post Venice
'I'm beginning to wonder if I'm (slowly) becoming the (fine) artists I am meant to be'
'real objects make me happy'
'don't think work, feel it'
Perhaps it was the heat, perhaps it was the strange beauty of Venice, perhaps it was the sheer quantity of artwork but something happened to me and I allowed myself to be guided by what felt right. That's the only way I can describe it.
As a result I found myself completely absorbed by pavillions and exhbits that I might previoulsy have hurried through in search of 'projects'. Pages of dense postmodern analysis given on arrival at shows were politely handed back and if I couldn't see what I was looking at then it wasn't the show for me. It was a kind of act of faith. And I guess I had a kind of epiphany.
In the Gardini I was completely entranced with paintings that were – to me at least – about paint, in particular Herbert Brandl (Austria), Troels Worsel (Denmark) and Gehard Richter (Germany). I'd been looking forward to seeing Felix Gonzalez-Torres in the Amercian Pavilion, and though I think his work is brilliant, it felt like the wrong time and place for this show.
Kris Martin's My Private show (in a casino over St Marco and for three days only) and Jan Fabre both demonstrated the power of articulate, elegant and technically skillful sculpture to function aesthetically, culturally and politically.
Being in Venice for the opening weekend of the Biennale was an amazing experience – I learnt a hell of a lot about myself and who I am as an artist.
I like objects. I like materials. I make sculpture.
Back to the studio …..
Linda Duffy phoned last week, she and Emma Healy are curatiing Hunters and Collectors at the new gallery in the Willesden Green Library Centre, along with the show we're planning at least one event involving artists and members of the public.
I really enjoy being able to offer this kind of thing, especially when exhibiting in a multi-use space. Discussing my work with new audiences has always been invaluable in helping me understand how it functions outside of the studio – and outside of my own ideas. I've had some very strong, and very diverse, reactions to pieces in previous shows. It's always interesting for me to have to think about how much of my motivation, inspiration and process to discuss – can revealing too much somehow reduce the work or does it make it both more accessible and more interesting. I hope it's the latter!
We're all visiting the gallery next week, it'll be good to meet the other artists and see the space. I'm very intrigued – although the space is attached to the library it's run by an artists group (Brent Artists Resource), it sounds like a good partnership – the kind of thing we need in Crystal Palace.
I've been trying to find a venue for a sculpture show in Crystal Palace. It's proving to be very frustrating….
The show is scheduled to be part of Signals 5 – CP Artists annual arts event – and I really need to have a venue confirmed in the next couple of weeks in time for the publicity.
I've been trying to identify the problem(s), so far I've come up with:
- The area is under going singificant regeneration and anyone with a vacant commercial property is happy to wait for a serious offer – the arrival of Cafe Nero hasn't helped.
- The area is predominantly residential so there are very few warehouse type spaces.
- Any space large enough to hold a yoga class, band rehearsal or drama group is hired out by the hour.
- There is no established art gallery or institution to collaborate with.
I knew this wasn't going to be easy but I'm surprised at how many absolutely dead ends I'm coming up against.
If I can't get some kind of positive response by mid June I'll have to admit defeat for this year and start planning something grander (and more fundable) for 2008!
I owe David Barrett a great deal. Since we met on Stuart Brisley's Fine Art Media MA at the Slade in 1995 David has continued to take a proactive interest in me and my practice -even when I was doubtful!
Now, as the result of his nomination, I'm going to Venice with Pilot 3 (www.pilotlondon.org)
It will be my first time at the Biennale, and despite having gone through old copies of Frieze and Art Monthly I don't think anything will prepare me for the sheer scale of the opening weekend.
David maintains his practice alongside lecturing and criticism. He's also one half of Royal Jelly Factory – Lucy Head is the other. Together they publish artist's monographs and websites. Their enthusiasm and commitment is truely inspiring and I am very fortunate to know them.
Project Me is somehow enabling me to recognise, value and actually enjoy relationships that previously I just 'didn't get'. Re-engaging with my practice, spending time in the studio and with artists is making me better! And being better – a better artist, a better friend, a better me – can only be a good thing. The more I have the more I have to offer ….
Everything has changed!
It's four weeks since I worked my last shift in the cafe and already it's had a huge impact on my work … not only that but i feel like an artist again – rather than someone who, on a good week, manages to get to studio for a few hours. The strange thing is I've probably not been to the studio much more than before – but now I have time for all the other essential stuff, seeing shows, meeting artists, developing projects as well as being more relaxed about making work ….
What I've really enjoyed is having time with other artists and time for reflection. The studio feels more playful – last week I caught myself sitting back and smiling at something I'd made with bright ribbons, materials I'd have been far too stressed to allow myself a couple of months ago!
I don't always know what I'm doing now and that's ok, actually it's good!
