Work continues in preparation for the forthcoming Mothership residency in Dorset. Organised by artist Anna Best, these residencies are for contemporary artists who seek the qualities of a secluded rural retreat and potential collaboration. Artists are invited to work on a project of their own choice and the interest is in artists whose work engages with contemporary issues in an experimental, thought provoking and critical manner. I’m heading down to Powerstock over the Easter holidays for two weeks, a short residency in which I hope to revisit a few areas of my practice in order to evaluate them. This evaluation is in some way preparation or a looking forward to a future possibility, a plan and journey unfolding like a story being told or slowly remembered.
I’ll be looking at my methodology of drawing, revisiting the tight, restrictive process developed over the last few years as a knowingly flawed attempt to eliminate subjectivity. I hope to engage with the local community there, to start to create a drawing ‘conversation’ similar to Another Way to Fail, or perhaps begin to converse in a different manner through small-scale sketches inviting correction and alteration from others. I’m sure walking will be a large part of this, the meandering wandering of Tim Ingold’s Labyrinth, during which I hope to meet and engage people whose local geographic and historical knowledge far exceeds my own as a stranger in those parts.
Looking forward to May, I’m delighted to announce that Dr Elizabeth Hodson will be joining us in Stroud to present her part in the KFI project led by anthropologist Tim Ingold. Her research focuses on contemporary art practice, principally in two locations: Iceland and Scotland, and addresses the specificity of particular artistic mediums, in particular drawing and painting, through an ethnographic focus on the working practice of artists. Her curatorial work for KFI has involved two exhibitions: ‘Beyond Perception’, held at the University of Aberdeen (2015) and which I submitted several pieces, and ‘Drawing the Anthropological Imagination’, University of Durham (2016).
And gradually work commences on the dog cart which has stood in my Studio for the last year, a great squat piece of social history too loaded with significance to set to work on lightly.