250 word artist’s statement, which specifies your research question and the territory that you occupy as a practitioner (thereby ‘claiming’ your practice).
An illustrated, comprehensive, but concisely written analysis which fully identifies the contexts informing your practice, signposting key developments and influences over the entire course. We call this “the Arc”. The Arc extends, and further develops the artist’s statement (see above).
At this stage, the Folio should be holistic in terms of your critical approach to practical and professional skills i.e. it should be exploring how you have claimed your practice. The Folio is an opportunity to expand on the contextualisation of your work, reflect upon how it may be received by an audience and how this relates to the professional arena that you aim to become part of on graduation. We strongly recommend that its layout and visuals reflect your practice.
On successful completion of the unit you will be able to claim your art practice by:
Professionally researching all aspects of the development, manifestation, and presentation of your work (research, analysis, subject knowledge, technical competence, communication and presentation, personal and professional development, collaborative and/or independent professional working).
Evidencing your comprehension of the implications of context within your art practice (research, analysis, subject knowledge, communication and presentation, personal and professional development, collaborative and/or independent professional working).
Evidencing a high level of professional and practical skills in all aspects of your practice (research, analysis, subject knowledge, experimentation, technical competence, communication and presentation, personal and professional development, collaborative and/or independent professional working).
Effectively and confidently contributing to creative dialogues and exchange at the forefront of contemporary Fine Art practice (research, analysis, subject knowledge, experimentation, communication and presentation, personal and professional development, collaborative and/or independent professional working).
Evidencing your understanding of what a sustainable practice is: both conceptually and practically (analysis, personal and professional development, collaborative and/or independent professional working).
Evidencing the development and management of professional relationships whilst retaining your own sense of identity and integrity (research, experimentation, communication and presentation, personal and professional development, collaborative and/or independent professional working).
FRAGMENTS AND COLLABORATION
At the start of this unit I was very fortunate to form a collaboration with artists Molly Rose Butt and Anna Shelley. Finding common threads in each others practice we began meeting every Wednesday to discuss ideas around the use of fragments or fragmentation in our work. This weekly discussion developed into a collaborative project within the Wimbledon Project Space which we entitled ‘Save Me A Place’.
As the starting point for this first project we took fragments from our own practice that for some reason we had found it difficult to work with and bring them together into one space, laying them out in a kind of grid. We would then work collaboratively to begin to draw connections between the fragments, either formally or conceptually as a way of beginning to interrogate them, and to contextualise them. These initial connections then built into sculptural and painterly installations around the space that we worked on at the same time. As one person would make a choice in arrangement, another would change or develop that idea. Pausing at various points we would discuss the interactions between fragments, and question the movements we had made. The aim of this discussion was to try and break down the reasons why we would make certain choices based on our formal and cultural understanding of each fragment, and what this would do the to viewers interaction with them
We titled the project Save Me A Place, a quote from a text that Anna Shelley provided as bedrock for discussion around the project. The text, titled ‘A Packed Theatre’ by Augusto Corrieri, takes as its subject the life of the Rezidenztheater in Munich. In 1944, during the second world war, when Munich was suffering heavy bombing, the government, in fear that the theatre would be lost, had the entire building deconstructed into around 30,000 pieces, packed into wooden crates and hidden outside the city, to then be completely reconstructed and reopened in 1958. This project of total fragmentation was both praised and criticised by the people of Munich.
This provided a very fruitful starting point to discuss ideas of fragmentation and also space creation, landscape and architectural refuse. The section that we quoted reads: ‘What Munich was attempting to shelter from the Allies’ bombs was the place of the spectator—in other words, theatre's housing function, its potential to gather and hold people together for a certain duration. As a gesture, it perfectly mirrored the one we perform ordinarily at the bequest of another audience member, when we are asked, “Save me a place.”
click images to see enlarge
SAVE ME A PLACE
Our first project and the text by Corrieri (both above) gave us some material to work with to apply for the Studio4 residency at Chisenhale Art Place, which we were awarded through the month of July 2016. We started with the same process of bringing fragments into the space, but this time we gathered them from the immediate area around the studio space itself. Canals, estates, parks and industrial spaces provided new and more specific objects to work with which we used to develop much larger installations in the space.
What changed the most was having an entire month to continually construct and deconstruct the installation. This was a really interesting process in terms of both collaboration and recording the piece. In the former, as diaries dictated our process, there were some days where we were working all together and other where we would work on our own. This meant that the ideas, associations and formal compositions that had been forged a day before, may be totally rearranged on our return. Our ideas were constantly developed and built upon, fragments were compiled into an arrangement, that were then fragmented again, and in turn reconstructed. This process allowed for a dance like way of working, and for ideas and new interpretations of objects to arrive at speed. This collaboration has been a very exciting process both in the results we have obtained from collaboration, but in lifting our individual practices. Being forced to take objects seriously that I wouldn’t have chosen myself, and the freedom to work with materials and methods that were new to me has been hugely rewarding.
The residency also required us to develop a public program of events and we used this opportunity to further challenge our ideas and develop the themes around the work. Our first event was a public, participatory event in which we welcomed the audience into our method of working. We asked people to bring something they considered to be a fragment, which they would be passing on for use into the wider group. We then took the group on a fragment walk, gathering objects, drawings, images, video footage and sounds. On our walk we structured the journey to travel through a variety of locations, canal side, parks, council estates, warehouses and tried to consider the fragmentary nature of the spaces we visited, as one space was built over another or layered upon itself. We considered the nature of the city as a type of collage in itself, much similar to the building up of layered fragments we had been building in the studio space. This then related back to our source text from Corrieri, and the positive and negative associations of the fragmentation of the Residenztheater in 1944.
Returning to the studio space with the materials and thoughts we had collected, we worked as a huge collaborative group to continually move things around into new installations. After this we discussed the process. What struck me most was how people described their de-contextualised relationship these objects. The group didn’t feel in anyway connected to the fragments function, or status, even if they have brought them or found them, but were happy to use them almost exclusively for their potential relationship to other objects and installations in the space. The process was very intense, with nearly 20 people working at the same time, and this dance seemed to allow people to be less anxious about their decisions, as what they did may have only lasted for 30 seconds before it was moved again. This brought out the question of where the artwork itself existed: Was it more in the dance of composition and material exploration, or in the final result, or in the images of interesting object relationships that people snapped along the way? This openness to challenging objects, and moving things around in this free and open fashion has challenged my own working process. Sometimes I can be held back from making certain movements in a piece for fear of it not working. But letting go of preciousness in some sense, allows for you to travel through awkward moments, arriving at more interesting results.
For our second event we invited two speakers to give presentations in response to the residency's themes and the work itself. We wanted to develop distinct viewpoints on the work so asked both artist Ian Munroe and architect Richard Gatty. Ian spoke first and took up themes around how we understand what an object is. He began by describing how he felt the residency work touched upon the fact that these objects, no matter how decontextualised, kept something of their previous history and function, or pointed to a function, which charged the show with questions of ‘what is that?’ or ‘where is that from?’. He then discussed the idea of how far can something be broken down before it stops becoming what it is, and then in reverse how much information do you need to know about an object for it to become fully what it understood to be. Richard spoke on how he considers architecture itself not as solid complete wholes but buildings as a series of layered fragments, which don’t stop changing and developing once the building is ‘finished’. He took us through a history of fragmentation in architecture talking about the nature of ruin and it's function in developing buildings.
Both these talks have pushed me to think more about the meaning of fragmented objects in my work both in themselves and in relation to the architecture they find themselves in or are originally taken from. The ideas associated with ‘object oriented ontology’ of which Ian referred to in his talk, at one end nihilistically consider objects to be totally unknowable - that nothing can be ever understood. While at the other exists a pseudo-psychic view that all objects have inherent life, energy and meaning that we can obtain. I find myself wanting to rest somewhere in the centre of these two viewpoints, considering an object’s current and previous context alongside it’s mystery, energy and it's capacity in my sculptures to do unexpected things. Both these lectures, more images and information about our collaborative efforts as part of Save Me A Place can be found here.
click images to see full gallery
PRESSURE POINTS AND COLLAPSE
Shortly after the Studio 4 residency I was part of the group exhibition Interventions at Lewisham Art House, selected by fellow student Andrea Coltman. The show brought together 9 artists from across our MFA year to showcase new work. The curation process was a collaborative effort, resulting in a very symbiotic show, further exemplified by Andrea’s careful choice of artists whose work she thought would hold well together.
In a short project labelled ‘The One Hour Shows’, which we undertook on the course just before the summer, I was challenged to consider weight more in my art practice. I evaded the challenge at first, saying that I had tried to stay away from weight-bound works as I felt they could be a bit of a gimmick. But I began to reconsider what more dynamic elements may look like balanced amongst other elements in my work. In my piece for Interventions I begun to deal with that and I worked with a number of ideas which are now taking me in new directions in my practice.
Firstly the main structure of the piece was made up of objects which were much more recognisable and colourful than in the previous year’s work; namely a found neon blue Ikea clothes rail, and dull carpet tiles from an empty 1960’s office building. Secondly the piece developed a focus on pressure points in the sculptural space. I added in a sponge, which I found in the store cupboard of Lewisham Art house, as a prop underneath a straight of blue metal. This balanced the sculpture formally, and as the sponge was folded it was in constant tension provided by the weight of the metal. This pressure point became a lead into the piece for many of the people who saw the work, something from which the more subtle elements could build from. It also served to heighten the points of possible collapse within the work. The taller central elements of blue was very much balanced absurdly on the section of the broken chair beneath. This piece has also been a departure point for my more recent work, in that I sculpted a small element from clay as a support for another found object. This has been a big step in rethinking the idea of fabrication and how it relates to the found object in my practice.
This exhibition came at a really good time for me on the course, as I finally feel after a year on the MFA that I have been able to let go of many of the ideas I have built up about my work, which I originally didn’t feel I could depart from.
click image to enlarge
THE FOUND AND THE FABRICATED
Many times over the past few years I have wrestled with a tension between using found objects and a desire to fabricate or ‘sculpt’ elements in my work. The tension has arisen from the time taken to fabricate objects, and feeling that the immediacy of a formal idea would die out through the making process.
In trying to bring fabricated elements into my work I have been looking at the work of Thea Djorjadze, who is able to balance found, highly fabricated and sculpted forms all into single works. Her sensitivity in how these pieces are brought together, both in internal composition and in spacial awareness, is what makes them work. She also balances the fabricated objects status in a composition, never allowing them to become too powerful or overwhelming in their ‘made-ness’, even if they have a resemblance to something that we think we know, like a piece of furniture, or an architectural support. In this, I find a really powerful point of divergence going on in Djorjadze’s work. She seems to be able to balance on the one hand found objects that subtly point to a previous function that they may have had, while maintaining their main status as formal and colourful elements in her work. And on the other hand creating fabricated objects that point to the idea of an object that has a function, but never will and never did. This subtle context building and snatching away brings this expanding and receding narrative that we can never really grab onto to but that charges the overall work with character, triggering muddled memories and ideas in the mind of the viewer.
As I have begun to fabricate objects this term, I have let these ideas grow in response to the found objects that I already have, and the conversation between various elements that are going on in the early stages of a composition. The fabricated objects then have begun to act as absurd supports, weights and props, or as stand-alone forms in their own right (with their own internal logic) or a mixture of both. Following from Djorjadze, I have been thinking about how the found and the fabricated work together to subtly point both to and away from themselves. The found objects I tend to use, and now the way I am handling these self-made pieces may allude to something quite specific, or may be quite specific (a blue IKEA clothes rail for example) but are often so generic that although they are known there is no one sight that they point to. They are therefore site-less objects in association, but site bound in composition and how they relate to each other in the space they now inhabit. This tension and relationship I am finding increasingly motivating and exciting.
This exploration has also drawn me back to the work of Claire Barclay including her solo show Longing and Lasting at Stephen Friedman Gallery which I have written aboutin more detail here. Barclay’s installations straddle another line between the fabricated and the sculpted. She uses a mixture of personal and traditional methods of sculpting and crafting objects alongside getting objects fabricated for her work. The outsourced fabrications relate to specific areas of the work compositionally, but at times they also relate to the wider context of cultural fabrication happening around the space in which she is showing. The kind of fabricators she uses, like gold and silversmiths, furniture and hat makers, alongside her own methods of stitching, and fabric printing push her objects into the realm of commodity, and the handheld precious item. But again these items are absurd, speaking out about a possible function or narrative but never arriving at anything other than their shape, looping back in on themselves. The preciousness of these objects, and the time taken to make them creates epochs of fast and slow moments among her compositions. The complexities of these interactions take you in many directions over the course of one installation.
I have been trying to implement this ethos into my recent work. What is going to be, for example, the fast or tension filled inroad to the sculpture, that then leads to a slow weighted element, that draws you to a pop of colour and then a zip of a fast line leading you back to a heavy negative space? While all the time the objects toy with pretending to be something that they are not, or being something that they were, but no longer can hold on to.
click image to enlarge
Much of my recent exploration into the relationship between the fabricated, the sculpted and the found has drawn me to discuss how these things work or do not work in their own formal dialogue. Artists' work that I have found successful and challenging in the last year seem to create an internal language within their installations, that is other than the world outside, but functions totally on it. While at the same time balancing elements that are totally made with those that are bought or found.
Both Helen Marten and Michael Dean’s installations for this years Turner Prize do this so well. (I have written about those shows specifically here). Both of them manage to bring an internal, logical language through their work. For Dean it is much of a literal language, wire bases and supports bent into the shape of the word SHORE which must appear some 500 times in the space in different guises, which in a strange way serves to strip it of meaning and make it as sculptural an element as the plaster, rebar and concrete of the rest of the works. Marten’s internal language is produced by her economy of materials, and her almost pitch perfect balancing of weight, form, colour and reference. The internal rationale in her use of materials creates, as Marten calls it in her Serpentine solo show, a ‘dissolved-wonky-semiotics’.
It's this development of an internal dialogue between divergent objects that I am trying to grasp at with my piece for the assessment exhibition. I don't feel totally confident that this piece does that with the same gravity as Marten for example, but I am beginning to feel that some of the elements are speaking to each other in a way that I would like. The totally fabricated and painted white steel object has been a particular challenge, in that it has its own very clear structure and pattern, which is broken by the missing piece. I have found it hard to relate this very self-reflective and solid object to the more ephemeral objects.
The next step for me is to keep developing my relationship to the fabricated and experimenting with new objects and materials. So that I can build confidence in my knowledge and understanding of how things might work together, and what kind of internal dynamics and behaviours I can create with each work.
Practice and Collaboration
A huge part of my practice over the course of the MFA has involved initiating and managing external projects such as exhibitions and residencies. During the last unit it became obvious that Antony Dixon and I had a number of areas, interests and objectives in common and were already working collaboratively. Over the summer we had room to discuss the future and possibilities.
We have slowly been building up ideas both in terms of how our practices can progress working collaboratively and how we may, as practitioners, become sustainable.
Through Antony's unwavering support when I was setting up the Canary Wharf Residency we realised that we were both singing from the same song sheet and have been in constant discussions over how we may proceed collectively.
We have worked collaboratively curating shows together at the Kaleidoscope Gallery
We have been attending monthly meetings at UAL Holborm with the careers and employability division and have been to a seminar at The Towner Gallery Eastbourne.
During April we collaborated on a show at Delta House Project Space.
'I don't know how to love a place...'
I have always struggled to understand how to love a place. To me a house is only a home when there are people you love in it. Despite the ubiquitous nature of homes, buildings and man made structures there is a strange fascination for me for this meagreness, the mediocrity, ordinary, tangible and transient nature of recognition of a man made structure, space or environment. I float around wondering where I can call home. I question what place draws my attention and why. Is it a sense of familiarity, voyuerism or is it
Matt's Gallery SE1
Contextualising and analysing my practice throughout the MFA has thrown up some new and interesting territories. I have recently been considering how my practice relates to areas such as psychogeography, non place and the interstice. Looking at artists such as Alex Hartley whose latest works (click here) embroil thoughts of modernism and its legacy, as well as the ideas of ruins/relics. However there are also elements of narrative where the viewer arrives at a situation of ambiguous cause and uncertain outcome that I have chosen to embrace. I have used this language of ambiguity to reconsider how places I have passed through have a history of memories. I interrogate the moment I have recorded photographically and decide how that may work visually through my rendering in paint. Warily, I step away from using the figure as a focal point and invite the viewer to enter 'Somewhere only I know'. It is uncomfortable for me but the intention is a visually ambiguous for the viewer. Ideas of privacy and voyeurism are the objective with contradictions of modernist aspiration giving rise to the desire for boundaries of other kinds.
My practice has intentionally moved away from the overt narrative with the figure, where once I questioned whether my work sat on the peripheries of portraiture today I am looking more at a portrait of a place and how I site myself emotionally within that arena.
Odd Space, Nothing Beyond
Activating the square in a convincing ways, repetition, removal of something/editing voids initiating a ghostly feel/ unnerving/ abstract face/ skeletal/ skull like/ spooky/ robotic/ androgynous/ injured/ deadly/ synonymity/ faceless/ workers/ construction site/ colliding with a painterly language, something absurd/ generic or unseen Abstract Minimalist - Barnett Newman
History of painterly languages
Beauty but stark beauty- dystopian
Core workers/ relationships absurdity rebar - no location and so is there a further meaning
Bars - jail bars/ barriers ghosts statement of labour going on
Hi Vis colours of safety/ threat / danger Could be a Cyborg threatening feeling
Displacement site configuration Under Construction/after a building is finished you never think about the works after
repetition and absence
The repeated blotch - connections
Fluorescent paint - post WWII plastic modernity artificial pigment different vision that is non human
Repetition is the key element
Lack of gaze but a gaze even though there's no eyes. Negative positive
Connections very dystopian
Grids through the work and therefore a consideration for hanging going spatially
Constructions further extend the paintings out beyond the canvas - Orwellian & Apocalyptic
Strong resonance with my family background
How do different places make us feel and behave? The term psychogeography was invented by the Marxist theorist Guy Debord in 1955 in order to explore this. Inspired by the French nineteenth century poet and writer Charles Baudelaire’s concept of the flâneur – an urban wanderer – Debord suggested playful and inventive ways of navigating the urban environment in order to examine its architecture and spaces.
As a founding member of the avant-garde movement Situationist International, an international movement of artists, writers and poets who aimed to break down the barriers between culture and everyday life, Debord wanted a revolutionary approach to architecture that was less functional and more open to exploration.
The reimagining of the city proposed by psychogeography has its roots in dadaism and surrealism, art movements which explored ways of unleashing the subconscious imagination. Tristam Hillier’s paintings such as La Route des Alpes 1937 could be described as an early example of the concept.
Psychogeography gained popularity in the 1990s when artists, writers and filmmakers such as Iain Sinclair and Patrick Keiller began using the idea to create works based on exploring locations by walking.
Non Place & Relational Aesthetics
The term relational aesthetics was created by curator Nicholas Bourriaud in the 1990s to describe the tendency he noticed in fine art practice to make art based on, or inspired by, human relations and their social context. My work fits within these parameters.
The French curator Nicholas Bourriaud published a book called Relational Aesthetics in 1998 in which he defined the term as:
'A set of artistic practices which take as their theoretical and practical point of departure the whole of human relations and their social context, rather than an independent and private space'
He saw artists as facilitators rather than makers and regarded art as information exchanged between the artist and the viewers. The artist, in this sense, gives audiences access to power and the means to change the world.
I feel that the didactic from my work falls into the relational aesthetic hemisphere although the interactions I have to public spaces are personal and private thoughts.
Art of Interaction: A Theoretical Examination of Carsten Höller’s Test Site
This paper looks at the interactivity of Carsten Höller’s Test Site 2006, using Alfred Gell’s Art and Agency (1998) and Nicolas Bourriaud’s Relational Aesthetics (1998).
Gillian Wearing OBE
'I'm desperate' 1992-
3Colour photograph on paper
Bourriaud considers the relational form of artwork as social "," a place to learn to inhabit the world in a better way, where art "tightens the space of relations" between spectators so that art becomes a glue of social relations. Monica Westin: Art in the Time of Midterms: Museum as Democracy and the MCA's New Show
And upon tearing her world asunder in a moment, the forces leave her to go be insane somewhere else, and she doesn't even know what the fuck. points out how there is this '' between what we consider real-life and what is urban mythology.Anime Nano!
Between the stories that I do tell there are s, some shallow, some deep, and in these interstice lay the stories that I do not, for one reason or another, tell.A Closer Bridge To Home - Her Bad Mother
Each snapshot moment encapsulates a state, every congruity and between them suggests a transformation, and -- assuming the viewer actually gets it -- the film resolves into an excruciatingly tender and poignant portrayal of a relationship.Archive 2008-08-01
Are we back in the Western here, still in it with Sigurh as Palance, Moss as the hero who's going to have to take him on, or some innocent homesteader doomed to be just another victim ... or are we now somewhere else entirely, shifted by the subjunctivities and modalities of Crime and Horror to an uncertain between the genres?Archive 2008-01-01
The collaging of narratives in "A Tale of Plagues and Carnivals" makes each section and each between them a pataphysical quirk. Notes on Strange Fiction: The Pataphysical Quirk
But how else to really grasp what happened at Qana other than through a single story in the between politics and violence, the story Hala told when she spoke of her babies and not of her love for Hassan Nasrallah?A Privilege to Die
Have to stop dumping toxic waste in the third cosmic , things like that.The Lives of Felix Gunderson
But then, as the final drops reach the ground and many more perch unsteadily on the now dustless leaves, at that unprotected moment, when you are not quite sure that it has finally ceased raining, and neither is the rain itself, in that very , everything becomes serene.Excerpt: The Bastard of Istanbul by Elif Shafak
The two-and-a-half-foot interstice between the two layers maximizes the circulation of cooled air mandatory for a glass-skinned building in the desert-like Attic climate.
Spatial & Visual Awareness
Doreen Massey manages to describe a certain way of perceiving movement in space which I have been - and still am - working with on different levels in my work: i.e. the idea that space is not something static and neutral, a frozen entity, but is something intertwined with time and thus ever changing. Doreen's descriptions of her journey through England for example are clear and precise accounts of this idea, and she very sharply characterizes the attempts not to recognize this idea as utopian and nostalgic.
Doreen Massey makes an impassioned argument for revitalising our imagination of space. She takes on some well-established assumptions from philosophy, and some familiar ways of characterising the 21st century world, and shows how they restrain our understanding of both the challenge and the potential of space.
The way we think about space matters. It inflects our understandings of the world, our attitudes to others, our politics. It affects, for instance, the way we understand globalisation, the way we approach cities, the way we develop, and practice, a sense of place. If time is the dimension of change then space is the dimension of the social: the contemporaneous co-existence of others. That is its challenge, and one that has been persistently evaded. For Space pursues its argument through philosophical and theoretical engagement, and through telling personal and political reflection. Doreen Massey asks questions such as how best to characterise these so-called spatial times, how it is that implicit spatial assumptions inflect our politics, and how we might develop a responsibility for place beyond place.
This book is 'for space' in that it argues for a reinvigoration of the spatiality of our implicit cosmologies. For Space is essential reading for anyone interested in space and the spatial turn in the social sciences and humanities. Serious, and sometimes irreverent, it is a compelling manifesto: for re-imagining spaces for these times and facing up to their challenge.
For Space (Text)
Small Unstable Horizon
Flaneuse, The Urban Wanderer
Baudelaire’s writings coincided with the infamous Salon des in installment form in Figaro. The publication of the article coincided with the infamous Salon des Réfusés and the debut of Édouard Manet as an artist of scandal. Suddenly, what had been an indefinable concern, about content and technique in art making, became critical and current. Manet had presented a courtesan as a modern “Venus,” a prostitute as a modern “Nude,” and had quoted Renaissance artists, Raphael and Titian to do so. In addition, the painter had shunned “good” drawing and approved “finish” for a causal and notational manner of recording. The Painter of Modern Life made sense of what Manet had done to art—made painting “modern.”
There is a real question as to whether or not the “painter” of whom Baudelaire wrote was less important than the essay itself. Constantin Guys was crucial to the main point of the essay. Guys working methods were traditional in that he looked, he saw, he scribbled and then, using his memory, completed his thought later in a sketch-like record.
Baudelaire saw Guys as a bohemian hero, an outsider, the “observer, philosopher, flâneur” and as “the painter of the passing moment and of all the suggestions of eternity it contains.” Like Baudelaire, he, a “man of the crowd,” was a journalist who was trained to watch and look carefully, especially at the details. Baudelaire made the point, over and over, that the flâneur was someone who is traveling “incognito” or, in other words, the flâneur fades into the crowd, unnoticed.
I feel that this penultimate point of fading into a crowd is how I perceive my practice presently as I do not look to be noticeable.
The significant value of The Painter of Modern Life is what and whom Guys, the grown man, found interesting. “Modern Life,” for Baudelaire, appeared to be located among la bohème, which, in itself, was a creation of the modern world.
ThePainter of Modern Life
Mapping my practice has been a really useful and insightful way of taking a measure of where my practice sits presently but it has also given me the opportunity to reflect on the past and start planning for the future. This I am doing not just by recording here on the web folio but also by having taken time to start actioning projects through whatever means necessary. For instance I have taken time and consideration to arrange meetings in order to start the ball rolling to create a viable, annual residency. This has taken time, patience and a lot of hard work to acheive and hopefully it will pay off. I have also looked to cast my net further afield by networking with artists external to my normal circle of peers. I am constantly looking to find opportunities to work with fellow artists in different locations and through different forums.