Monday, 27 February 2012
Saturday, 25 February 2012
| a family home is closed down and it sits in waiting for demolition|
I had access to this property recently and this photo reminds me of a stage
the curtains are closed for the last time and the show is over
|the layers of history - odd curtains and mismatched fixtures|
add to the nostalgic mood
the white void on the right adds peace to the mood
of chaotic colours and patterns
|light falling amongst the last remnants of the|
family adds solemnity to the rooms
|keys are scattered and left around the house|
they are superfluous now
when a building is vacated, the last objects hold small hints -
they appear coded and contain no beginning or end
open and closed spaces seemingly invite you in and shut you out
- holding onto secrets
wallpapers in cupboards provide the timeline
the passageway echoes and sounds hollow
missing fittings are a reminder of the vacancy
a lone mirror seemingly floats within a floral sea
like a portal
shafts of light dance around like ghosts
embossed wallpapers hold memories of former comforts
a sturdy staircase feels like the skeletal backbone of the
a chair waits expectantly
the empty box echoes the missing furniture mapped out by
the square of odd wallpaper
symbolic and solitary
Sunday, 12 February 2012
Walking along Venice beach in Los Angeles on boxing day, I came across a balloon washing in and out with the motion of the waves. The repetitive action was mesmerising and the complementary colours made it a perfect opportunity, one of those moments. I prefer the sound cut so the visual is more powerful. I couldn't help but wonder - whose party it had come from . . . . . .
I was drawn to this rust coloured leaf, suspended by a spiders web. It twirled endlessly and the repetitive, energetic movement was so captivating for me. We often walk on by these opportunities - I think it is good to notice your thoughts when you see objects like this. Especially if they are accidental like this, its a gift.
|these portraits are a selection of my hairdressing work|
Using hair as a material for sculpture is relevant to my practice as my history working with hair goes a long way back. I used to be a hairdresser, cutting, sculpting and creating 3d shapes meticulously. I have been waiting for 'hair' to emerge and merge within my approach to the making of art. This has finally happened !
|these balls of hair are from my hairbrush - I see this as a work in progress forever . . . .|
|hair + pins|
Recently I found the plaits my Mother in law wore as a child in a box, amongst a family house clearance. I think this is when my thoughts gravitated back to the idea of using hair.
Also Alice Anderson's works in both The Riflemaker www.riflemaker.org.uk and Freud's Museum www.freudmuseum.co.uk had a direct influence. Anderson's works were incredibly seductive materially - tying up a whole building with red hair and allowing it to extrude seemingly from the walls and fireplaces within the buildings evoked thoughts and ideas which have stayed with me.
|I recently went to the Hammer Museum, L.A.http://hammer.ucla.edu/ and discovered the 70's artist, David Hammons. He worked with hair and this|
is so similar to what I have been doing with my balls of rolled up hair from my brush. I bought the book called 'L.A. Object'
a brilliant resource related to this artist and the 70's black artists and the movement at this time.
I found it took a long time to sort out what is needed for a workable space for Printmaking. Not only does it need to be relatively dust free, it is important to have everything to hand and spaces have to flow. If this is not the case it becomes frustrating and inefficient. It took me a few times, moving things around and laying everything out to find what works for me. I have set up shelves in the middle of my working space to enable everything to be at arms length.
Basic list for print studio :
Dry - cutting paper area
Hotplate - A food warmer
Plate wiping area/sheet glass
Shelves for inks,tools and sundries
Sink/Wet area for rinsing
Print storage and blotters
Plan chest for dry prints
Large table surfaces
Desk for writing, thinking, drawing
shelves for general storage
heater for drying plates
relaxing area - sofa
|writing and setting out a plan numerous times helped me get it |
together without actually moving everything initially
Studios are an investment. They are a special space for the artist to retreat to and be creative, think, relax and dream. I will never be without a space in which to do this. It doesn't matter how big or small the space is. It can just be a table at home and rent a studio space within other printmaking groups, for example, Inkspot in Brighton. It is simply what ever suits your needs at that particular point in time. Nothing beats the feeling when the door closes and you shut the world out for a day of ' work.'