Why do I ‘do Frieze*’?
*I use Frieze as a bit of a catch all term for the fairs, events and shows in mid October London
It makes me feel internationalI like to see what sells to who for what – it’s the only time in the year when I read the Art Newspaperthe world comes to Londonit’s a great time to catch up with friendsseeing the Collector on mass I enjoy spotting ‘trends’; drawing, folk imagery, portraitureit’s a chance to dress up
Frieze is becoming like January 1st or April 5 – one of those dates that marks a new year. A time to reflect on last years achievements, a time to make plans and resolutions.
This year I started off going around some of the fairs with friends. It made me realise how slow my natural pace is and how I like to have time with a piece and to have some context for it. I’ve come away with catalogues full of folded page corners – now the real work begins; following up artists and galleries. And of course trying to figure out where I fit in all of it.
Last year I said that I wasn’t going to go to Frieze itself, I said I’d concentrate on the young gallery events. This year I’m thinking that as the young gallery fairs try to be more and more like Frieze I’ll skip them next year and just enjoy the spectacle of the real high end …
I’ve had a stressful couple of weeks – getting used to the new routines with John’s NG tube. There have been numerous meeting with various specialists. Although it saved him from immediate danger I was left in no doubt that his condition was serious. I’m not sure that I wasn’t being ‘told off’ for not noticing the decline in his ability to eat and drink. Things have settled down but learning and remembering new routines is tiring.
As all this is going on I’m becoming more and more interested in beauty, and less and less interested in issues. I have enough issues without inviting them into the studio.
I’m so grateful that I have the studio, and that it’s been quite busy there – lots of catching up with the other artists. It’s good job that I see their achievements as inspirational!
I’m still working on a piece for the clothing-based group show. The show has been postponed (for a second time), it looks like it’s happening in February. Last week the quilted patchwork finally began to show it’s sculptural form. Until then I’d been working on the flat, now it’s a cylinder – it’s taken months to get to this stage. I have to admit that seeing the form lying on the table it looked more like a bolster from a old lady’s bed than a boxer’s punch-bag! Hopefully it’ll manage to refer to both when it’s finished.
The workmen developing the building at the front of the studios left the door to their temporary store open, everytime I see the space I can’t help but fantasise about it being my studio. It would make a great sculpture studio – I must start working out how to make it a reality…
After coming a "very close second" (again) I’ve decided to take notice of what’s happening and STOP applying for jobs! I’m obviously supposed to be an artist and not an employee – why has it taken me so long to work that out? So that’s few hours a week of trawling in the internet saved.
I’m really grateful to Caroline Smith for programming me into her Day of Intimacy (CP Artists, Signals 5). It’s re-introduced me to writers and performers. It feels like it might be the right time for me to re-engage with live art.
A crisis in John’s condition was narrowly avoided at the end of last week. He’s been losing weight rather rapidly but became dehydrated too. He was rushed in hospital and had a naso-gastric tube fitted. This means that he can get sufficent fluids and nourishment again.
It is any wonder that I’m getting more interested in ideas of beauty, getting more fascinated with materials, getting more attracted to connoisseurship . I need to believe there are things that aren’t tainted, aren’t spoiled, aren’t shadowed by misfortune.
After years of making art that tries so hard to be socially and culturally relevant I feel a shift…
The live/durational part of Bed was completed at 4.55pm on Saturday (started at 12.00 noon). The day was really good and I’m really pleased with way the piece turned out. The completed drawing surprised me with it’s beauty.
The process was both formal, in that I had a pre-determined task to complete, and informal, in so much as I chatted with my ‘audience’. Conversations ranged from the sizes of people’s bed and sleeping habits to the expectations one brings to looking at art. A woman stall-holder at the nearby market came three times to see the piece. On the second and third times she brought different friends – she initiated a heated discussion about what is and what isn’t art.
I hadn’t given much thought to how the finished drawing would look. It’s beauty caught me unaware and I found myself smiling and feeling very proud if it. There were a few moments when the drawing had the same quality as the sky above it. It was almost as if it stopped representing something real and took on a realtionship with light and space.
The piece will now be left to weather. I will go back and take periodic photographs of its erasure.
This was my first live work in about six years – I want to do more ….
I’ve been thinking a lot about BED, the live work I’m making for the Day of Intimacy event. And the more I think about it the more I think I want to write an accompanying essay or hand book!
What’s this desire to write about then? I can’t guarantee that it’s not an attempt to pre-empt criticism that the piece is juvenille. I can’t guarantee that it’s not an attempt to demonstrate how much I think about what appears to be simple work.
But outside of academia (which I am) does this kind of writing have a place? Who, and where, are my imagined readers?
I’m getting a bit anxous about how long the task I’ve set myself will take. Previous task vased durational work has taken considerably longer that I imagined it would. There’s something quite poetic about finishing it late in the evening – at bedtime.
