It’s been a while since my last posting but we have been busy here working on the project.
Our selection panel met in late January, it comprised of Professor Lesley Millar, University for the Creative Arts Farnham, Judith Robinson, Plymouth Museum and Art Gallery, Dr Elizabeth Goring, IC: Innovative Craft, jeweller and academic Laura Potter and myself and Andy Horn. After a very interesting day of discussions we selected the following artists, their participation has now been confirmed: Gary Breeze, Neil Brownsword, Sonya Clark, Rebecca Earley, David Gates, Matthew Harris, Amy Houghton, Sue Lawty, Paul Scott, Elizabetth Turrell, Judith van den Boom, Gunter Wehmeyer and Heidrun Schimmel. There are three or four more artists yet to be confirmed and we will keep you updated as this progresses. We are now discussing commissions and work to be included in the exhibition and I will be able to let you now more about this as we proceed.

It has been an interesting and busy couple of months for me. There has been much to think about with the exhibition: as a practitioner it is sometimes hard to juggle the demands of running a studio and making, teaching, researching and curating such a large scale project and so you will forgive me if at points the blog has to take a little bit of a back seat in affairs. However the project is constantly at the forefront of my thoughts and on that note I have been to several interesting talks recently all of which I hope contribute to my thinking on the project.

One of the most interesting took place last week in London and was a conversation between Eva Hoffman and Richard Sennett and chaired by Jonathan Heawood. The conversation encompassed ideas of craft, making, composition, subjectivity in the creative process, excellence and a culture in this country that is obsessed with outcome and reluctant to embrace the value of process the making of mistakes. Sennett described the ‘What’s it for?’ culture that we live in as having ‘strangled a generation of creativity’.

Hoffmann and Sennett also spoke about the necessity of ‘slowness’ in a world where ‘we want things to happen fast’ but where ‘both the making and reception of art takes a certain slowing down’. The conversation moved on to notions of ‘time’ and ideas of ‘organisation of time’, and how ‘music is time fuelled’, all things that resonate and some of which I hope we will bring to you through the development of this exhibition.

Before I go I would like to thank everyone who put forward proposals for the exhibition and for all the time spent in considering ideas and thoughts. I hope that you will continue to follow the project with interest and to participate with your thoughts through the blog.



One thought on “It’s been a while…

  1. Helen, this sounds an interesting subject. I had never thouhght of it as an identified issue. I regard my arts practice as craft based and socialy engaged, to produce work in the public realm. I work in a context where planning, building, construction and installation deadlines are the major driving force. ‘Keeping on track with the schedule’ is paramount. As an artist working in this time orientated business I never thought there was an option to slow down. Is there really an option to slow down when your part of a soup of main and subcontractors etc?

    The process of designing, constructing and installing these commissions with community input is a very slow process and often regarded as ‘another output’ but the process for me is totaly life consumimg 24-7.

    The phrase ‘strangled a generation of creativity’ lept out of the page at me, I am worried that it might be true for some people .

    This is an interesting topic, at a time when our accelerated consumer society is in recession and our conspicous consumption needs to be questioned. Art world hits commercial world and your subject is very relevant.

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