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!
After a couple weeks back at my two part-time jobs I realized that the time has come to give one up. It feels great to know that soon I'll have at least two days a week in the studio. The difficultly with only having one studio day a week is that if I can't make that day it means I'm not there for almost two weeks. It puts me off going into town to get materials or see a gallery – a kind of catch 22 situation!
I had to re-schedule my talk. In a way it was good for me to have to ask to re-arrange things, I'm not always good at asking for what I need. Sarah, at the gallery, was great and easily sorted things out without making me feel awkward.
Last night I sent out an email to some of the other Crystal Palace Artists' to see if they were interested in being in a specifically contemporary group show. The show will be a kind of 'show within a show' taking place as part of the Signals 5 (Crystal Palace Artists' Annual Open show). This evening I've already had very positive responses. It's the kind of thing I couldn't do when I chaired the group and it's great to have the opportunity do it now.
I took time off work last week and spent it in the studio – I'm not sure if I've ever had three consecutive days there before, which is quite an admission. Although I think of myself an artist I realise that I spend the majority of my week away from my practice – being at work (either of my part-time jobs) thinking about it isn't the same as being there doing it. I don't often see any of the other artists (there are eight of us working on the top floor of the old furniture depository), it made such a good change to be there with some of them on Friday.
It was really great to get such positive feedback about what I'm doing and the opportunities I've got coming up – thank you Jodi and Derek you've made me realise the importance of all the incidential stuff that happens when you're around other artists.
I’ve been invited to talk about my work in late March and I’m surprised at how anxious I am about it already. It’s at a friendly gallery and the audience will be mainly artists – and a few friends I’m asking too. After years of describing my practice to school children it’s exciting and a bit daunting to think about showing the work to fellow artists. The invitation came from an artist I studied with over 10 years ago who now works at the gallery- we bumped into each other a Frieze last year and now I’m going to be in an off-site project she’s curating later this summer. First though I’ve got this talk to do. . .
