I have become more interested in process again recently and am enjoying this series of drawings in the studio. The drawings are a way of slowing down, they act as a curb on the urge to “do something” and take away the anxiety of not knowing what to draw. The formal ready-made grid restricts the gestural and demands slow, deliberate marks, though my hand wobbles and the mark cannot be fully controlled.
Have been having a good time: talking about practice, moving things forward on the new studio front, researching drawings and getting on in the studio. The drawings are a record of time taken.
Also visited lightship LV21, currently sporting Jon Adams’ Dysarticulate 3. I will be there making boats this Sunday as part of Lightship and Lighthouse weekend. The project is an amazing example of personal dedication and investment.
Just listened to a podcast – Christopher Townsend on the Physicality of Drawing. Interesting comments on the importance of agency and the pain of touch.
Spent some time in the studio earlier and started this piece of work, which could be interesting when it’s finished. I don’t know yet. I am using a big, rather unwieldy graphite stick.
Came across this great quote today:
“For me, practical and conceptual concerns are inseparable. We live in a world that is more easily defined by technology, but I am interested in ideas about the handmade, how human existence can be communicated through the handmade in a more meaningful way. There is a real difference between process paintings and paintings that emphasise the presence of the human hand. For me, the latter is a more conceptual approach. I think that ideas about the handmade have an important role to play in a contemporary context” (Paul Doran) (http://contemporarydrawingsalon.blogspot.co.uk/sea…)
Had a play in the studio today after what seems a very long time away.
Well, that was not a great success as far as boat-making went but I had some good conversations. Too much sport going on really.
Great to get some feedback though via this blog about the boats, so thanks to Clare Maynard for the comment.
Clare Smith's mixed English/Chinese heritage informs her perspective on issues of identity and categorisation. Her nomadic childhood and early adulthood have meant a somewhat ambivalent relationship to place, reinforced by the sense of ambiguity that comes from her mixed identity. Smith works with drawing, print media, collage and moving image to investigate this ambivalence, with references to craft, the importance of labour and the handmade. Through her choice of materials and approaches, she creates work which attempts to create a sense of unity, an interpretation of Homi Bhabha's "Third Space" - seen as a space in which different parts can come together to challenge dominant ideas of wholeness. Collaboration is part of Smith’s practice and she is also co-founder of Dover Arts Development (DAD) together with painter, Joanna Jones. This involves working with many different artists, curation, organisation, event management, creating networks across East Kent and influencing the public realm in Dover. Clare works from a studio in Dover. She has an MA in Fine Art from Central Saint Martins and has exhibited nationally and internationally.
