Threads

I go through cycles of thinking about My Art Career… and not giving a stuff about any sort of any career. I’m 62. Sort of retirement age, trying desperately to release some pension to boost my income a bit, to take the pressure off. (Computer systems updates and portal refreshing seems to be holding me back, but I am trying!)

Art is the only thing I’ve ever really cared about in terms of progression, vocation, work ethic. I taught for 35 years or so in a variety of settings with students ranging from 3 to 83 years, but it wasn’t a career, it was funding. When I have taught and mentored other artists it has often been rewarding in terms of my own development. Teaching children and young adults and older adults can be really good fun, and rewarding in a different way, but I always had one eye on when I could stop. But what I have now I don’t see myself ever stopping. This is it now till the end, for as long as I can manage it.

I know other (possibly younger) artists who are always looking at the next big thing, where they should be looking to show their work, who they should meet, where they should go to do these things. I wish them well, and admire their drive, but frankly I can’t be arsed.

Most, if not all, of the things I found myself doing have happened by accident. Somebody asks me, and I say yes. I rarely put myself forward for anything. My upbringing tells me this isn’t right. It doesn’t feel right. It feels egotistical, boasty, trumpet blowery, and a bit rude. So what I do is manufacture my own things and hope for the best. Then people I have met ask me to join in with them, and sometimes I ask them to join in with me. It might seem a bit incestuous, closed circle cliquey, but gradually the circle widens.

This week my circle has widened: to Athens, via Liverpool (thanks again Wendy Williams). Whoever knew that could be a thing? If my damn pension thing gets sorted, I am planning a travel fund, so that maybe, this time next year when someone says “Fancy going to the Art Fair in Athens?” Instead of just posting my work, I can go myself. 

I expect that is the sort of thing Career people do. But when I do it I will be going with friends, looking at art and talking about all sorts of stuff. It won’t be Networking. Networking makes me feel a bit queasy.

I unexpectedly find myself in deep-dive.

I have that itchy feeling in my fingers and my brain is running wild and I’m finding it hard to switch off.

Real life interferes with my train of thought and it would be easy to resent that. I’m obsessed with my latest drawing. The mutation I wrote about in the previous post is continuing. Another injection of a new material, in this case charcoal, and I’m riveted and finding it hard to leave the studio. Now charcoal isn’t a thing I usually go for. It’s not clean enough… but I wanted a particular depth of black, and I wanted to be able to work into it and over it. So I put it down where I needed it to be, immobilised it with layers of fixative, washed my hands and carried on working. What I get from that dull, dense, deep blackness is the ability to polish over some of it with the sheen of the graphite. I’m also able to press into the blackness and pick up the texture with the silveriness… delicious.

But because it’s a new way of going about things, I’m unsure of composition, and transitions from one way of working to another… how do I work across from that to the embossed areas of the paper?

This is where the excitement lies, because it’s on a knife edge. I do these things instinctively but I have to concentrate or it could all go tits up at any moment!

All of these ways of being cycle around… this period of mystery, after a period of repetition and practice, turns into a magical period of mastery, where I feel on top of the world and in control… and then undoubtedly after I while I will become bored and feel I’m no longer getting anything accomplished. Then the whole thing starts again, and for ages it will seem like every drawing I do is rubbish. These are the days when it’s easy to leave the studio to get on with the rest of my life. So some sort of balance is there if I wait long enough, but it’s not the sort of balance that’s easy to plan around!

What happens when I draw…

I initially observe, then after much observation, I find the elements I have observed make their way into the abstraction. Then I stop observing, and allow those elements to bed themselves in. Then comes a period of repetition. After a lot of repletion and experimentation into materials, line, colour and so on, changes occur… a moment of mutation… where suddenly the drawing looks weird. Like a word does when you write it out lots of times and forget how to spell it.

This is what happened with the latest drawing. I had use odd colours, not in my usual palette: a walnut ink, and a terre verte watercolour (which I haven’t had much success with, it’s a flabby colour) I think I was harking back to the original observed colours rather than using my usual combinations of Paynes grey, yellow ochre, or alizarin crimson (lately I have used a lot of this red on its own)

I’ve not been 100% happy with the giant watercolour paper either. Although it is heavy  – 400gsm – the surface of it is nowhere near as robust as the Bockingford watercolour rolls I was using before, despite that being 300gsm. So it’s not the weight that matters, clearly.

What I have ended up with is a drawing that I’m not completely sure I like. I like bits of it, but the whole composition is a bit unsettled, unresolved. Which isn’t necessarily a bad thing. I just need to work out how I did it and whether it really works.

I’ve had a weekend in London, with fellow blogger Kate Murdoch, at the Deptford X art festival. She had her 10 x 10 project open for business at the Arthub Studios and Gallery where she has her studio.

It was great to sit alongside her, and her work, and be in her studio for a while. We talked about the plight of artists, constantly being chased by developers. This is of course worse in London than it is in the Midlands, where land and property is at a premium, and waterside properties like Arthub are not going to be left to artists alone for very long.

Most of all it was really good to meet artists new to me, and talk about our practices together, and our experiences of studios, galleries, competitions, fees, and funding: widening the network, through mutual friendship and shared experiences.

So I come back to my own carpeted, warm studio with its big window, a private, personal space in which I can work whenever and however I want. I have room for a large table that I can sit about six people round, drink tea, eat biscuits, make work, deliver workshops… and I see myself as very fortunate indeed to be able to work in this space.

This afternoon… late to start after a long and chatty lunch with another artist friend Louise Blakeway (Instagram @LouBlakeway )… I start drawing at about 3:30. Then at about 4:30 I remember I was supposed to buy some fresh veg for dinner. I have to leave, to get to the supermarket before Sunday closing. But actually for the first time in ages I felt I could have stayed there drawing for another three hours at least. I’m half way-ish through a large drawing and it is at the stage where I am really unsure if it is working. I don’t like to leave it unresolved, but I must. 

I have a longer time to spend there on Monday and Tuesday, so I have to just let it go till then.

So… this weekend I am grateful for my community, my space, and my ability to work. Next time I start moaning I should remember this!