls rather than the one painted with matt emulsion. The opening was an enjoyable evening, towards the end I met a lawyer (who had previously been a doctor!) and was both delighted and surprised to learn that he reads this blog. It was the first time that I have met and ‘unknown’ reader.
This is exactly the kind of ‘gay’ exhibition that I like – with work that can be openly gay or lesbian but which must be interesting and high quality. I find it very difficult to write (or even think) about ‘gay sensibility’ in my own or others’ work. I have the sense that many of the artists exhibiting would not call themselves a gay or lesbian artist, rather an artist who is gay or lesbian.
Seeing the catalogue made me realise that I really need to work out what I am going to do about images of my work. The picture in the catalogue is not very good at all. Perhaps it is time that I started to have my work professionally photographed. I certainly need to look again at how other installation artists photograph their work. My work is often an awkward size and a difficult material … maybe I should try to make work that is easier to photograph!
Henry Moore’s Late Large Forms at Gagosian was my favourite of the other shows I saw. It was wonderful to be able to be so close to sculptures of that scale and beauty. Tucked around a far corner of one of the enormous galleries was a modest acrylic wall mounted cabinet containing maquettes, models and natural forms Moore referred to – a brilliant and subtle piece of curating. Thinking about it now, it was really nice to walk in to a gallery and see the work without labels, without a press release, without any (noticeable) text.
I am very pleased to say that I passed the SFI test, and that I have found a part time course to continue with. The new course is two mornings a week which I think will suit me – I can have some full days here at the studio and I know that I am far more alert in the morning than I am in the evening! I have to find ways to keep practicing my Swedish over the summer break as I already feel that a week in London has ‘corrupted’ what I have learnt.
It was great to arrive back in Stockholm and find that the authorities here have validated my British degrees. I was genuinely concerned that the lack of documentation regarding my Art & Social Context degree could become a problem, thankfully my own account of the course content and the few traces I found were enough and now I have an official Swedish document when I apply for work and funding etc.
Staying with an artist friend in London gave us the chance to talk in way that I just can’t/ don’t on the phone. We have been talking about art, in one way or another, for the 15 years we’ve known each other. I also visited an artist friend who was my tutor over 20 years ago. They are both wonderfully inspiring and interesting people (in very different ways) and I want do more to keep in touch with both of them. I am starting to make friends here however I really appreciate chatting with people who know me well.