I am chuffed to share the news that I have sold five mono prints.
I have been taking part in some of the drawing workshops led by Marcia Teusink and Rosie James for the Dover Arts Development DMAG project and it has been a great opportunity to work from observation again – reminds me that I do enjoy the close looking that observational work entails. I’m not sure how, but I think this might well impact on my main practice.
Sometimes it is really refreshing to do something a bit different. This collage came out of a Dover Arts Development watercolour workshop last Sunday. I decided at the last minute as I was leaving the house to take some pages from an auction catalogue of Chinese export ware that had been discovered in a wreck in the Malacca Straits.
Title: Shipwrecked cargo in the Malacca Straits
“…it is such a pleasure to see your colours coming back.” (Diana Ettinger)
Sometimes I wonder if I should make a few more of these small, stitched books using my versions of the Chinese horoscope animals. There is an art market coming up in Maidstone in September which I am planning to take part in so if I’m going to make more, I had better get going.
Stitched Time was installed at 2 Church Street, an empty shop in Folkestone, as part of WOW Folkestone Women of the World Festival, 2015 from 3 – 7 March.
The exhibition opened in the evening of 2 March with a conversation hosted by Dover Arts Development entitled Empowering the Individual through the Collective.
It was entirely fitting that Stitched Time in Folkestone should open with a DAD hosted discussion as DAD is a true collaboration between myself and Joanna Jones – allowing our individual voices and our combined voices to be heard.
All the artists involved in creating the scrolls for Stitched Time took part in the discussion:
I just wanted to reiterate my thanks for and engagement with Mon evening’s event – it both contextualised the Stitched Time work and opened an artistic discourse around collaborative practice, the like of which I have not heard done in that way. A collaboration to discuss collaborative work… (Audrey Green Oakes)
During the week the lunchtime bites programmed as part of the Festival took place in the same venue. Outside of the events, a few brave members of the public intrigued by the sight of artists stitching in full view at the window, ventured in to see what it was all about.
WOW Folkestone 2015 was curated by Allegra Galvin (The Quarterhouse), Diane Dever (Folkestone Fringe) and Leah Thorn.
I am really pleased to announce that Stitched Time is touring to Folkestone as part of WOW Folkestone, which “celebrates the incredible achievements of women and girls and looks at the most potent topics for women today.”
The exhibition opens on Monday evening, 2 March 2015, with a conversation hosted by myself an Joanna Jones as artist directors of Dover Arts Development entitled “Empowering the Individual through the Collective”. Time 6-8pm. Free but you need to reserve your place. Book Tickets.
The exhibition will be open 3 March – Saturday 7 March . Tues-Fri 12-3pm and Sat 11am-4pm.
Venue: 2 Church Street, Folkestone
A programme of lunchtime bites is also taking place in the space, starting on Monday 2 March 2015.
The artists involved in the project are Gwen Hedley, Rosie James, Joanna Jones, Claire Manning, Ruth Payne, Linda Simon and Bev Williams and one or two of the team will be invigilating the exhibition during the week.
I have been managing to get into the studio more often recently and have been doing some monoprints on Chinese rice paper. This is one I am quite pleased with.
The Stitched Time exhibition closed with a delicious celebratory meal cooked by Zhan Lu Smith and the presentation of the handmade zines. I am finishing the rest and will be posting them out to the other contributors soon.
On the back of the Stitched Time exhibition I was invited, with the team, to take part in a feminism event at Turner Contemporary to launch a project led by artist and writer Felicity Allen.
The event took the form of focused discussions in response to four questions, themselves relating to the writing arising out of the artist’s “Begin Again” project. The questions related to the feelings produced when looking at one of the portrait pairs (close up view and wider view), the idea of scrutiny, what it means to give time (and when it feels good or not) and what form recognition takes or what it means to me valued.
Not realising in advance how the questions all linked up left room to work that out for oneself. Looking at the selected portrait, I felt it could be someone I knew (recognition) but of course turning it round a bit, it felt too as if the sitter was the one doing the looking (which way does the scrutiny go? how is the power of looking played out between artist and sitter). We talked about the time given by the sitter (unpaid) and about time given by different members of the group but also about balancing that with the need to do paid work; also about how time spent in the studio seems to expand and I referred to studio time as slowing-down time. When it came to recognition, the focus was more on being recognised and valued oneself for the work one does; we touched on the kind of relationship created when ‘asssistants’ are paid or not paid and the pleasure of being acknowledged by name.
The above is only a very rough snapshot of the conversations as we talked a lot more and the relationship to feminism was in some ways oblique; it was a thought-provoking and enjoyable evening.