ARTISTS TALKING

# 13 [22 April 2008]

Started out his week thinking I had a long week to get on in the studio, working on my pieces for the upcoming show. It hasn't quite ended up that way. I've been asked to work an extra day at the gallery and felt I couldn't say no after last week getting a letter telling me my studio rent is going up in May and then again in August, plus a letter reminding me how much my student loan currently stands at and another telling me how much I will be taken out of my account for my car insurance. Next few weeks comes it's MOT and the final payment to the Red Gate Gallery, Van hire, materials, etc, etc, etc............it is endless.......... Unsurprisingly I agreed to do the extra day.

So I've tried to use my time productively, hunting out new opportunities that I might apply for, scanning through MA course descriptions, reading recent articles that might be of interested and so on. I feel a little bit like I'm going blind after such a long day starring at a computer screen and not sure if writing this is the answer, but I'll blink on watery eyed and squinting.

Tonight I'm off to the first of a ten session digital photography course with North Herts College. Hoping to brush up and extend my knowledge further. I seem to be using photography such a lot now so I feel that I need to be clearer with the technical side of it.

While I've been sitting in the shop today, I have had new ideas come in to my head that I want to try out when I get the chance. I have started to think about the building up of a drawing as a performance. How the physical doing relates to the images in the end. Planning/adapting/interpreting/altering as it builds up. Have also thought about the scale of my pieces how making smaller/larger and how this will affect how they are viewed. Also, fragmenting an image/changing perspective/partially distorting etc. I really need to get on and play with these ideas.  

# 12 [16 April 2008]

Back in the studio for this week, so have a few things planned... or trying to have a focused plan anyway. There are some new artists moving in this week so new faces around to meet and greet. One woman who is in the process of moving her stuff in is in the middle of her MA at Goldsmiths. It was good to talk to her about what it is like there and how she is finding the course. I have started to think about doing an MA in the future, possibly when my time at Digswell has ended, so I have been trying to gauge feedback from artists who are or have done one and what they thought/think of it and how it has help their practice.

I'm not sure how I feel about doing an MA. I would love to get back into the whole process of gaining good critical feedback on a regular basis and discussing and debating ideas, gaining knowledge and building on my practice, but it's the institution idea that I'm less keen on. I think I need to think on it all a bit more and definitely explore the different courses available. At the moment I feel like the experience I am gaining by being more independent is valuable in helping me find my own way a little. I felt blind when I came out of University.... tumbling down off of a huge cliff with no idea how to be what I was ‘an artist' with just a vibrating in my head of what I'd learnt in the last 4 years. I only very slowly now am starting to get a feel for my place as an artist and to stand up for myself and my ideas in this field.

I have been continuing with my work for the Red Gate Gallery, looking at ways of presenting a new piece I have on the go. Can't decide yet if I love it or hate it or even worse something in between. It may be for the show or for the bin!

# 11 [10 April 2008]

Digswell fellows meeting, was positive. We seem to all agree on the fact that things do need to change quite drastically for the Digswell to survive and for it to gain some kind of reputation within the art world. A lot of what was said was answers to how we could move forward instead of just moaning about how things are now. We have a kind of action plan and conveniently have a Trustees meeting coming up on the 22^nd April where we will put forward our ideas for changes.

It really made me realise that it is actually the fellow's responsibility to be proactive and positive about the trust. We have all been for too long sitting back and expecting to just be part of a group and not building the group. We should have been putting in the time and energy to direct activities that build on the trusts development. I guess better late than never is the key now.

A side from this my work towards the Red Gate Gallery exhibition feels slow. I have been trying to not finalise anything and just continue with my work so when it comes round to the pieces I put in they are fresh and exciting. I don't want to fall comfortably in to doing and not focus on the ideas that I am dealing with. It's a balance between staying focused but not be tempted to conclude things. I need to remain playful with my exploration and allow the questions to keep coming.

I can feel pressure mounting in my head at the moment. I got that awful feeling of dread this morning that I hadn't felt so much recently. Think it's a combination of everything building. I'm never comfortable with stress but shying away from it won't get me anywhere. I'm hoping that a hardening in me will happen or maybe just getting use to it as a way of life.

# 10 [6 April 2008]

Last Sunday the Bargehouse exhibition ended. I spent the day around the show and had some really interesting discussions with visitors on that last day. Specifically memorable was a blind group that Rita had invited to the show. I was around photographing my work as they went round and therefore could discuss what my I was exploring and could get feedback. After they had been round there was a conference organised where they could discuss the show between each other and we were able to sit in and contribute to the discussion. It was a very positive activity and allowed me to really think about how art can be experienced in other ways. I had positive feedback from them and found it so interesting that for a piece that is completely about how we see things, someone with no sight could get an affect from it. It did provoke a long discussion about how we experience things and how it is changed when we don't have a particular sense. How does in restrict the perception of something and how does it heighten it?

Since last week I have started working for the next exhibition, ‘Living Space' at the Red Gate Gallery in Brixton. I made a visit to the gallery on Wednesday. It is just me on my own this time which as well as being daunting is also very exciting, allowing me to have more control over how and what I show.

Also going on at the moment is a feeling of shifting at the Digswell Arts Trust with the fellows. After a round of interviews for the vacant spaces things have been thrown up in the air with a real clash of views between fellows and trustees, which highlights some serious problems. I won't go in to too much detail at such a sensitive time but we have a fellows meeting on Tuesday to gauge how all artists are feeling and what we think needs to be addressed. It comes after a time where we were feeling that things were picking up. I am eager for us to use the momentum of late while it is still with us to push the Digswell forward, as many of us believe it so desperately needs.

Time and energy will tell.....  

# 9 [24 March 2008]

Two weeks into the show and yesterday I spent the day in and around the Bargehouse listening to peoples responses and chatting to people about my work and the show as a whole. It was great to sit by my work as an invigilator and be like an invisible bystander as people approached and honestly responded to what they where seeing. It was nerve wracking, hearing parents explaining to their children, people coming to their own conclusions really quickly, some people barely acknowledging it and some people really excited by what they where seeing, and really taking the time to explore how it works. It was difficult to not start explaining things to soon and not allowing them to experience the piece without being told anything.

I rotated round the gallery, spending a bit of time by other artists work and contemplating how people were finding the rest of the exhibition. Lots of people where really spending time working hard to look and take something from most of the work. It seemed to average out at about 30mins for each person spending in the exhibition. We had about 250 people yesterday and 400 on Good Friday, which feels incredible!

I also got to look at the photos that have been taken of my piece and discuss a little with the Photographer how it was for him taking then. This has been really helpful because the problems with floor and wall not being the same colour is something that has been bothering me but it almost took someone else to mention it for me to acknowledge it. I realise now that I should have worked harder at doing something about this and that a lot is lost by this problem. I am excited more than disappointed by this blunder because I can make sure that when I next construct it I will work harder at the things I know affect the piece. I will be more conscious of the way it's lit and the physicality's of the space. Big lesson learnt!

# 8 [17 March 2008]

A week in to the Bargehouse exhibition.

Setting up thankfully went without too much of a hitch. By the time the opening came round though it was difficult to relax and feel one way or another about the piece. Having been building up to it and thinking about it so much for a good few months I found myself thrown into an abstract feeling of relief and dread. ‘I love the piece' was said to me a few times and my paranoid voice silently replied ‘No you don't/ It's rubbish' I draw this thought back in and smiled to say ‘thanks'

I did have good feedback that I genuinely believed but what I enjoyed most was moments when people said how they felt about it and refered to the piece specifically. There was much encouraging responses when I could fight back my paranoid self.

I did manage to see Yara from the Red Gate Gallery where I plan to exhibit in May. It was very helpful to discuss this piece and how it might be constructed at her gallery. I feel like looking forward to the next is the most comfortable feeling for me now.

Next week I am invigilating at the Bargehouse and am looking forward to some thinking time around my piece and the others in the show.

I have a friend coming to take photos of it this week as well so I'm also really excited about seeing someone else's approach towards it.       

# 7 [4 March 2008]

This is the last week before the Bargehouse exhibition. I set up my piece in my studio last Friday so that I could set back and contemplate it, consider what might not work and really to help me answer a question screaming at me constantly...Is this any good? And more importantly is it interesting? I have become so involved, so consumed by it, spending most of my time building, nurturing and bringing it in to being, that judging it is like judging my whole worth as an artist, and extremely melodramatically, my life.  

However, amongst all this worry and anxiety I am actually hugely excited. It's a welling up inside of me that have built up since I have been working towards this piece. It's an unexplainable buzz- what a selfish act it is to be an artist, it feels so self indulgent. I pay out constantly for everything, materials, transport, time etc but somehow the financial side of it worries me the least of all at the moment. I sometimes stop and think, should I be worrying more about practical things in life? Pensions, mortgages, savings etc, but nothing has a point to it unless you create one. I see a point in me doing this, any other way and I would be unhappy and I believe exploring this way is a valid process. It is so unpredictable and allows continual amazement. It keeps me unsteady in my thoughts and my views and this is where I feel most comfortable.

I enjoy looking at my work and thinking what it makes me feel/think. It has made me think about how we represent something. How an environment can be drawn, and why it should be? How complex the experience of looking and response is, how it is so reliant on us being us, our experiences being similar to the others. It's this personal, yet not, that is intriguing. We seem isolated by our personal backgrounds yet linked by them. Recognising something seems so programmed, so scientific, so categorised, so beyond our own ability to be truly aware of the reality of the experience. It's like being blinded by our own humanness. The image can never be separated from the person.

# 6 [26 February 2008]

I’ve been feeling a bit under the weather this week. The times going faster and faster and I feel I still have so much to do. It doesn’t seem to matter how much I organise and plan, I still feel anxious. I can’t be in the studio today as I’m at work, so feel frustrated wanting to just be getting on. I’m sitting here listening to a discussion on the radio about anti-depressants. Everyone is so sad.  

I’m finding it hard at the moment to focus my ideas. I am trying to write an updated artist statement, I have so many old ones but things are always changing in my head. Sometimes I feel like I’m trying to think about everything at once. What is my work really about?  I sat on my bed last night writing random thoughts in between having dinner and going down to continue with my website. Something like this…. 

Object-without meaningMeaning-without objectSignals. sculpture without surfaceSolid object/solid personDying object/dying personVoid filled/void emptiedVulnerability containing powerObjects?   Thought it might help. Once written down it might make sense… it didn’t. 

Previously that evening I had been talking with my boyfriend about the Children’s home in Jersey and what now that building had become. Was what had happened in there been left in there. I don’t mean in the ghost sense but more in the space and what it remembers through what people now know. If two time frames could be pushed together how would the space exist? Overlapped? 

Previous to this we were telling old ghost stories that I use to go round school as kid. They sounded so stupid coming out of my 25 year old mouth, but something still exists in them that conjure up the original fear and excitement

( www.christinabryant.co.uk )

# 5 [19 February 2008]

I have been continuing with the drawing part of my installation, transfering the image from the studio wall on to the boards that will be installed at the Bargehouse.The weeks seem to be flying by...

# 4 [11 February 2008]

Bargehouse Visit: 7^th February 2008

I met Rita at the Bargehouse at about 12pm. We walked round and she talked through her initial plans for how she thinks it will all go together and where she will be placing the different art works. We had a few ideas for me but there are a lot of obstacles with all the spaces. She left me to go round on my own, take some photos and think through how my piece might translate into the various different spaces.

With its four floors ranging from white washed brick, up to dark, dingy spaces with boarded up windows and fire damaged ceilings you feel a million miles away from the corporate and business developments of the area within which it stands and are thrown back to the past and the sites history. It has layers of it housed within the walls, with its vast empty spaces and eerie silence. The higher up you get the further away from a typical gallery space it is.  I find it such an exciting location that is just crying out to be utilised. There is so much to discover and explore. At 2pm a few other artists arrived to meet Rita and look round the building. It was the first time some of them had even been to the space so think it was a bit of a shock. I think the size of the building is the first thing that hits you, then its roughness. We all feel very excited about this opportunity to use this building and can’t wait to get our teeth in to the project!

I came to a decision with Rita to where I will be constructing my installation so went home feeling much happier, knowing that I had a real mission. It is in one of the more gallery type spaces with white walls, so have decided that using my own walls shouldn’t interrupt with the feel of the space and instead I am confident it will incorporate within it.

Having the actual dimensions and nature of the space, I feel I can storm ahead making decisions and get on with the next stage of constructing the piece with a new confidence and excitement. Now is the time to get the practical planning right and try to predict obstacles that may arise with the construction.

Rita sent me through a copy of the invites and posters today to proof read. They are looking good and I think they present the show very well. It’s all starting to get really exciting to see it all emerging.