Something?s happening

Some images from life drawing.

Was at The Artist as Citizen talk by ResCen hosted by The Wellcome Trust last week. Artist/performer Graeme Miller suggested that the arts are special when something is created that is a world in itself, but at the same time refers to the world outside. At another panel he was invited to talk on, he included a live video feed of the outside street. The idea being the speakers and audience would be reminded of how real time passes, and he hoped this would be reflected in their responses and solutions. When walking out of a London Tube station and finding himself infuriated by the sea of free newspapers, he decided to take action. It resulted in him standing next to the free newspaper distributors, and politely asking passers by not to take a newspaper. That’s brilliant. He often returns and finds it anxiety relieving.

Doreen Massey, a Professor of Geography, suggested that we need a crisis of ideas to sit alongside the world’s financial crisis. She finished by saying her strength in pessimistic times was ‘an inability to stop fighting’.

Something’s happening was 3^rd in Octobers Top ten Artists talking blogs. Which is nice!

After a lot of umming and ahhing I have decided to move studios. I’m not moving far. It’s the studio next door, in the same ‘Space’ building, and still two doors down from my flat. I will have a larger space for less £’s, and studio to myself for majority, as other artist I’m sharing with won’t be in much. Disadvantages are I will lose the frank yet useful feedback I was getting in previous studio share. I have every intention of turning the new space into a haven, a den, ‘my shed’.

Recently I’ve been concentrating on meeting other artists. The building I am in only has six studios and it’s very quiet! I have found some lovely communities in the SE London area but struggling to find regular groups or events in the hackney area where I am based. There are bits and bobs but its all a bit sporadic – am I missing something, anyone out there? It is early days and perhaps it is something I should consider setting up myself.

I did attend an Artist Speed Networking event last week. In pairs we had 10 minutes to discuss each others practice and then you moved onto the next person (there was a bell and a horn!). Scary, challenging, and interesting having to find quick sound bites for my practice, give useful feedback whilst trying to find a common interest.

It made me think about the word ‘networking’ I think we borrow this from the business world and in ways it defines what we do. And the artist’s practice often is a business. However it instantly brings to mind white collar workers or a corporate world – which feels artificial and not necessarily something I want to be part of. Here’s a Wikipedia entry for business networking.

But what was I doing if I wasn’t networking?

Visited Grayson Perry’s exhibition The Tomb Of the Unknown Craftsman at the British Museum. A clever and thoughtful exhibition. Alongside his own works were treasures he had chosen from the Museum.

I brought the exhibition catalogue and a teddy bear. I am not solely responsible as I was being supervised by my other half. Yep a teddy bear. Somewhat out of character and not quite the god Alan Measles but a possible ally. I’m going to go with it. Alan Measles is Grayson Perry’s fifty year old teddy bear ‘benign dictator of my childhood imaginary world’. This is my third book of his – it smells really good. If autobiographies are your thing Grayson Perry’s, Portrait of the Artist as a Young Girl is beautiful.

Grayson Perry is my hero and fellow lover of objects:

‘… seeing oneself, one’s personal concerns as a human being, reflected back in the objects made long ago by fellow men and women with similar, equally human, concerns… One thing that connects all my choices is my delight in them’. [1]

‘In my own modest way I offer the Tomb of the Unknown Craftsman as an example of devising a ritual to satisfy a set of emotional needs, conscious or otherwise, that might be shared with others’. [2]

‘Though I subscribe to few superstitions, I enjoy the charms, talismans, shrines that are made by those that do. The very idea of the relic, of an object imbued with spiritual or mystical power, seems a close kin to contemporary art.’ [3]

‘Shrines to me embody the essence of what I do. I put significant artefacts in a special place for us to contemplate. The special place could be your pocket, in a corner of your house or by a roadside, it could also be a contemporary art gallery or the British Museum.’[4]

‘My own creativity and art practice has been a mental shed – a sanctuary as well as a place of action – where I have retreated to make things. It gives me a sense of security in a safe, enclosed space while I look out of the window on to the world. The shed was where I first learned how to make things, where my subconscious was schooled in colour, texture and the concept of making, I still have that excitement now, of being glad that I’m a maker and that my internal shed is always available.’ [5]

[1] PERRY. G, 2011, The Tomb Of the Unknown Craftsman, London: The British Museum Press, p.11. [2] Abid p.20. [3] Abid p.23. [4] Abid p.73

[5]JONES.W, PERRY.G, 2007, Portrait of the Artist as a Young Girl, London: Vintage, p.23.

lost

Attending the Sluice Art Fair and panel discussion and other art events in the past few weeks has confirmed a shift in feelings.

There is always that struggle between the reality of being an artist and the need to make, show and be surrounded by art regardless of that reality. I’ve always felt shame knowing that I will always make art regardless of how much £’s I do or don’t make. It’s been really refreshing to hear others admit that too. Its especially difficult to explain to someone who is uncreative, I feel, they feel I am an idiot. What? You will work for nothing? Perhaps the use of ‘uncreative’ is wrong, the ‘un’ implies a lack – and there are people that aren’t ‘creative’ that understand. Although usually they are passionate about something that doesn’t feed into the capitalist ideal/nightmare.

I have also heard a few people suggest that artists need to question what the value of their work and practice is, value other than the financial sense. It feels like there are positive changes starting to occur in the British art community. One being the realisation that we are a community, and perhaps we could be a better one. Perhaps we are all looking a little more outward. I am attending Artquests discussion What are we worth? Artists and the Economic Crisis. It will be interesting to see what the vibe will be there.

‘The art community’ – I like that. That’s what it should always be referred to not the art world.

Here’s a link to thoughts around the Sluice Art Fair and the artist led route, by Cathy Lomax (Transitions gallery) who was on the discussion panel with Alistair Gentry and Jasper Joffe.