501 Artists in Residence, Chongqing. November 2010

Today was my 4^th studio day and it was in the studio of Xu Gangfu (affectionately known as Mr Bald). I arrived at 10am, expecting it to be just me and Mr Bald’s assistant. It was in fact the artist himself, his assistant, his partner and a model. This was my first studio day in the presence of a nude and to be honest, my instincts were to make my excuses and leave. Not because of the model as such, Chongqing must have more simultaneously running life drawing classes than anywhere else in the world – we have encountered so many during our time here. But just the working situation as a whole had become that much more intense. I see the studio as a highly personal space and my presence within it, as privileged. With a model here, someone not necessarily aware of what I am doing and in an exposed state, made me feel very uncomfortable.

In this situation I tried to make as little movement as possible, trying to keep out of site of the model. However after a short while, the atmosphere began to feel less tense; but still no less intense. It was clear the model was very at ease, she came and went as she pleased and seemed to be observing me as much as I was her.

As I mentioned in one of the first posts, Mr Bald’s studio resembles that of a 20^th Century European sculptor. He is surrounded by his work at varying stages of completion and by the materials and tools of his trade. To be present while he worked was a powerful experience – he held court like a leading actor. Mr Bald would adjust the assistants’ work and they would look to his for guidance. His presence was very strong and everyone in the room knew what their role was.

Because of the stairs and mezzanine level, I found several vantage points from which to survey the unfolding scene. I spent much time, watching, thinking, waiting and looking. For me, this was a unique atmosphere, that I wanted to observe as fully as possible.

This fourth studio day was cut abruptly short after lunch, when our road trip to Guang’an, planned for later that evening, was brought forward by several hours. It was agreed that I could come back for an hour on Monday morning to finish the work, if necessary. Not speaking Chinese has its problems; I generally don’t get any warning about what is about to happen.

Jessica Longmore
Saturday 27^th November

Journeys to somewhere
For the past 15 days I’ve been making my way around Chongqing trying to locate places and activities described by other artists.

I know what I’m looking for when I set off, for example, a high up look out opposite a construction site next to the river. But Chongqing is mountainous, has a number of constructions sites and 2 major rivers. I’m yet to locate the spot but I’ll keep looking because the endeavour is never futile. Along the way I have found 2 places to work: under a bridge by the Jialing River and next to the power station on the banks of the Yangtze River. I regularly journey to these places, which are surprisingly quiet, peaceful places to work.

Small observations
Overnight changes: scaffolding on houses, pavement dug up, pavement re-laid, road works, no entry, land turned, crops planted. Work in progress: cleaning, sweeping, watering, harvesting, fishing, digging, building. People spending their leisure time: exercising, walking the dog, playing cards and dancing to music pumped out through camouflaged speakers. Opposite the scaffolding, every afternoon a gathering of people at the bench and the same grey haired man surveying the scene.

Good people
This is a chance to acknowledge the good people I have met in Chongqing, who for no reason I can discern other than kindness have helped me along the way, without any questions asked. Three people have helped me carry bags of sand from the riverbank, a man showed me an easier method of taking water from the river, the grey haired man on the bench gave me directions and advice, and many people have allowed me to look and to wander at ease.

Nina Chua
26th November