PPD lecture - making work in studio/gallery education
work in readings. bit of her work. and gallery education.
short text of longer piece. ‘I want to write to you like someone learning’ autobiographical / research. Combining research and own writing. what the work is made of. image-making, drawings .trained as painter. recently collage, mainly own photographs, but also online sources. Remove / pixelation, cutting out, rephotographing, projecting. don’t really use collage themselves that much. draw digitally. in terms of simplicity of line. Exercise drawing from memory like writing from memory. Interested in space; reading and writing. key change in her practice in last years. introduce her voice in text. Reading to audiences. performances. where she read without images.
experience in gallery education. From Colombia. Used to teach painting with teenagers. exciting. when she came to London. realised gallery education existed. found places that have that, Camden art centre applied, also working with friend , workshops for galleries in summer finding opportunities needed experience to join programmes. joined team in artist workshops at Tate. changed in 2010. before only had artists. hired by gallery and do workshops with visitors. was problematic for Tate bc activities quite similar. Get new group of artists every year. part of the first group. experience at Tate. foundation for her, marked after that. invitation from gallery was bring your practice through collection with the group. Risks. felt exposed to group. challenging to work with people of all ages. rearrange the plan for each time. always new plan and ready to tweaks felt anxious and scared all the time but was worth the outcome, engage, exchanging. artist artwork: platform for anyone to use. Symbol of openness of that space. Didn’t feel like she could share her practice to bring into Tate, drawing. gallery became space for exploration and research, artists didn’t know about, used sculpture, sound, performance.. this experimenting, focusing on the group. responsive. More open than ever. recognise that she didn’t know what she was doing. something important was happening between them and has to trust that. became safe zones. tricks for teenagers and emergencies. enjoyed working with people with additional needs. performing / sounds. since then working with many art institutions: and cambden art centre Barbican Whitechapel,, working with families; school workshops and Send workshops. that side. also doing personal studio projects. remained with her challenge of drawing. Assumption of drawing well, representationally. How drawing is conceived. Tried to do some projects for that. part of the investigation. artworks and exhibitions benefit from workshops - exciting opportunity to bring artworks back to life. space a bonding with group becomes material itself. is what is happening in the group, what they enjoy, responding. stretched in ways where it never could have if she stayed in the studio. expanded practice of drawing: Camden art centre project. three months. every Sunday almost a whole day delivering drop in sessions. Any age, any time. mapmaking and choreography. responding to contemporary dances. really trying to introducing you contemporary artists all the time. very young children and families. throughout those three months making maps of their movement and choreography from that. Whitechapel project. A week residency with a school. respond to William Kentridge’s work. never seen before. Asked to produce animation by end of the week. in response to the exhibition. use drawing in this project. Doing time machines. Kentridges reference to space. Drawing, creating a narrative. construct the object. interested from drawing to three dimensional. Story boarding. how each group became. Ownership of story. interested only that originally. couldn’t really control their aesthetics of animations. Led by them. show them female directors of animation. have roles. screened the animations in Whitechapel. exploring the work of catarina Rhodes(?) biggest ever expanded drawing with paper and tape. each family abstract papers, they join together as they grow. Became big piece; made performance from that big drawing. question about drawing found answer, confidence. lift from paper and sculpture. move from this project to another family project, explore expanded drawing. use plastic as medium of drawing. Movement and interacting with elements. became bigger, joined together. became testing material. collage came into work in another project. worked with projection, expanded cinema, really important for her, acetate. Exploring topography. Natural and unnatural. recorded sound, description of object. Artificial rocks. created a typeface. south London gallery, workshop. ended with dance floor. in beginning sense that it was difficult to communicate to younger people. Encounter - the group a space as material. what group as a space. idea of group as space as material important in her work. encountering a plant. Conceptual element.
-both galleries approach her (go to shows and be active) out of your control. important to approach galleries. experience, volunteering programme/training, different to doing it for free. learn about aspects of gallery. One of them was gallery education. some sort of experience gain. working for charity/ small project put on cv. main problem, how to get that. won’t be many call outs. more through own initiatives. -text in your work. parallel in making images. Always writing. Always making images. new piece, combine them. how to keep separate .. try not to say everything in text. print.
