STUDIO JOURNAL 9

From 1st May 2022 newsletter.

After much clearing space and decision making, the studio partition wall is down. The space has completely changed dynamics and I no longer ‘walk like an Egyptian’ to get in. Incase you don’t get it, I just quoted a song title - I’m now prompted me to look up the video on Youtube AND share it with you! The Bangles - Walk Like An Egyptian

Below are some photos showing progression of the studio interior wall dismantle.

Plaster board off

Posts and strengthening beam in, white paint next.

With this renewerd space I can start creating work for my solo exhibition at Elysium Gallery, a public gallery space in an old nightclub in Swansea, Wales, so lots of different and interesting spaces to fill. I’ve all sorts of ideas, including a 3-D painting installation, so now in the studio I can stretch out a little more. It’s very exciting.

However, I am in desperate need for a more permanent studio and painting store. Currently my work is stored in a static caravan, it isn’t ideal but it is somewhere seperate to the work space. I regularly empty two dehumidifiers and just recently I encountered a second leak. I’d say that storage is always an issue for artists, the work often takes up half of a studio space. So with this new leak I have lost a further 8 works on paper plus their frames. The previous flood brought damage to many large canvases.

Sharing a less glamorous side to being an artist, here is one of the damaged works, from my Ash Series.

Sooo, away from the Gloom…

I’ve been reading about quantum science and the quantum field for sometime through the work of Dr. Joe Dispenza, he also covers epigenetcs, neuro-science and meditation. It’s so interesting. When I start working on a series I don’t look at anyone else’s work but I read, including artists writings. I’m re-reading books In Praise Of Painting by Ian MacKeever RA, Resistance & Persistence Selected Writings by Sean Scully. I’m thinking I’ll look out my book of Bridget Riley’s writings, she writes with such insight on her own work and of other artists’. The new publication by Pace Gallery, Agnes Martin - The Distillation Of Colour, has arrived today. I am so looking forward to reading it. I’ve also been watching videos on Youtube of Brice Marden talking about his work. There’s such an incredible archive online. 

This week I’ve been making composition drawings and working out ideas for paintings for my solo exhibition in 2023. They're part of an Energy Field and Mapping series.

Mapping 1, botanical ink on etching paper, 23x24.5cm

Mapping 3, botanical ink on etching paper, 23x24.5cm

STUDIO JOURNAL 7

From 13th March 2022 newletter.

I've entered the Void.

I'm piecing scraps of paper, notes, scribbles, rushed doodles, gathered in pockets and bag, stacked in a corner of the studio table. Ideas yet to realise, to consider, to get me back into where I was, what I've been thinking but unable to attend to.

There's been a gap in my studio making….A big gap.

Peaks and troughs, ebbs and flows of one kind or another are normal within a creative practice, I've learnt to navigate these according to their nature. However, I haven't made any paintings since last July (Somewhere to live with my family became THE priority, to get into the 6 year long renovation before winter really hits.).

This feels somewhat like an confession. And it is a painting space to re-enter…hence the Void. Gulp.

I’ve been through the plans chests, deep into the drawing archive. The drawings below are a selection ranging from as far back as 2002 until 2021.

And I’ve started putting layers of gesso ground onto paper and birch ply panel, to ready for working on.

But while renovating and grasping at the void while trusting that all will keep flowing, I’ve been listening to lots of books. I Really recommend this one:

Ninth Street Women: Lee Krasner, Elaine de Kooning, Grace Hartigan, Joan Mitchell, and Helen Frankenthaler: Five Painters and the Movement That Changed Modern Art, by Mary Gabriel.

It’s been a fantastic companion in the studio while I organise the space; fun and insightful.

It really is a remarkable account of life for those who became the New York School in 40’s and 50’s in the U.S., taking over from Paris as the epicentre of modern art. It’s told utterly in the context of politics, depression, war, American art tradition, the oscillating positions of women in society and the propaganda around this. It provides a much needed documentation and redressing of some of the major female Abstract Expressionists putting them in their rightful position, at the heart of the movement.

These women really led the way for where we are now and what an inspiration they are.