Alternative review of Tracey Emin's show, live from The Hayward.

Thought it might be interesting to just download my thoughts on the Tracey Emin show, without any editing, verbal diorrhea style, a la our heroine. Here's what I wrote: Very confessional. Does not try 2 rationalise thought. Some of the illustrations, words are back to front. They are a certain kind of print I think - monoprint. Sex obsessed. Enjoys her own pain? Feels she is fated to be alone. Sex as a divine experience. Autobiographical. Re. the pier sculpture, you can't actually reach the cabin, it remains an idea, a fantasy. I like 'Is legal sex anal?'. Turkish culture. Nice to see Tracey happy in 'Why I never became a dancer'. Makes me feel I'm not having enough sex. Her past catches up with her. Men (the local men in Margate) hate her.. even though they've all had sex with her - the contradiction - she's a slag for sleeping with them.. what are they? She's always trying to get her revenge on Margate. Exhibitionist. Hard hitting, stuff about abortion. Appreciated 'When you're sad you only see sad things'. True. Combination of words and objects in pieces like 'Wimsey', 1972-2003, is effective. Super 8. She's a twin! Conversations with my mum, 2001, explores generation gap between the artist and her mum. Her mum didn't think Tracey would be a good mum. "You wouldn't be where you are today dear.." (if you'd had children). Tracey: What if I get to a point in my life where I get bored with the narcissism?..where I want to see the world through someone else's eyes?.." Mum: "I don't want to see you tied with children" (like she was) On childbirth: "You never forget that pain".

By the time I've come full circle round the gallery, and am watching 'How It Feels', which incidentally, I think is one of the most effective pieces and holds a lot of clues to Emin's motivation as an artist, she's starting to resemble a bo-selecta mask. Bravado. Denial.

Performance Art

Have been obsessively watching a video on MOMA's website. My tutor mentioned Marina Abromovich during an end of term lecture, so I sought to find out more about her. I have discovered she is a legendary performace artist and that last year, MOMA held a retrospective of her work, which included the re-performance of many of her iconic pieces, and a new piece, called The Artist is Present. Performance artists re-performed her work, but Marina herself took centre stage for TAIP. What is compelling about the video, for me, is that it illuminates the world of performance art. All the artists  introduce themselves, and explain what else they do, outside of this project. There are dancers, singers, choreographers, directors, writers, and actors. A bohemian, raggle taggle mix of freelance workers who are passionate about what they do and get by by hook or by crook. All of them have the 'presence' and stamina needed to perform the work. They talk about the experience of performing, including the discomfort sometimes endured, and how transforming it can prove to be. In her new performance, Marina sat opposite volunteers and stared into their eyes, 7 hours a day for 3 months. It caused a lot of debate in the media, and bought Performance Art back under the spotlight.

I would really recommend watching the video, here is the link: http://www.moma.org/explore/multimedia/videos/108

Foundation Year Project, 2007

In 2007 I made three paintings for the final major project (FMP) at Abingdon & Witney college. The paintings were inspired by London. I felt the atmosphere on the underground had changed following the 2005 terrorist attacks. An environment that was already pretty dingey had become darker. I had this image in my head of this train hurtling towards me. You could see the front of the train, and a diminishing platform. The lights of the train were bright but it was enshrouded by darkness. To 'exorcise' this vision, I made 100 paintings. Some quite small and some minimal, all externalising the motif. In order to evoke the properties of a tube tunnel, I used organic substances - sticky honey and dusty charcoal. This meant that once the paintings went into storage, they went mouldy! However, the mould is quite beautiful, and quite fitting, reminiscent of rust and damp.

Some of the preparatory paintings/drawings:

The final paintings:

Here are some close up shots of the surface taken in bright sunlight.

Dispatches from Art School

Work from the first term at Somerset College of Art and Technology.

This was some work about frogs. I can't really explain it. I found a dead frog under the recycling bin in my mum's garden. I thought maybe it said something about human intervention in the natural world, i.e. the frog had come to rely on the shelter of the bin, and when the bin men moved it, they crushed him. I made lots of frogs out of illuminous play-doh, TM. I stretched them and photographed them in natural surroundings and surreal scenarios. Eventually the bits of frogs dried up and I displayed them on some specially made shelves.  

These are some close ups of work produced in a 2 day drawing workshop run by sculptor and tutor Graham Seaton and painter and tutor, Stewart Geddes. The idea was to loosen us up - get us to over-ride our natural drawing habits. It was a good day. I don't think I quite let go enough, but given the opportunity again I wouldn't be so conventional. There were students stabbing their paper or painting with their feet. I just enjoyed making pretty patterns.

Exeter Phoenix Show, December 2010

This was a solo show I organised in the cafe/bar at Exeter Phoenix. Featuring work from both the Wales Bridge and The Bears series of paintings. The Wales Bridge series of paintings were created in 2010, specifically for the show. They were inspired by a journey on a coach between England and Wales. It was a wet, wintery night and I was ushered onto a rail replacement service. As I moved through the landscape, I was struck by the beauty of the neon lights in the distance, smeared by the speed of the coach and the droplets of rain on the windows. I took some pictures on a camera phone and these paintings stem from those pictures.

The gallery manager said my work was the best they'd had in there for a while. I was thrilled, natch. 

Some pictures of the work in the space: