Monday, December 31, 2012

Last post of 2012 - Two girls in t-shirts


I think this sketch was done in Park Estrella in Lisbon, Portugal, but I'm not entirely sure anymore. I do have a lot of sketches from both Paris and Lisbon, and a few from Porto as well.

Last week I was clearly out my spare bedroom of superfluous clutter - is there any other kind - and came across big folders full of drawings I'd forgotten about. Life studies, landscapes, what have you. I must have THOUSANDS of original pieces in my house at this stage. At some point I will need to catalogue all of them - sigh. Will have to take a day and start recording them. And I also have loads of sketchbooks ...

What do you do when you have so much stuff? I will simply have to google exhibiting works on paper, and then break down those works according to subject matter: life studies, nudes, landscapes, and so on. I was thinking of putting some of the smaller ones together into collections as handmade books and selling those - and of course doing a printable Blurb books version also, to record it. I don't want my work to be lost, or worse, claimed by someone else. (That nearly happened to a friend of mine years ago at art college during her foundation year - she had done a really good colour study and it was stolen, she reported the theft and the colour study piece was returned. She never found out who did it, but it was speculated that the person who nicked it was hoping to use it to get into another art college. And competition in colleges is only getting ever more intense.) But I do want people to enjoy it.

I'm also thinking about the technology available to use with my work, slide shows and what have you. How do you convert a PowerPoint presentation into a YouTube film? Something to look into, all tips from viewers and followers gratefully received.

Oh, and Happy 2013.




Thursday, December 20, 2012

On writing artist's statements

For many of my fellow art students, writing was their least favourite thing ever. I mean, there were essays that had to be produced; and theses, which caused many sleepless nights, but the most difficult was the statement that had to go with your studio work. It had to say all you needed to say, but within a hundred words, two hundred maximum.

Many of them, who when speaking were highly articulate and extremely clever at explaining their work to a tutor or visiting lecturer, would get sudden amnesia when confronted with a black computer screen. They could not write a thing. When speaking about their work, or about a particular artwork in general, they were insightful, articulate, imaginative and very thought-provoking, but when it came to writing the same thing down, they couldn't string two words together. I mean, a friend of mine who is a Mum and marvellous at explaining things to people, and a very empathic individual, says it takes her 3 days to write 500 words. I've just taken about five minutes to write about 150 words. I could have padded it out and actually spelled the numbers out, three, five hundred and one hundred and fifty. I am very lucky in that I have no trouble whatsoever with writing - but it's the lucid charting of my thoughts and distilling them into something coherent and, more importantly, relevant to the work I'm making, that's my problem. Because I can express myself so easily and fluently in writing, I tend to deviate from the point.

And now I have to make a confession: I hated my degree year thesis. I lost my train of thought early on when writing it, and was not at all happy with the end result, but it was done and I could then concentrate on my studio work. Ironically I was much happier with my diploma thesis, I still have it in my computer somewhere. But my degree thesis, I might actually go back and rewrite it. See, a huge part of the problem is that when you are in the process of making art so intensively, it's really really difficult to step back and look at it from a 'journalistic' perspective because you are so involved in making it, and have to have something for the next assessment date, and for your end-of-year show. Half the time you haven't figured out your direction yet, so how on earth can you possibly write with authority about something that hasn't yet become consolidated in your head?

Much of what we as artists create comes from our subconscious and our visceral reaction to something of the world around us, which we have to somehow turn into some kind of analytic examination in order to come up with a statement. What it - that which we are in the process of creating - is has first to be identified, and then broken into components, and examined again. And then there's the emotional reaction to what it is you discover. And you have to find the verbal language for all of this.

So how does one come from that described above, to a coherent, concise statement that provides insight into the artist's oeuvre or piece?

I think the mistake that many of my fellow students were making was thinking that they had to get the finished product - i.e. a coherent and concise distillation of the work or process or piece - the art, if you will - that works well as a statement. What they were forgetting is that for the statement to reflect the art is describes, it must be created in a similar manner to the art it describes. 

In other words, you outline, doodle, sketch, turn things around and up-side down, play with visuals and ideas, paint it, tear it up and reconstruct it, copy it over and over while changing bits as you go, figure out what's strongest about the piece, and how to use the weakest parts to enhance it, paint it, scraped away the excess paint, paint it again, put it away for three days while you focus on something else .... etc. You edit when you make work anyway, so you'll draft your statement the same way.

And as you go, you can record what you have done in writing in a journal. Or a blog. Which you can share and present to your tutors as part of your assessment - by prior arrangement, of course. (Limerick Art College was VERY into using technology to make and promote art. This was BEFORE Facebook and Twitter and all of those things. I am divided between 'oh the value of hindsight' and 'nice that the rest of the world has caught up' ;-)....) But the real usefulness of this is that at some point you can go back over it and start using it to construct your statement.

And here's where the 'journalistic' aspect comes in. You simply start by asking some open questions about what you have done so far. Your questions start with:

What
Who
Where
How
When
Why
Which

You don't have to use all of those words, and you can use each one more than once.

For example:

What am I looking at/reading/drawn to? What am I looking for, specifically? Why am I looking at this? Where am I looking? Where is this taking me? When did I stop looking at A and start looking at B? Why did I change what I was looking at? How did this affect what I have been doing/making in the studio? How am I reacting to this work? What does it make me want to do? Why do I want to do that? What direction is this taking me?

Etc.

You can also start by asking yourself 'why am I drawn to this particular subject matter?' This might actually be the crux of your work.

It might take you a few days to answer one question, or you might be able to answer several questions in one day, but as you find your answers, it's a good idea to NOTE THEM DOWN IN YOUR JOURNAL or in your blog.

Keeping a journal has several benefits: first of all, you're recording what you make and how you react to it. Second, and possibly slightly more important: you are getting valuable practice in expressing yourself in writing. This helps so much when it comes to transferring that wonderful articulate way of expressing yourself orally to black and white on paper. Plus it can also be extremely useful when it comes to writing your theses.

When you have your information, then your focus changes from recording to sifting through your notes to figure out the milestones, and what led to you produce what you have produced. You make a list of these. You think about how these fit together, if even all of these are important in the overall work, and you edit out what you feel does not really play a part in the finished work. This can take time. But it will also save you lots of time and gain you more sleep. And also, it's easier to be more objective about how you got this particular process started, six months later.

Now, I can't tell you how to put your final statement together. You have the information, you and only you are intimately acquainted with what went into creating the work. You can start with a quote from your initial source of inspiration if you wish, and follow on from that. You might need to make several versions of it before you come up with something you like - this is fine. You did the same when making your art.

But know this: as you continue making art, your statement will evolve along with your artwork. It should - after all, your statement is supposed to reflect your art, and possibly provide some insight, but certainly encourage the viewer to really look at the work.  Don't explain too much, just say enough in your statement to that the viewer has room to draw their own conclusions. As their involvement is not the same as yours, ultimately their relationship with the work will also be different. Allow for this. You want them to engage with it, and don't ever forget that while their involvement with the work is different to yours, they are interested enough in art to come look at it, and intelligent enough to form their own conclusions. Your statement can give them some of the information they need to do this.

Tuesday, December 11, 2012

Paris: the Jardins Des Plantes quarter



Well, Jardins Des Plantes was the name our DK Eyewitness Travel Guides gave to the area of Paris where the Islamic Cultural Centre was located, and the Roman Arena, and where many students in Paris have their term-time accommodation - and there were hundreds of great eateries in the area, just as good and considerably less pricey and less busy than in the neighbouring Saint Germain quarter.

I'm very pleased with this drawing because I spent ages getting the foreshortening in the leg right, and the guy, fair play to him, was very patient and didn't get up and walk away when he realised I was drawing him. Nice when people are so obliging. As I write I'm reminded of a very nice older gentleman in Porto, the city in the north of Portugal, who kept sitting as I did a quick pencil sketch with watercolour of him, he was so nice and so pleased that I gave him the finished piece, still wet - in a way I am sorry, but gosh, if I kept every single drawing of people I ever made ... I wouldn't be able to live in my house, I'd have so much paper, it would be like a tinder box.

More news: the images on Flickr.com have been liked and commented on a lot lately, which is also nice. I get the impression that people are now looking at art with intent - financial markets around the world might just be stabilising a bit, and they only need to stabilise a bit for people to go 'okay, what will I spend this money on, oh, isn't this a nice bit of art'. I'm thinking it's time to organise another solo exhibition, also with intent; this time in a city where there are loads of people and loads of parking spaces. 

Monday, December 3, 2012

Ancient Rome in Paris

Paris 2010: Watching the re-enactment at the Arène

Another watercolour sketch, sketched on location and painted later, this was done in Paris and the people were engrossed in watching the re-enactment of a battle between tribes from the Roman era of Paris. I don't think many people realise that Paris was already founded during the days of the ancient Roman Empire and that there were many more ancient Roman ruins in the area, but the Arène in the Jardin des Plantes quarter is the only really Roman bit left. Aside from the re-enactors, there seemed to be a lot of local kids very keen on playing football - it was a big space - and some people there to talk about why the ancient Roman arena was excavated, once it was realised during the 1800s that it was actually there. 

I love visiting Paris. I've always found the locals to be friendly, the food lovely, the atmosphere very enjoyable. It's a lovely city to wander around.