Creative Outlets

13687254_141506512950038_1833900222_n“I think that the very great artists were not trying to express themselves.They were trying to trap the fact, because after all, artists are obsessed by life and by certain things that obsess them that they want to record. And they’ve tried to find systems and construct the cages in which these things can be caught.” – Francis Bacon, Tate Liverpool ‘Invisible Rooms’ exhibition catalogue

I read this quote last night and it has stuck with me as I tried to grapple with Bacon’s analysis in relation to my own work. In my view he is absolutely right, artists are obsessed with life; whether it is the architecture we live in, our own bodies, nature and the natural environment, urbanism, industrialism, consumerism. You name it. We’ve made art about everything. Art in a sense could almost be compared to science. It is a route to discovery, a journey of experimentation and deduction. Much like scientists employing  mathematics in an attempt to predict the movements of particles, artists engage with their surroundings and various mediums in an attempt to express themselves and their ideas. Conceptual art is at the forefront of modern art today, as by utilizing artworks as tools we are able to realise an idea and convey it to a public audience. Yet there is also and will always be the most expressive form of art; art that does not require proposals and adherences to restricted budget costs, art that does not require a white cube gallery space to be displayed in, but art that simply is from the self. Raw, unaltered sketches, drawings, illustrations and doodles. The purest form of expression and that emotional/creative release.

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Doodling culture and the professional art world have more in common than most people initially think as they are both incredibly different, yet simultaneously the same. Yes, in galleries there are large scale installations and elaborate industrial sculptures Jeff Koons style, but it all began in the artist’s mind. It quite likely originated with a little paper doodle or a frantic sketch on a table napkin at the crucial moment of realising the sketchbook was left on the coffee table at home. I feel in a lot of cases there are too many barriers between ‘high’ and ‘low’ art forms, too many words that separate what is classified as good and not so good work. Of course, personal taste and style plays a vital part in these judgements as negotiating personal opinion is one of art’s main experiments; to make people question, to challenge them into realising what it is they do and don’t like is at the core of several artistic practices. In a lot of cases however it is the observers who validate what qualifies as good and bad artwork, who make the official distinction which everyone should follow.

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Like anything else in this world, people are happy to follow trends. Whether that is reading a book that everyone else is reading, engaging with an artist who everyone is talking about, visiting an exhibition that everyone else has seen. Despite the creation of artwork being one of the purest forms of human expression and the most individual and personal entity in human existence, art  is still not exempt from the trap of following what is considered mainstream. In a sense however, this actually makes it more interesting as you could ask the question who do we make art for? In this day and age, with the pace of social media and the digital information we are constantly fed, there is a heightened sense of expectation in artmaking and inevitably, artists react to this. So who do artists actually make art for? Is it purely for themselves as the most raw forms of self expression? Is it for an art based audience who will engage with it in the way that the artist themself has? Or is it for a public audience, whose art background and knowledge is probably sparse? Or does it fall within all of these categories? It’s interesting as in a lot of cases I would say it is a combination. You often make art for different purposes which include selling, giving as presents and so these distinctions in themselves also affect the purpose and thinking surrounding the making of the piece.

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I’m not criticising any of these modes of artmaking. I think art is personal and the purpose of the artwork extends within that personal realm. Each person is different, as is each artwork and artist. I know that my artwork varies a lot of the time depending on audience, how I’m feeling, whether it’s for myself or for display. Given that traditionally and throughout human history art has been hung on the wall in Salons and grand entrance halls for all people to see, it is ironic that my art is actually very private. My doodles are my ‘me time’ turned into physical forms. I find it soothing to get lost in a swirling world of colour and fine lines as I carefully navigate across the page. My performances are less concentrated and more physical expressions of my innermost thoughts which can only be conveyed and released through this immersive and bodily art form. I think the reason Bacon’s quote caught me was because I myself can relate to it quite strongly. Although it is not always a conscious decision, life is fundamentally a core part of my artwork. As Eva Hesse once said “my inner soul art and life are inseparable”.

 

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A Time of Reflection

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I’ve been away from the blog for a while as I felt I needed some reflection time. Time to stop and contemplate. Time to consider and reflect. I wanted to take a step back from everything following the pace of life during degree show period. Both my creative and mental energy had been wholeheartedly consumed and I therefore decided to withdraw from participating in physical elements in favour of simply reading some theory. The fact I am now studio-less has partly contributed to this shift in thinking. Not that I’m saying you need a studio to make art, I’m just saying I am currently in the adjustment phase and therefore having a break. Yet when I say that and taking time out, I’m lying. I am not a person who takes time out and does nothing – that’s just not in my nature. I get twitchy and start doing the washing up or something. For me taking time out is putting a pause on the practical. Performance for the time being is not on the cards. But my creativity is still bubbling away as I have been dabbling in light painting activities and a little bit of photography. Yet these activities in themselves have been scarce as I’ll be consumed in a doodle mood one minute and then the next my sketchbook goes untouched for days. Books instead have become my predominant creative outlet for the time being.

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Have you ever read a book that changed your life? Or that you feel will stay with you for a very very long time? Well, that happened to me the other day with Hand Ulrich Obrist’s ‘Ways of Curating’. What a read! I have not ripped through a book so quickly in a long time. Having said that, I didn’t really have a spare minute over deadline and degree show time.  Yet now that I have finished my degree, I have been sat reading in cafes and in the garden, watching people go by and observing daily life. Contemplating. Thinking. I’ve come to realise that my mind is very much designed for research; for absorbing information, words and visuals. I will be moving to Edinburgh next month to embark on an MSc in Modern and Contemporary Art: History, Curation and Criticism (I am aware that is quite a mouthful!) I could not be more excited as I feel Edinburgh is the perfect transition from Newcastle. In the interim period however I have been in Aberdeen, which is the city of death for anyone or anything creative in my opinion. I’m not saying that’s the case in every instance, but the lack of gallery visits is starting to agitate me. All the more reason that books have become my seducer.

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‘Ways of Curating’ by Obrist has left quite the impression on me. Obrist is a world-renowned curator, critic and art historian. He is currently director at the Serpentine Galleries in London, has published a wide array of books, conducted endless artist interviews and revolutionized the way in which we think of curation. Needless to say, I found him and his professional exploits quite inspiring. Prior to reading this book, I had always viewing curating as quite a static activity. Arranging and rearranging the works of an artist in a room. Conversing with said artist to gauge their artistic needs. Engaging public with the final displayed work, etc. etc. How wrong I was! Obrist entirely transforms my way of thinking about curation with his discussions of shifting and temporal artistic platforms, the idea of curation as an artistic practice itself, the importance of stimulating conversations and the methodologies which surround and extend and exhibition beyond itself and into forms such as 24hr conversation marathons. For the first time, curating actually appeals to me as it is so much more than arranging art in a room. It is about bringing people together. About exchanging ideas and bridging cultures. It is about travelling and exploring. It is a journey of creation.

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It’s been a strange few weeks for me as I go from being a full time art student with a public show and a studio in the vibrant city of Newcastle, to being a graduate living in the granite grey city of Aberdeen over summer. Quite the shift. Yet it’s been a transformative one. I feel I have learnt from my period of non-production. I almost feel it has taught me more than when I am fully absorbed in my artwork. Somewhat ironic I know, but in those moments as I am fully aware of myself as a creative and an artist, yet it’s only really after all this reading and reflecting that I realise how much of a thinker I am. You might wonder why I have not turned to writing more given this has become the case. I’m not sure myself really, I just did not feel compelled. I suppose even that felt too creative. I wanted simply to sit back and read about others being creative and harness my energy through them. And I think it’s been a good idea as I am now inspired and itching to create again, in one way or another. I’m definitely hoping for a residency at some point. I am off to Berlin not long from now and for me that is just as much a research trip as a holiday with all of the beautiful art galleries and historical museums I’ll be visiting!

Doodle Galaxy (Doodle Time Part 2)

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I didn’t really notice the kind of doodler I was until I compiled them altogether for these posts. Given that they tend to be entirely separate and individual occurrences, I don’t pay much attention to the technique or style at the time. So photocopying them from my notebook and creating digital copies was quite a sterile process for me, as it almost diluted the fluidity of such personal drawings. 

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For someone who is generally not too interested in natural forms, it is interesting to see how much these feed my depictions. Flower motifs are abundant in my drawings which is highly unusual when compared to my body of work, as I tend to avoid explicit feminine depictions like the plague!

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Yet for me there is something incredibly soothing in creating these organic forms. Water and leaves are also core components to the drawings, as is an almost excessive use of line which I exploit almost to the point of exhaustion. 

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It’s a soothing and somewhat addictive repetition. Molten forms and swirling shapes cluster the pages. Unlike a painting I don’t think you can ever overwork a doodle, as you can simply adjust your progression across the page if it goes wrong. In most cases however I know when a doodle is done, as I no longer have the urge to pursue and extend it. I just know that I have done all I can and all that I want to do and as long as I have that therapeutic longing satisfied, then that is all that matters. 

Doodle Time Part 1

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So I think it’s safe to say I have a slight tendency to doodle. I do it very unconsciously; it just kind of happens and before I know it half the pages in my notebook are filled up with drawings. I have this really annoying habit of doodling in random pages towards the back of my notebook, so as I near the end of it I still think I have loads of pages left, when in actual fact they’re all consumed by drawings.

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Because for me the doodles are a very visual and fluid thing, I’m not going to talk much about them. I don’t feel the need to as I’m not creating them with the intention of forming an analysis. I’m not really creating them for any particular reason either apart from filling time (and supplementing boredom). So I don’t want to dissect them too much as I feel that will take away from them for me.

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I do think however my time abroad has been a major influence to my doodling. My depictions are very Middle Eastern in terms of the pattern and shapes that are present. My time spent in Oman and India absorbing the culture, visiting souks and buying jewelry are all components that feed into these creations and it’s only now that I’m looking at the doodles on a screen and talking about them that I realise this.