profdevsp5

[profdevsp5]

STATEMENT OF INTENT AND REFLECTIVE STATEMENT

Statement of Intent

During this semester I wish to explore further the relationship and flux between image, text, material and object and their significance in ideas of narrative of experience and the everyday. I want to really push the methods I am used to working with - photography, collage, print, found object, but also to introduce new ways of working such as moving image, projection, spoken word (in the form of recorded sound) and combine these to create assemblages across space. I want to use these spaces to give a stage to the smaller works (books and collage which I have always seen as secondary or supporting work) as well as provide a space for associations and narratives to play out between larger objects, both moving and still image, prints and sound. I want to explore ways in which to give material body to my writing, continuing with etched steel plates and exploring further through laser-cut, projection and the use of monitors. I hope to create more dynamic and engaged work through the introduction of film and moving image as well as sound in the form of spoken word, and will push these methods through their presentation – 3D collages using monitors/screens, projection onto object etc.

My practice is one that relies on observation, collection and appropriation of both text, image and object. Through my research I want to explore further into ideas of the everyday, the narrative powers of the object and investigate theories surrounding authorship and appropriation. I aim to broaden my knowledge of contemporary poets and poetry to inform my own writing and to understand further how I can use the written and spoken word to convey cultural frustrations and articulate experience.

REFLECTIVE STATEMENT

In this semester I feel I have really begun to push my text work, experimenting with different mediums to bring the written word into new artistic territory. I have experimented with larger scale letterpress prints, text via photographic print, text via projection and pushed the presentation of my etched steel texts plates that I have continued from SP4. I have worked on getting my work off my desk and into space which I feel I have been successful in through assemblage work, projection and playing with displaying prints with found objects as their ‘frame’ or fixing. Through perseverance my writing has become increasingly political which I feel has pushed my work into a more obviously feminist space which is something I definitely want to push when continuing to SP6. In terms of professional development, I have begun to plan two shows, one of which I will hopefully be curating solo. My visit to the Venice Biennale and many other exhibitions has given me an insight into a multitude of curation style and now when approaching exhibitions the way I look at them is based observation on curation technique at well as the initial art work. I have begun to research masters and think in depth ways to logistically continue my practice after education through funding, residencies and studio spaces. My research into contemporary poets has definitely helped push and define my writing, something I definitely need to do more of to broaden my knowledge. Research into conceptual text artists such as Robert Barry, post-conceptualist Jenny Holzer and contemporary artist Robert Mongomery has definitely solidified where I stand in terms of the motivations of my text-based work. 

Continuing into SP6 and approaching the degree show, I want to continue my experimentation with projection and light as I feel it is a rich space to develop my existing practice. I did not get enough of a chance to play with moving image and the digital screen this term, and it’s definitely something I want to push in the near future. Research into relevant artists will help me with this. In terms of my assemblage, scale is something I need to think about. They need to be bigger and for this they need more space. The exhibition opportunities that are underway will definitely help me with this in concern to space and confidence. In terms of where my work sits politically, queer culture and politics is definitely something I want to begin to draw into my work. It has always been inherent to my identity but I have always been hesitant to introduce. Continuing to read queer literature, poetry and research queer artists will allow me some guidance on this. In terms of professional development, I really need to push my web presence and the documentation of my work by creating an artist instagram, finishing and refining an artist website and focusing on the professional documentation of my work. 

THINKING ABOUT PROGRESSION BEYOND EDUCATION

When my degree is finished I plan to stay in Brighton for at least 6 months as I know the city well, already have a reliable job and have a good network of creative individuals around me.

During these 6 months I will hopefully be undertaking some kind of volunteer work within the creative sector to kickstart my professional career and allow me an insight into the workings of the professional art world. I have been looking at placements at Fabrica gallery but there are also other establishments such as ONCA (who run a ‘Graduate Monthly’ meeting - good way to get myself known to them!). I will also attempt to maintain my practice post degree show by organising small scale exhibitions with the artists around me.

After around 6 months to a year I plan to change location as I feel it important to me not to get ‘stuck’. I have been researching Bristol and it seems like the city that is closest to Brighton in its creative energy and art scene. Here I plan to maintain gallery work (Spike Island, Arnolfini) and get myself access to a printmaking studio and/or artist studio. I will use this time to apply for relevant residencies as its something I am really passionate about - travelling and creating place-related art with like minded people. Funding, grants and open calls are also something I will be active in considering.

In terms of an MA, I plan at some point in the future to do an MA in Curation. I have been researching places and prices and Bristol EWE seems to be the best option, finance-wise and opportunity wise. An MA is something I will do in the far future as I really want to focus on an active out-of-education professional career in the art world before reentering education. In terms of funding, I have have to be working to save up for this. Scholarships and bursaries are also a relevant option to consider.

CREATIVE WORK:

>Gallery work - admin, front desk, marketing, installation, invidulation

>Technical work - technician, school technician, teaching workshops

>Artist assistant

[profdevsp5]

LUCY DAY CURATOR TALK (01/19)

>Be careful of instrumentalism.

>Make your work visible - shows, websites.

>Do your research: who do you want to work with? Applying randomly for residencies and shows that do not relate your your practice makes you look unprofessional and is a waste of time.

>Establish contacts: have a card. Try to have the last word. Don’t give collectors an instagram handle, have a professional website.

>Make what you care about - don’t make work based on what other people want from you.

>Manchester Contemporary - talk to people!

>Research studio providers: think about cost, location. facilities. The north/midlands are cheaper.

>RESIDENCIES: ACME - Artist Information Company - an incubator. Start up studio based residencies - Canada?

>Creative idea, funding, publicity campaign. The perfect trio.

>Curators: Conduit between space: commercial, public, private, social.

>A coherent personal practice is vital for success.

>Networking is vital: building professional relationships and getting work out of the studio.

>Is your work commercial? Think about your market - who, where?

>Useful websites: ACE, Artquest, A-N, AIR, Signpost:AN - Support services.

PROFESSIONAL CAREERS TALK 24/10/19:

>Teaching, PGCE.

>Careers advice at uni doesn’t cut of.

>CV: anything directly art related, exhibitions however small.

>Existing skills are more important when in context of an art CV: promotion, curation, event organization.

>Careers fairs at AMEX; not art-focused but good experience for interaction.

>Careers offices can help with art related opportunities/volunteering.

>Artquest: ‘How to make the best of your degree show’.

[profdevsp5]

TOM LOVELACE ARTIST TALK (01/19)

>ARTLICKS: A company interesting in working with young, inexperienced artists.

>Find ways to make a sustainable practice - artist residencies (working in response to place/space can be really eyeopening), collaborations.

>PLACE is important - knowledge set of a place is high if you live/work/study there, connections easier to make.

>Degree show = perfect opportunity to show off work. Timing, luck.

>Working at galleries/museums after university is so important.

>BE A PLEASANT PERSON: Being approachable is key in being successful with collectors/curators etc.

>A strong portfolio is essential.

>Professional communication skills are vital: how you present yourself physically, digitally and socially.

>Artist website should reflect and channel the personality of the work.

>MAKING A LIVING: The demand for commercial art does not suit everybody. Calculate outgoings; earn via relevant work - it will feed back into your current work. Your practice needs to be consistent.

>Edition prints, curation, residencies, funding - very important.

>Keep like-minded, informed, challenging and responsive people close. Honest and informed critique of your own work is important.

[profdevsp5]

RESEARCH INTO GLOBAL RESIDENCIES

The Irish Museum of Modern Art / IMMA ART INSIDE OUT - HALLAND, SWEDEN

“Art Inside Out is a nomadic institution for artist-in-residence in all art forms and genres. Artists are invited to explore the possibilities for their own art practices, as well as delve into new collaborations, with the county of Halland (southern Sweden) as a playing field.” 

>1-3 Month Residency 

>No studio space

>Residency caters to visual arts, sculpture, ceramics etc.

>Access to Printmaking facilities, Ceramics facilities, Woodworking tools, Library, Welding tools.

>NO APPLICATION FEE, NO RESIDENCY FEE.

>STIPENDS/GRANTS AVAILABLE:  “ All artists receive grants that are regulated through recommendations of KRO (Artists Organisation of Sweden) that is approximately a 1100 SEK per week (£89 p/w). The total amount for each grant varies, and it depends on how long a certain residency is.”

>Organization pays travel, accommodation, production costs!!!

>Application process = OPEN CALL, Selection is made my Committee - 3 Artists In Residence per residency. 

ART COMMUNE (INTERNATIONAL A.I.R PROGRAM) - YEREVAN, ARMENIA 

“The “Art Commune” is an ongoing program, and there is no application deadline. The main fields for artist selection are visual arts, participatory art, performing art, sound art, photography, architecture, writing, gender, queer and feminist studies, curatorial studies, art criticism. The selection process takes place upon receiving the applications. Further on, the documents are reviewed by the selection committee. Successful applicants are informed within one week after receiving the application. Afterwards, they are provided an official letter of invitation and other required documents. The program consists of a residency stay from 2 weeks up to 6 months.”

>2 weeks to 6 months duration.

> The residency is home the Platform ‘FemLab’ - the FemLab is an open platform that welcomes international critics, curators, scholars, and artists to conduct their research and studies on gender and feminist issues and create their own works independently or in collaboration with local feminist and queer activists, scholars and artists.

>’Post-studio’ approach - no studio.

>Welcomes visual arts, photography, filmmaking, new media, literature.

>3 artists per residency, digital application.

>No residency fees, no application fee, NO STIPEND/GRANT - RESIDENTS ARE TO FUND ACCOMMODATION, FOOD, TRAVEL, PRODUCTION EXPENSES.

The Irish Museum of Modern Art / IMMA - Dublin, Ireland

“Bringing Irish and International practices together, the IMMA residency programme aims to generate a fresh creative space for participants at a crucial point in their career ��� whether emerging or established art professionals. The Residency provides access to the museum’s audience and resources, and allows for participants to leave IMMA with expanded possibilities, new networks and work.”

>Designated studio spaces, separate complementary accommodation in either a communal house, or in one of our three self-contained apartments, all of which are located on site.

>3-6 month duration.

>Open call application process, APPLICATION FEE, no residency fee.

>Stipends/grants: $500 per month.

Ratamo Printmaking and Photography Centre - Jyväskylä, Finland

“ Ratamo Printmaking and Photography Centre includes Galleria Ratamo along with both printmaking and photography studios, and is geared for those interested in creating, experimenting and learning printmaking and photographic techniques.”

>Ratamo residency program offers: Free accommodation, free, open access to the print workshop (except plates, papers and special materials).

>1-3 month residency.

>Stipend/grant: A grant of  300-600 euros for living and material costs.

>Digital application, no application fee, no residency fee.

Akademie Schloss Solitude - Stuttgart, Germany

“Akademie Schloss Solitude is a public foundation with a residency program which provides living and working opportunities for young international artists in a wide variety of artistic disciplines. The fellows and guests are invited to present their work to the public in form of readings, concerts, exhibitions, lectures, film screenings, and other public events. Akademie Schloss Solitude is an international Artist-in-Residence Program and has supported approximately 1,400 young artists from more than 120 countries since opening its doors in 1990. It creates a close-knit, global and transdisciplinary network of Solitude alumni that expands from year to year.”

>6-12 month residency.

>More than 20 studios, more than 20 artists in residence per residency.

>Welding and woodworking facilities, exhibition and studio spaces.

>Open call application process, no application fee, no residency fee.

>Stipend: 1,200 euros per month!

>Production costs covered!

[profdevsp5]

Charlotte Marra and Patrick Goddard: on navigating the art world:

 There will be certain types of work that collectors love and want more of but don’t make work based on the market! It will not work if its not being made for your own motivations.  If you make work dictated by the market it will not do anything for your practise long term – you will get stuck in a style that you don’t believe in.  Accessibility: Price of your work should increase steadily not jump high very fast – people will not continue to buy your work that way.  When selling its relevant to inform collectors of how many of one particular style of piece you intend on making – they will be inclined to buy more if they know that the particular work won’t continue to be made.  Selling good work to family and friends is not sustainable – long term income will, hopefully, come from collectors and galleries etc rather than family.  Residencies are a wonderful and rewarding way of surviving and continuing to make art work.  Becoming comfortable speaking about your practise is very important: having a creative career whether its something you plan to stay in or not is great for opportunities of discussing with professionals your practise, and to get advice on shows and exhibitions.

[profdevsp5]

ARTRABBIT: Useful website for artist opportunities and open calls

More invaluable websites/sources:

Artquest

Artrabbit

Re-title.com

Axiweb

Artweb

Artcouncil

ACME studio

Resartists

AA2A

IPCNY

[profdevsp5]

On opportunities - Residencies, Prizes, Exhibitions and Professional Development

[profdevsp5]

Information on how to create an artist statement 

REFLECTION:

Artist Isabelle Gressell shows how her personal statement changed after doing the Lifeboat Residency. Things to mention:

>Context of practice e.g. theories of the everyday, materiality etc.

>Form of work: sculpture, installation, photography or a mixture.

>Simple format - no lengthy sentences or overly flowery language. 

>Quite objective - an artist statement is supposed to show a certain degree or artistic passion but not be frilly and emotive. 

PERSONAL ARTIST STATEMENT (AFTER RESEARCH):

My practice is centralized around the ubiquitous material of urban life, the texture of the everyday and personal narratives of subconscious thinking. My current practice forms a multi-disciplinary combination of the mediums of photography, both traditional and digital printmaking techniques, projection, assemblage and the medium of language. I work through the medium of the artist book to document and make sense of my practice, a process through which I explore the commonalities of object and image. Poetry is an enduring force that underpins my practice and through language I explore the unconscious mind and present a report of bubbling societal frustration. Through etched steel text plates and screenprinted found surface I aim to push text and image into the realms of materiality, tactility and physicality. Through poetic assemblage and display of ambiguous image, industrial object and materialized text my practice forms an exploration into the nuances of the relationships between the three, while playing with space, scale and light. 

Rough, undeveloped Artist CV:

Leah Blake

leah.kristin97@hotmail.co.uk Living and studying in Brighton

Education:

2017-2020 University of Brighton BA (Hons) Printmaking

2014-2015 UCA Epsom Foundation Diploma in Fine Art (MERIT)

2013-2014 Rosebery Sixth Form Art and Design (A)

Group Shows:

2018 (IM)MATERIAL South Gallery Grand Parade, Brighton

Publications:

Lumina Journal, My Body Your Hands, 2018  

[profdevsp5]

RA SCHOOLS PROSPECTUS!

[profdevsp5]

Helpful Article on Residencies (Rhian Solomon): 

[profdevsp5]

Marketing and Communications Placement at Fabrica Brighton (INFO AND APPLICATION)

Applications for placements can be quite lengthy - the type of things they would ask are about relevant experience, previous jobs, your skills-set both artistic and practical, your future aspirations.

[profdevsp5]

Spike Island Bristol Artist Studios 

As well as the Spike Island Print Studios, the gallery houses general artists studios. The price of these studios is quite high ranging from around £300-£600 (to be shared by 1-2 others), which is possibly too high on top of living costs but definitely worth exploring other spaces in Bristol, possibly large shared spaces would be cheaper? Having a studio is quite important to me in maintaining my practice and very useful for housing my heavy work! 24 hour access would definitely be preferred to fit around my working schedule.

The Spike Island studios are more geared to metal and wood work so I would say their Print Studio is a better, cheaper option.

[profdevsp5]

Information on Affordable Housing (when funding an MA or trying to sustain a practice while working to live)

>Council housing

>Shared ownership housing

>Short term guardianships

[profdevsp5]

Jerwood Bursaries 

Funding my practice outside of education is something I will need to think about. On top of living and maintenance costs and studio costs, production and material costs are something that need to be taken into consideration. There are alot of funding opportunities which are regularly listed and updated on ArtRabbit. The Jerwood Bursary provides funding of up to £1,250 to help you explore and develop your practice by enabling you to gain new skills and knowledge. They want to encourage people and help them financially to be able to pursue their creative practices independently. Bursaries and grants  can help you fund mentoring or taking part in training, conferences and workshops. They can cover the costs of self-initiated residencies and support early-stage research and testing of ideas.

[profdevsp5]

Towner Gallery Open Call

The ArtRabbit website and app have constant updates for gallery open calls - not all would be appropriate to my work but in the next few years I aim to get my work out in as many exhibitions as I can no matter how small. This open call is free to enter and the £10,000 prize a definite motivation!

“Towner are inviting open call submissions for Towner International – a major new biennial exhibition of contemporary art that will take place at Towner in 2020, featuring British and International artists. The £10,000 Brewers Prize, provided by Brewers Decorator Centres, will be awarded to an overall winner selected from the exhibiting artists. Submissions are welcome from professional artists across the UK and internationally, working in all media, including – but not restricted to – painting, drawing, print, sculpture, sound, performance, photography, film and installation. At least one third of exhibiting artists will be selected from Towner’s coastal region – being born or based in Sussex, Kent and Hampshire.”

The Towner open call is something I assume that runs each year.  There is no cost to enter, and all exhibiting artists will receive a fee of £250. To enter you need a CV, PORTFOLIO and DETAILS OF YOUR SUBMITTED WORK (title, date, dimensions). The work must have been made within the last 5 years. If sold during the exhibition, 35% of profit will go to Towner Gallery.

[profdevsp5]

Ollie Quinn Exhibition Space Brighton

Ollie Quinn Opticians is home to a gallery space below their shop and they frequently offer space for local artists to display their work. I am in the process of planning a joint exhibition with myself and fellow visual artist Leo Cameron (FA Sculpture). The exhibition I am planning will combine both of our sculptural and textual works to create an immersive exhibition on Queer Womanhood. I am waiting to here back from the exhibition organizer but hope to have the show planned and executed in the next year depending on the availability of the space! (I have included my correspondence with the coordinator above.)

[profdevsp5]

Membership Technician Scheme at Spike Island Print Studio

Spike Island Print Studio offers a Membership Technician Scheme which for 3 hours work a week supporting the Technical Manager would allow me to receive free keyholder membership, training, materials credit and a learning programme credit. This would be incredible for my professional development - alot of the Member Technicians go on to work as print technicians in schools and universities. There is also a EWE MA Technician scheme - if I was to do my MA at Bristol I could simultaneously be learning how to be a print technician and gain free access to the workshops. Really important!