16.6.20 Sarah Pickstone
http://www.sarahpickstone.co.uk/
Have I peaked?
‘Fears about yourself prevent you from doing your best work, whilst fears about your reception by others prevent you from doing your own work.’
Bylands, D (2002) Art and fear: Observations on the Perils (and Rewards) of Artmaking Available at: https://issuu.com/huggooomaz/docs/0961454733-art___fear__observations (Accessed: 19 June 2020)
Communication:
‘Good ideas need to be translated through the work.’ I was interested in what Sarah said about theory and concepts etc. She seemed to suggest that it might be important to the artist to have deep and meaningful ideas behind the work, but that she thought the work needs to speak for itself…the ideas should be communicated through the work, not necessarily through a parallel explanation. This feels like a relief in terms of all the reading I’ve been doing. Has it been too ‘engineered’? Which comes first, an idea or a conceptual framework? I find that generally I start with an idea, begin to make and the piece develops alongside the concept. I wonder how much the actual process of making is key? I know process is fundamental to my work. I was going to write ‘how can I capture that?’ but after the feedback with Robert post assessment, maybe my question should be ‘how can I visualise my process?’
Artist as mother: She likened fertility to creativity. And talked about how being childless was fashionable when she was younger amongst her peers. She did have children though and she discussed making work in the environment in which you find yourself, eg the park(!), at home, within the humdrum mundanities of life. I think this relates to the current situation too, where we have constraints of a different kind. And of course, it affects all artists atm.
Exploring the feminine: She described how at points she was ‘looking for her feminine’, which resonated with me.
Literature and mythology as inspiration:
Mixing materials:
http://www.sarahpickstone.co.uk/
Have I peaked?
‘Fears about yourself prevent you from doing your best work, whilst fears about your reception by others prevent you from doing your own work.’
Bylands, D (2002) Art and fear: Observations on the Perils (and Rewards) of Artmaking Available at: https://issuu.com/huggooomaz/docs/0961454733-art___fear__observations (Accessed: 19 June 2020)
Communication:
‘Good ideas need to be translated through the work.’ I was interested in what Sarah said about theory and concepts etc. She seemed to suggest that it might be important to the artist to have deep and meaningful ideas behind the work, but that she thought the work needs to speak for itself…the ideas should be communicated through the work, not necessarily through a parallel explanation. This feels like a relief in terms of all the reading I’ve been doing. Has it been too ‘engineered’? Which comes first, an idea or a conceptual framework? I find that generally I start with an idea, begin to make and the piece develops alongside the concept. I wonder how much the actual process of making is key? I know process is fundamental to my work. I was going to write ‘how can I capture that?’ but after the feedback with Robert post assessment, maybe my question should be ‘how can I visualise my process?’
Artist as mother: She likened fertility to creativity. And talked about how being childless was fashionable when she was younger amongst her peers. She did have children though and she discussed making work in the environment in which you find yourself, eg the park(!), at home, within the humdrum mundanities of life. I think this relates to the current situation too, where we have constraints of a different kind. And of course, it affects all artists atm.
Exploring the feminine: She described how at points she was ‘looking for her feminine’, which resonated with me.
Literature and mythology as inspiration:
Mixing materials: