References

Abstract Expressionism historically has been posited as a heroic and pure ideal; certainly in relation to 50’s American manifestations – it’s almost like a bad rep that’s proved difficult to shirk. Apart from the political appropriation of the abstract, it’s always struggled with being esoteric, since many cannot recognise themselves or their values with in it. It gets me thinking again about consciously trying to make ‘universal’ artwork – I’ve heard this word a lot recently. I’m kinda sick of it, cus in reality we work in very small clusters of common interest. The very large ones cost a great deal to maintain – like our crumbling economic one.

Now I make black blobs on paper sometimes, I’m not sure how long I’m gonna make them. But I found myself at a symposium about abstract art a couple of weeks ago. I was intrigued to see how artists positioned within this field approached the abstract conceptually and methodologically. As I suspected it wasn’t simple, the exhibition that accompanied the event was a vague commonality between the artists involved. Each had very different perspectives and all were very conscious of being branded in way that felt limited. Naming is tricky as it brings you to a historical context, requiring confrontation, complicity or avoidance – take your pick. And of course that confrontation varies in relation to who it is, and where they are. So as a student of art, a teacher of it, as well as being black, a woman (and any other bandings I could fit under) abstraction in relation to expressionism is a tad problematic. I put my drawings on bulky old technology, in a time when ‘identity’ seems to be a debate left in the 80’s and 90’s.

Thinking?

Well I was probably looking for a bit of therapy, although I know it’s a bad word when connected to making ‘Art” oh well… Thing is you never really stop thinking do ya? It’s the kinds of thoughts... So I've cracked on with the chain mail, my mind has been travelling forward, leaving some disappointment with my proposal for the show. There is always a level of expectation, which can be destructive when making something – I hate that.

I think I’ve been getting confused… or maybe I need to clarify further between these ideas of unstable structure and anti structure. At the end of last year (and perhaps this was more related to an emotional state) vulnerability seemed to be a prevailing property of the unstable structure - it seemed brittle and fractured. I can only put this down initially to working with solid materials, and my relationship to a sculptural tradition, which has always been rather tense.

The soft fluid structures in my drawings however are an elastic entity, essentially the original blob idea, which introduced itself to me back in 2004. Surely this elastic structure must have more strength?

Studio floor this week

Continuing to read Zygmunt Bauman (‘Liquid Modernity’ this time) has left me feeling ambivalent. He makes me feel embarrassed for being an ‘identity seeker’ since he puts it as an unsatisfying quest; everything is fluid; everything is moving the search never ends, goals are never achieved. As I’m writing this I’m thinking of a huge expanse of water and a shipwreck, its contents carried away by the current. You can imagine the rest...

Copies

You wonder over the years why you are drawn to the particular exhibitions. It’s not that you want to do what they do, but certain traits/questions arise which have an affinity with your own.

I’ve found Cindy Sherman’s output rather repetitive over the years, but I’ve kept half an eye on it. In almost twenty years of looking at her work, I finally came across the ‘real’ Sherman, (a non fictionalised image) but couldn’t trust what I was seeing. So it looks like she’s succeeded to dissolving any notion of truth within photography (well… certainly in relation to her own image). She is effectively a chameleon, a blob constantly in a state of mimesis. The only truth that has remained however is age. In this new work she has forgone makeup and opted for digital manipulation. I wish she had dared to go another step further - making herself timeless, some how trapping herself in the 80’s when she started this work.

Jeff Bridges and Clu his virtual 80's copy

That same day I saw a very different show ‘Peaceable Kingdom’ and attended a talk by the artist at Marlborough Fine art. Cathie Pilkington spoke about her difficult relationship with ‘sculpture’. One particular piece really communicated that struggle; a funny ducky character, continuously making copies of Barbara Hepworth sculptures. It was tragic to see this character making something, so unlike herself. Perhaps Babs is hoping that the repetition will eventually convince her otherwise.

Babs 2010 Cathie Pilkington

Blobs

'Blob' 2004-6

I’ve been into blobs for a long time… Looking back my palette wasn’t vast but it was a tad larger. In those early days, I totally obsessed about camouflage. The idea of continual change and adaptation to each environment or situation encountered.

I’ve been thinking recently about the motives for camouflage and also about that fairytale/mythical creature the changeling. The changeling appears to be a deceitful entity. Creating illusions that allow it to exist undetected by others, somehow deception and truth become intermingled.

The salt monster in Star trek 'The Man Trap'

If we look to the natural world, we see deception as a survival strategy. Consequently that deception is inherent within the identity of that creature. My camo was rather more symbolic, using the over exposed amoeba pattern (the ‘urban solider’ motif) the project focused on the dysfunctional – standing out not blending in…

I keep thinking about a black blob morphing and assimilating the world it encounters – its not sci-fi - not an invasion - just survival…