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I now have a door to my studio space.

So I am now able to consider the door and not-door as two distinct states of working. Already. It only went up this morning!

When there was no door, because not many of the other artists were there as often as I was, It seemed ok. I wasn’t interrupted, I wasn’t disturbed. I could play my music without fear of disturbing anyone else.

But now, I have one. Already the increased traffic of passers-by now have something to knock. They don’t feel obliged to call a greeting across the open threshold… or politely tip-toe past. Already I have given vent to my full vocabulary (dropped roll of paper on my foot) without someone calling “are you ok?”

These are all nice things, I know… but the real threshold behaves differently to the implied threshold. Before I had carpet, then tiles. The edge of one marking the end of one space and the beginning of another. Now I have a door. There’s no glass. It is completely solid and heavy and lockable. I have now taken my looper out of the box. Those who have followed this blog know already that the position of the looper and its operational state are a true indicator of my state of mind.

I have a door that locks, can’t be seen through, is actually quite soundproof, and the looper is out. It isn’t yet plugged in (tomorrow!) but it is out. The mic is in the stand, and the interface is lodged next to where the laptop sits.

My next wave of work will be to explore more closely the integration of the audio with the visual. This door is the thing I’ve been waiting for to allow that to begin. I’ve been working, but I’ve not been REALLY going for it in an uninhibited, un-self-conscious manner…

Another thing that poked at this a little today was a brief conversation with the builder’s mate about my work. He was curious… About the drawings, the fabric, the chairs and most of all, the looper and the microphone… so we spoke of all these things: Stranger Things, Alien, The Goonies, ET, bacteria, illness, David Lynch, bed bugs and fleas and sprouting potatoes. (It was too short an acquaintance to overtly refer to the penises and vaginas.) The builder looked somewhat bewildered, but this young man was OPEN. I realised that this was one of the things I miss about teaching… that thing when you come across someone who is completely open to the ideas that run together and shoot off in different directions. It was a brief conversation, akin to one I had in a lift with a ten year old in New Art Gallery Walsall, in which between the ground floor and the fourth floor we talked of Converse Allstars, The Poundshop, biros and Laura Oldfield-Ford.

Inspirational.

So tomorrow, I shut my new door, and connect up the looper.

In 7 years of blog writing:
Got MA
Got son no2 in and out of university and into a job
Got son no1 married and with a mortgage
Got husband retired, and in and out of hospital
Got me out of a job
Got me inventing a mini arts festival
Got no cartilage left in my knee
Got me into my third studio
Got me writing songs
Got me one and a half ACE grants and one a-n bursary
Got to help two visually impaired artists get ACE funding too
Got me recording a cd and producing a lyric book
Got me a band
Got a band EP recorded
Got me singing in public, sometimes for money
Got to sing live on the radio three times
Got work shown in US, Sweden and various points across UK
Got back into drawing
Got rid of a couple of old friends who didn’t get it
Got more than a couple of new friends who definitely do.
Got to know myself a bit better
Got to like myself a lot better
Got to forgive myself for all sorts of crap
Got to take responsibility for some crap too

Got myself half way through another ACE application for the next adventure…….

Do get in touch if you would like to join in!

 

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I’m sat in yet another hospital waiting room. This time rather less acutely stressful than the last. I find myself pondering the way that I consider my work…. Again… Am I boring you? Sorry.

It is the way I make sense of what is happening around me. “But what about the accountants?” I ask myself… “What does the plumber do to make sense of it all?”
Well they count and they plumb of course. We all find the sense in what we understand best. Plumbing and accountancy are as good a means of sense-making as art. Some would say better. How the money flows and how the water flows probably both give you a sense of how much of the world you feel you can control – or not. Both are useful.
All of these ways of thinking are precisely that. The depth is what is important (to me). Analogy and metaphor are aids to thinking. The application of analogy is a very human trait.

My drawings (in my head, I don’t know how they are received in viewers’ heads) are representative of the emotional turmoil (or not) and so on. What I draw and how I draw are, to me at least, directly related to what I feel… Tightness and release… Stress and relief… A gritting of teeth and a sigh… An in and an out.
I’m not blind to how sensual and/or sexual some of the elements of the drawings can appear. One of the most recent drawings gained its unofficial title “Decidedly Knobby” only after it was finished and pinned to the wall. It would seem I am becoming slightly fixated on the vaginal too. Menopausal woman and all that it encompasses… All about me isn’t it? Well… Yes and no…

It’s a filtration system. I’m absorbing and then processing and the drawings are the by-product that gets spat out at the end. A by-product, but also the MOST important thing. The elephant in the room that’s only seen in a certain light, in the negative spaces, when you screw up your eyes and squint in the corner of the mirror. THERE it is. The Thing. I feel I’m sneaking up on it. Then one day I shall look The Thing in the eye, we will know each other and nod.

That, I romantically hypothesise, will be death. How glorious it would be to meet death as a final satisfaction, rather than a cutting short?!

The Crit.

It is a phenomenon that can strike fear into the heart of an art student, and many an ex-art student too. Depends on your experiences. Some that I’ve heard about, frankly, leave a lot to be desired and say more about the tutors’ quest for power and control that the desired development of the artist.

I know that I have been lucky. My experiences have been good, supportive and enlightening!

(There was one exception from a visiting artist during my MA that really upset me… it was of the leap to conclusions variety… “Ah! I see before me a middle aged woman with a quilt, probably bored housewife… therefore I shall be vile to her to make me feel all powerful… MWAH HAHHAAAA!!!”
I was saved from destruction by The Sainted Henry Rogers who said “You don’t have to believe her if you choose not to. It’s your work!”)

I digress…

The Crit then… I decided ages ago that I wanted to set up a crit group of some sort, the positive, enlightening sort, not the other sort. So now having moved into the new studio I got it started. I was determined to start, just to get going, even if there were just two of us to begin with, to establish a habit and a pattern for myself as much as anything.

Yesterday was the first one, and it was just the two of us really, Just me and Bo. But I can’t tell you how much it helped.

There was a lot of sitting and looking, not saying much. Bit of thinking, humming and hawing too.

But what was said was interesting. The discussion prompted me to think about different angles. I considered everything in front of me, and some things once I got started, were obvious. You just don’t look at your own work “properly” without an audience I don’t think. The Crit, when conducted properly, constructively and respectfully, helps you see it through someone else’s eyes.

While I was doing the MA it used to take me about three weeks to process the content of a crit, not able to work until it had all sunk in. But even today I can see ways that I can try a few things out to help the thinking. It also can take a while to filter out what you disagree with. As with the dreadful woman described above, there will always be a percentage of things I disagree with, either to do with content, or concept, or process…

Bo is very good at pushing the thought along for me. There are things I disagree with… I’m currently thinking that I don’t need to separate the elements out so much as he suggested… But I may change my mind as I work. He has always been good at snatching away the comfort blanket I am prone to wrapping myself in. He has a way of raising his eyebrows… “really?”… He is a good teacher. I continue to learn.

The work is very close to me. It has a high emotional content. I am perched close to an edge. I am protective of it, and myself. It is hard to trust it to the crit… so at the moment I am only inviting people I know. Bo knows that this work has emerged from a tricky place. But he also knows that because it means a lot to me, I want it to be critically sound… I don’t want to be making excuses for it.

Deep breath…