http://sites.a-n.co.uk/degrees_unedited/projects/single/414694 St Martins Tue, 14 Oct 2008 17:04:55 +0100 a-n rss generator a-n The Artists Information Company and contributors edit@a-n.co.uk technical@a-n.co.uk http://sites.a-n.co.uk/img/logo.gif http://sites.a-n.co.uk/degrees_unedited/projects/single/414694 http://sites.a-n.co.uk/degrees_unedited/projects/single/414694 My practice has change a lot this year. I have allowed myself to admit that I am not a painter, and I never will be. I enjoy it definitely, but it is an endless struggle of the most unproductive kind. I look at the painters in my year, and am thankful that I have left it to them. There are at least three or four people in the studio who posess an intriguing handling of paint, that I could never hope to have. The direction in which I am travelling is absolutely thrilling. I feel satisfied when I think of it, and relish the fact that it is a relatively unexplored medium within contemporary fine art; the artists' book. The book. This is an innate source of our learning and knowledge. There are a multitude of questions to be answered in a variety of contexts. Why make an artists' book? How does an artists' book operate in a gallery space? How can we define the artists' book? Is it a book made by artists, or perhaps a book containing art? A paraphrased definition I have found, and that I like, is that the artists' book is a frame or a container, in which an artist places their work. The work must have a concept that runs throughout, and the artist is responsible for designing the physial form and pagination, as well as the work that is contained within. I will write again soon. I feel excited about this blogging experiment. It is my first attempt at a blog, and I believe that it will help me articulate my own thoughts to myself, as well as sharing them with others. Whether other people want to hear them is another matter, but I do quite enjoy the narcisstic quality of it all. all... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/degrees_unedited/projects/single/414694 http://sites.a-n.co.uk/degrees_unedited/projects/single/414694 THE TOUCH THIS PRESS I suppose, in order to understand what I am working towards with my degree show, I should explain what I am doing. I am wondering whether it is a good idea to publish my intentions online though, which will become clearer when I describe it all. I have created a printing press, called the Touch This Press. TTP is an entirely fictional press, that is collaborating with fictional artists. I have invented four artists. They are all emerging artists at the beginning of their careers, whom the TTP has approached in order to create a body of work that will appear in a book format. The books produced will then appear in an exhibition within the degree show space. There is to be a unique book produced that reflects the practice of each artist. I have chosen to represent four artists who work in different media in order to diversify the type of books shown. There will be two photographers who act as one unit, an installation artist, and a painter. I will make the work that appears in the catalogue/artists' book, I will make the books, and I will also invent their histories and criticisms.  I am more interested in this work than anything else I have done for years. I think it was bought about by my interest in books and my intrigue as to their role in a gallery setting. It is a way for me to make work that I want to make, while not developing one path of thought or work. I find myself enjoying making up these people to the point where I am beginning to believe that they really exist. I have inserted them into exhibitions and institutions that exist, as well as making up fake solo shows at galleries that do exist. I sometimes wonder whether they might be offended by this.  I am not sure how realistic viewers will find the ‘exhibition' and indeed, the artists. Is it an entirely self-indulgent act on my part, or do I genuinely want people to believe in the fiction of my work? It has been suggested that my work could be an act of extreme narcissism, which I think is quite funny as it is partly a desire to distance myself from my work that has bought me to this point! ... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/degrees_unedited/projects/single/414694 http://sites.a-n.co.uk/degrees_unedited/projects/single/414694 PRINTER I feel a lot more inspired this week. I realised that I would have to force myself out of my rut by giving part of the responsibility to someone else. I work so much better under pressure, and I also know that if someone is expecting something from me, that I can't stand to let them down. By involving someone else in an aspect of my work that I need to do anyway, I am moved to do something, and do it quickly.  I have been worrying about printing for weeks now. I have a poor knowledge of Photoshop and InDesign, and have no experience in layout for printing whatsoever. I can bind, and I can make the book without any problem, but it is how to organise content, that worries me. I was walking to Snappy Snaps on Wardour street to develop film, when I saw a print studio. At first glance, it looked like the sort of place that would cater for the novelty-jigsaw-photo crowd. Out of desperation I went in anyway, and found that even some of their most basic designs for books and printing techniques were actually quite suitable. I reserve the right to judge fully until I have a quote and proof, but I have high hopes for this place. I have a meeting on Friday, in which I will bring in any necessary materials needed to illustrate my vague, but very specific requirements.  By involving a printer, I am forced to move on a stage, and start to make the physical book objects. ... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/degrees_unedited/projects/single/414694 http://sites.a-n.co.uk/degrees_unedited/projects/single/414694 KAREN: SADDLES AND PARISI finally saw the Karen Kilimnik exhibition last week at the Serpentine Gallery. It was the first time I'd seen her work in real life, and I was suitably impressed and intrigued by it.  At first glance, I was underwhelmed. I saw the glitter and thought, "oh no, not another knowingly kitsch artist". I pushed that thought to the back of my mind, and was able to enjoy the interiors of the rooms and how they had been transformed. It has given me ideas on how I can change the space I might be given for my degree show. I was particularly interested in her final room, the pink room. It was a candy coloured room, who's walls were filled with white, inlayed columns and cornicing The only painting in the space was of a room that was almost identical to the one in which it appeared. Simple, vaguely funny perhaps, but interesting in terms of the relationship between the painting and the environment in which it finds itself. It made me feel a little awkard, and so I left through the curtains to my right.It sounds dramatic, and now I look back to last week, I can't quite remember why I said this, but I distinctly remember saying that the exhibition made me remember why I wanted to be an artist. I was impressed with the way in which the Serpentine had produced a £1 playing card 'catalogue', and was amused by the props and techniques she had used that seem so alien to most gallery contexts. The feeling has faded somewhat. I don't think this is a bad thing. At least I know I can still feel it, no matter how fleetingly. I read the writings of some London-based art critics, and wonder how they can get out of bed in the morning; they seem so jaded. So achingly knowing. Perhaps critics should only have a five year life span..But that would have to make it a clearly defined profession in the first place. I suppose we are all critics. Some of us just get paid to do it.  I feel that was an extremely naff last sentence.... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/degrees_unedited/projects/single/414694 http://sites.a-n.co.uk/degrees_unedited/projects/single/414694 THE ARTISTS OF THE TOUCH THIS PRESSI am hoping to build a MySpace page for each of my four artists over the Easter holidays. This will allow me to take the idea of the press and its publicity even further than a standard exhibition. THE ARTISTS:LisseLotte RothenbergJoerg RaabRhys Wellington and Mallory Powers, as MR.I will post an example of some of their work, and later on, the designs for their respective catalogues.... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/degrees_unedited/projects/single/414694 http://sites.a-n.co.uk/degrees_unedited/projects/single/414694 TIME. TIME.... TIME.......... TIMEI am so aware of how little time I have left, and yet it seems to stretch out endlessly in front of me. I am compiling endless lists of things to do. They all go something like this;Buy film-Develop film-Find out how to get large sheets of vinyl lettering-Decide on wall colour for ‘gallery space'-Work on sketchbook-Finish sanding down wall-Build website?We have been given our degree show spaces. To say I was disappointed when I received mine was an understatement. It appeared to be a meeting place for corridors, and also in the middle of a fire escape route. I fumed about it to anyone who would listen for days, and finally managed to speak to my tutor who agreed it was awful. Not only would I not be able to put anything on the floor, despite having specified the presence of plinths, but there were five exits and entrances coming off the space, which would hardly make it the ‘self-contained' space I had wanted. After a weekend of waiting, I was informed that my space was a designated self-contained space, and that I could do whatever I wanted to it, which includes painting walls, and covering the floor. I am still highly dubious about this, and am just waiting to be told by the health and safety man, that I am causing a fire hazard. Sigh. If I wasn't so aware of the fact the this blog is public, I would probably air more of my feeling on this subject. However, I am aware of the idea of compromise, and that fitting in 130 people for a degree show space is no easy task. ... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/degrees_unedited/projects/single/414694 http://sites.a-n.co.uk/degrees_unedited/projects/single/414694 MYSPACE PAGEI have done it. I have got myself a myspace page. A myspace page for the Touch This Press. http://www.myspace.com/touchthispressI have begun to notice more and more small publications appearing on myspace as a way of marketing and publicising themselves to a wider, more targeted audience. Fashion and music magazines in particular have a smaller, more personal D.I.Y version online. I was curious as to whether I could, and should do this for the Touch This Press; an virtual version of a fictionalised concrete version.I had originally decided to build a website for the TTP, but decided in the end, that a myspace page would be in keeping with a very young press, that wishes to attract emerging artists, and will have a relatively youthful audience.Having almost completed the page, I am wondering whether its associations with myspace devalues it and makes the press and entire project seem kitsch or cheesy, or whether it works as a space to promote the TTP's artists?I wish there was feedback available through this blog. I sometimes feel slightly isolated writing it, and find myself wondering whether anyone ever reads it, or has an opinion on any of my ideas.... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/degrees_unedited/projects/single/414694 http://sites.a-n.co.uk/degrees_unedited/projects/single/414694 PRINTING, PRINTING, ALL DAY PRINTING.I have begun my printing and binding of the three books, one for each artist/collaboration. I am making ten copies of each book, each as a single section binding. But there is the common problem of size…the size. I am worried that my books are too small. I am worried that they will shrink into obscurity when put on plinths. Do I make them all again, or will that crush my spirit completely?I am also now worried about using Helvetica. This most mundane of details troubles me at night. American typewriter takes my fancy most evenings. Does it make writing seem slightly more ad-hoc, perhaps coming from a more studious angle? EEEEEEEK. BRAGGADOCIO. THIS IS THE FIRST TIME I’VE EVER WRITTEN USING THIS TYPE. It SCREAMS. But’s it has been done hasn’t it? It reeks of faux-trendy exhibition posters advertising a ‘genuine vintage experience.’ You’d think I was doing a typography degree. But I’m not.I have got through 8 ink cartridges for my printer so far, and am pleased to report that it is taking pride of place on my desk. Papers surround this temporary shrine to my insanity, while scraps of letraset, book cloth and string cling on at the edges. I have also grown to love Grafik magazine, even if we do have to a slightly masochistic relationship. I whimper into my coffee as I flick through pages showing glossy design companies’ books and exhibition catalogues. I wonder if it might have been more profitable to whore myself out for a couple of months to afford a proper designer. Do I really need to be making the books myself? After all, its not about the craft, its about the concept isn’t it? Or so I hear.... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/degrees_unedited/projects/single/414694 http://sites.a-n.co.uk/degrees_unedited/projects/single/414694 WORK OUTI have uploaded some photographs for each of the artists' work. It is completed, and it has been up to me to photograph the images in a way that suits the concept of each book/artist.The first artist's work to be photographed, has been Jörg Raab. I have taken the photographs concentrating on the problem of capturing a 3D object over a 2D plane. The painting becomes a book-like structure with a spine, foredge, and grain direction.... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/degrees_unedited/projects/single/414694 http://sites.a-n.co.uk/degrees_unedited/projects/single/414694 A-N MAGAZINE I have not posted for a while. I feel guilty, but am trying to change that now by writing.I am so pleased about appearing on the front cover of the a-n Degree Show supplement. It absolutely made my day. As I had not heard anything for a while after submitting my entry, I assumed that I would not be appearing. I realised one morning, that the new issue of a-n must be out, and so went across the road to Borders to check. I tore open the packaging, and saw my image on the front cover. It didn't register for a second, even though I recognised my image. I squeaked, danced, and disturbed a man reading 'Grafik' magazine next to me.I have been published!... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/degrees_unedited/projects/single/414694 http://sites.a-n.co.uk/degrees_unedited/projects/single/414694 NEW PHOTOSI have re-shot the potraits of the four artists. This is mainly because I decided I wanted to show an A4 photograph of them alongside their respective press release. I will have an office space in the corner of the gallery, complete with a table, chair, pens, paper, mug etc. On the walls will be the portraits, press releases in wall mounted holders, and a holder containing business cards for the Touch This Press. I am wondering whether I should include a plant and/or an old computer for the office space? I could probably find one on ebay, but it would have to be one that is so obsolete that nobody would want to steal it, which defeats the purpose of replicating a gallery space.... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/degrees_unedited/projects/single/414694 http://sites.a-n.co.uk/degrees_unedited/projects/single/414694 THE BIG MOVEI am writing these blogs in retrospect, and so the order is slightly incorrect. The big move happened last week. The move from studio to degree show space was a momentous one. Spaces were cleared, rubbish was piled up against every available wall, and we were briefed rather amusingly, and ever so slightly patronisingly on how to pick up a chair without doing damage to our bodies. The year was divided, and we were assigned a part of the building to move tables, chairs and lockers from. The move was surprisingly quick. I didn't expect it to be done in the two hours that it eventually took. My space, as I have previously mentioned, is in the meeting place of five corridors. Watching people slam through my space bashing into walls, and chipping paint did nothing to stop the growing paranoia of the difficulty of working in that particular location. I am already becoming irritated by people dumping rubbish in my space not realising that it is indeed a degree show space. ... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/degrees_unedited/projects/single/414694 http://sites.a-n.co.uk/degrees_unedited/projects/single/414694 MODELS, NOTICEBOARDS, AND A MAN NAMED JIMIt has been 8 days since we have moved into our spaces. In this time, I have done a lot of planning, but frustratingly, almost no work. In my space, were five huge noticeboards that had been screwed to the wall. I was told that the boards were to come down sometime within the next week, and so waited, and waited, and waited for something to be done. After a week of waiting, and being told not to take them down myself, I took them down myself. Since Wednesday, I have been painting like a demon. I have almost finished painting now, and the space is beginning to look completely different simply due to the change in colour. The colour is Dulux's Feature Wall 'Teal tension'. As I opened the can for the first time, I was horrified! The soft, subtle blue I had imagined, had become 'community swimming pool blue'. Nightmare! I began to paint, and LUCKILY the paint dries darker. It narrowly avoids 'fake-gastro pub blue', but only just. I can't wait to see what it will look like with the flooring. I am going to start that, and the attaching of the vinyl lettering this weekend.Yesterday was the day of the BA Fashion catwalk show. I was informed the afternoon before that there would be models walking through my space all day for the 1pm, 2:30pm, and 4pm show. I wailed, sighed, and then thought to myself that I would not be stopped from painting my wall for anyone. In order to try and minimise any threat to the models and their clothes, I taped off areas for them to walk through. I had painted two walls by the time they began mincing/stomping through the room, and almost everything was dry. They were rude, obnoxious, and frankly a shining example of why a large number of Fine Art students dispise them. I was told or overhead, at least twenty comments of "what a great day to start painting!" They really believe the whole world revolves around them. I prayed that they would fall on the catwalk.n.b I am not a negative person at all. ... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/degrees_unedited/projects/single/414694 http://sites.a-n.co.uk/degrees_unedited/projects/single/414694 FINISHED BOOKS!I have finally finished my books. 10 Jörg Raab books9 Lisselotte books8 MR. books.I can't believe that they are completed. They look different now from how I had imagined, but I don't think that is a negative thing at all. Each one has a completely different character and feel, as well as colour and size. Each one has a different problem to it, of which I hope I am alone in noticing. At the moment, my main concern is keeping them flat and clean. I have become somewhat of a nazi when it comes to touching my books. This is so ironic. I need to get over this if I am to call the fictional press, the TOUCH THIS PRESS!I have built plinths for each book, all of which are a different size. ... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/degrees_unedited/projects/single/414694 http://sites.a-n.co.uk/degrees_unedited/projects/single/414694 2008 update Writing a blog for Degrees Unedited was a cathartic experience. It allowed me to step out of my context for a second, and summarise my own progress using written word. It gave me a sense of perspective, pride and destination in my own work. As a direct result of the blog, I have continued writing about my practice. It is an endlessly useful reference to one’s decision- making processes. After leaving St. Martins, I asked myself questions prompted by my writing. Where am I going? What am I trying to say? What do I need to say? For a time, I ignored them and didn’t create at all. I was terrified. Instead, I immersed myself in books and exhibitions that were never mine. New York was a welcome release for my mind. I worked at Printed Matter, Inc. for two months, and helped to organise the 2007 NY Art Book Fair. I came back to London, and became an intern for the upcoming V&A exhibition, Blood On Paper: The Art of the Book. These experiences allowed me to greatly enjoy processes of gallery and museum curation. I have been accepted onto the MA Museum Studies course at UCL, which a year ago, would have been an unexpected choice. I can’t wait for September and am looking forward to combining my practice, with the theory and history of the course. The Touch This Press is currently developing, beginning to question actions involved in an individual’s ‘personal curation’. I am creating artists’ books that describe a display of people’s personal belongings in a domestic setting. The work is presented as a report or inquiry-more voyeurism than exhibition piece; intrigue. They look at people’s manners of display, secrets, collections and systems of order. A certain amount of narrative is still heavily implied, which always excites me.... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/degrees_unedited/projects/single/414694