It’s been an emotional few days. My ACE funded project about British artist Felicia Browne has never felt so relevant.
Brexit casts a pall over everything I do. I’m best when fully absorbed and setting up a showing of process works has mainly fitted the bill.
I’m revelling in this opportunity to work with my creative mentor and curator Sarah Mossop, who is vastly experienced and currently visual director at Oxford’s Old Fire Station. It is definitely raising my game in terms of the presentation of my work, and the work itself benefits too.
The wonderful thing about our studios’ project space (where I’m holding my process show) is that it gives out onto the front of the building. People can see you as they enter and I’ve already had rich conversation with studio members, again enabling me to think critically about the work. The quality of conversation makes it incredibly stimulating and I’m struck by how often I’m told it is a lovely project – the subject (Felicia Browne) is captivating.
So I’m sharing some install shots. At the end of a long day I couldn’t work out why the light was so bleached out on my iPhone – only when I downloaded did I twig that it must have been a filter. I like that it makes the work look as though it comes from another time and place.
Some of you might notice a new assemblage piece for the 5th stage. A very different interpretation of 5/ Border: Criss Cross.
This may not be the final hang. It’s a process after all…
