I have decied to go for it today. I got to the studios at 8.45 am this morning and have just loved sitting in my studio at Coventry and thinking/making/procrastinating..... I haven't had a studio since my degree (nearly 10 years ago) and I have often wondered what it would feel like and how it would make me feel, having my own space, somewhere not connected to my house. And it feels great. Why? Perhaps it allows me to feel 'more like an artist'. There is more of a separation home/work. Is this work though? I predominantly make films and therefore have not always needed a space in a traditional sense but actualy now I'm here, I think it is important. And perhaps it will make me push myself. It certainly makes me feel good.
Space is very important to me in regards to my films due to my need to project/install these films. They do not live until they have been projected. The films themselves are very spatial, surveying/scanning the built environment. Looking at how space is used and created. Following lines, structures, surfaces. They therefore need to be spatial in there very being, installations that perhaps allow for a physical sensation. So having a space to project/install works is really important and during this residency this is something I am to utilise. I booked out one of the installation spaces the other week and projected a new film. I will post the images shortly.
Inspiring talks by Adrian Baynes and Sue Swain today as part of our students' #DVAFACETS series
You can tell our students were impressed when you hear 'fantastic' in a whisper as the artists show their work...!
Looking forward to Kumyoung Kwon and Amy Lunn's talks early next year!
I've been developing this work on and off for over 11 years now. That seems crazy on one level but then again why not. Evolution after all takes aeons for even the slightest changes to take effect so I guess seen in this context 11 years is not very long at all.
Since starting the residency in October however things have moved on apace. A great deal depended on getting access to a lasercutter on a regular basis which fortunately, thanks to some very helpful technicians, is turning out to be the case. I'm hoping therefore that before the end of term I will have what might be regarded as a finished prototype - but who knows. Perhaps it will just mark another stage in a never ending journey. Either way I am looking forward to stepping back once more to take stock and see where I am at.
I ususally work with floorplans in my work and for this AA2A project I wanted to steer away from them and consider other options. The aim of my work will still be the same - to make the viewer stop and realise their surroundings - but I want to explore other ways of making the viewer react to my work. However, in contradiction to this I just initially wanted to begin working so i laser cut a few floorplans of the university fine art building and began to experiment. These experiments were mainly just to get ideas flowing (which did help!) but from now on i will be focusing on new ideas.
Pic of the Week: University of Central Lancashire's AA2A Student Rep, Tina Dempsey's image from her Dotbiz album 'Text Based Practise'
You can see more of Tina's work on her Dotbiz page.
Tip of the Week: from AA2A artists to students (as featured in our self-employment talks):
'Keep working and create your own opportunities, you never know what will lead to what.' Carry Akroyd, AA2A artist at the University of Hertfordshire (2013-14)
Other news: Great to have a 'Pic of the Week' from Tina, one of our new AA2A Student Reps! We're hoping to recruit two Student Reps at each College/Uni and register them on Dotbiz during November. We set them monthly 'Challenges' and award a prize at the end of the year. These challenges are optional but they encourage the Reps to find out more about the scheme and promote it to fellow students. It's quite informal but we hope they'll be able to meet their AA2A artists over the course of the scheme. Also they may be able to help you spread the word, particularly if you have AA2A talks, exhibitions etc...
November 23, 2014 by Michael Shaw
“To begin at the beginning”, as Dylan Thomas said. The first weeks have seen a shift from preconceived ideas of the direction that explorations might take, largely induced by renewed access to the Pandora’s box of equipment that is a University Art Department.
One aspect has remained consistent and that is the desire to explore lattice or waffle forms through interlocking planes of sheet material cut via laser. Early results show some promise, and the challenge is now to modulate the position of the horizontal and vertical planes in such a way as to imbue the resulting form with greater rhythm.
With regards to the unexpected processes I am availing myself of at Derby, they include the use of a wood lathe to turn some symmetrical forms.
These have been used to create a series of moulds through which I intend to pipe extruded clay for some new ceramic pieces. The idea is to balance the internal random and chaotic strings of material, against a more tightly defined external geometry. Further, the intention is to split the wooden forms with a view to developing tools for the eventual vacuum forming of plastics.
Revisited suminagashi this week, exploring how substances float on water. Tar volatiles, oil, ink. Rice paper the best carrier, although fragile tissue piggy backed on to newsprint worked well too.
Back to the tar works again today to record the remains leeching out into the water.
Hi AA2A artists
You should have received by email the first artists newsletter today. You can also find it here: AA2A Artists Newsletter
So I`m pretty sure that if I can just find the right paper, my work will be transformed. Its not my skill that`s at fault, its all down to the paper, well & maybe the pencil, but one step at a time. So off to find John Purcell Paper. Train to London, tube to Brixton, walk to the backstreets & here the pilgrimage ends. A somewhat world weary industrial unit, a pile of pallets, forklift truck & a guy having a fag. Possibly not an angel. The entrance is through the warehouse, squeezing past rack after rack of paper. Up the narrow wooden stairs & through the pearly gates. Plan chests ooze samples, all labelled. Exotic papers from Korea, Mexico, Japan, Nepal, I mean paper from Nepal ! Names like Hahnemuhle, Magnani, Fabriano & Zerkall. How can my work not be utterly brilliant if its on Kozo 52gm ?