…frameworks. Theoretical, methodological, exhibition and curatorial…what and who reflect and respond to each other, where have I come from and where has that information taken me. Paper trails and constant mapping…
This could be quite a long post and I want to begin by telling you about a few things that have made me smile this week…things I have liked. I’ll begin by saying I’ve just returned from the hairdressers and they had a powercut…I left with wet hair. It’s been an incredibly random day. Anyway, I came across this via Twitter of all places, the work of Masters Illustration student called Man Ju Lee from the University of the Arts Camberwell. What struck me about her work was the sheer innocence of the narrative she used to describe her illustration and practice. I love the fact she never actually states the direct meaning of these chinese characters, just its overall emotive power, its inner entity…the ‘feeling’, it can never just be described through language. 美好, ‘mei hao’ in a literal sense means beautiful happy…how life should be. Right?
Man Ju Lee – “美好” is a Chinese word. It is an amazing and meaningful word for me. This word could be an adjective or a noun either and could be used in many different conditions.This word represents all of the good things. I expect my works will be like this word. I wish that my works could bring people美好.”
- Illustration by Man Ju Lee
During the CCVA conference, Public Space, Art and Collective Memory a couple of weeks ago I met a Masters student at the University of Oxford called Ros Holmes. We went through the usual conversations you have at these kind of events eventually discussing our research. Having lived in China for many years, she said she knew of a contemporary Chinese artist who is very early on in his career and used Chinese characters explicitly within his practice, and in fact was trying to create a new set of characters, or radicals in this case, and terminologies. (*Too excited*) This week she emailed me having remembered his name…Jiao Yingqi, along with a couple of article links explaining his practice one of which is called ‘Chinese Characters Reloaded‘. It would be interesting to talk to him about the concept of ‘imitation vs innovation’ and his very extreme opening statement ‘either Chinese characters die or China is doomed.’ It’s true every language has to progress through re-definition and re-categorisation, the Oxford English Dictionary is a prime example of this as they receive new words and definitions weekly. The adjective ‘achy-breaky‘ only made its way into the dictionary in March this year…
This week, I somehow ended up knee deep in terminologies, language and naming termnologies…starting with onomastics. I ended up at etymology which I’m already looking into from the translation and transference of artistic terminology from their creation in the West (largely Germany) through to the East (Taiwan and Hong Kong, to Japan to China). Looking at the known problem of modernity in translation, and the difficulties in cross-Chinese language translation and country transference such as from Japan to China. How does “Chinese” to “Chinese” translation compare? Does structure and perception change between regions? Is it ultimately modernity in translation? These seems to be what the artist Jiao Yingqi is trying to tackle. And just in case you wondered…
Onomastics – the study of proper names/their origins.
Anthroponomastics – the study of people’s names.
Toponomastics – the study of place names.
Etymology – the study of the history of words/origins of words.
I’m hoping all these terms will slowly come together. I have a distinct feeling I may have issues with the specific premise of the words I use and will be constantly defining and redefining their boundaries.
I came across a comprehensive website that acts almost like a past, present and future archive of what is out there in the way of journal and conference call outs in the Chinese arts domain called the ‘Arts of China Consortium‘ as part of NYU, New York. During browsing the vast, vast lists I came across many conferences, including the 5th International Sinology Forum called ‘China Exposed, Imposed, Proposed‘. There are again many familiar and well-known names, I am just trying to work out whether or not it is beneficial I attend? It would be nice to have a jaunt to Lisbon. Hmmmm priorities. First China next year I reckon.
As for Mandarin class this week, well…it was slight humiliation time, it seems to be the case every week. “Why don’t we try and sing Silent Night in Mandarin”, ummmm why don’t I tell you now how bad i’m going to be at it. Apart from this brief musical interlude, we were taught months, years and the weather, oh and how to say the all important Happy Christmas! (Sheng dan kuai le!) I should be typing in characters…I’m getting better, it really is just such a slow process. I’m thinking it might be more beneficial for me to have one-on-one tuition after Christmas, but then there are additional costs involved (says the girl who’s thinking of going to Lisbon for a conference). The next day was the Pg Cert part of the PhD, this time with presentations from my supervisor Joshua Jiang and David Burrows. Joshua made me verbally question in front of the group the similarities and/or differences between curators who are trained practically (fine art) and theoretically (art historical). I’m not sure whether theoretically trained curators can ever ‘feel’ or ’see’ the same as practice-based curators. It’s the knowing and seeing process as an artist of how art is made, even the smell of a process or artistic practice that I think provides an additional curatorial facet and understanding for the curated artist. I’m not sure this even makes sense here, but I completed a Masters thesis on this topic called the ‘The Shift in Power: The Artist-Curator‘, so I should be able to verbalize it better…let me know if you would like to read a copy as bound copies sit here unread.
Jiang – “There must be flexibility in the curatorial framework to embrace the discussions of the artist and curator that are never planned…It reshapes your own curatorial framework.”
Burrows went on to discuss practice-based research as event and ontological frameworks. He referenced the work of Heidegger specifically about how we walk through a world that is already named through language, where words are reproduced and developed through repetition, and as I see it, through repetition breeds difference. In fact, when I was completing my undergraduate studies in Fine Art, I typewriter typed a phrase onto a small piece of paper and placed it within a red frame. It read “changing sentences from one to another breeds development in myself”. I swear by this phrase. It hangs on my bedroom wall…I see it every single day…you can see it below as apparently I still have an image of it from when it was in my second year studio space. Funny.
- Changing Sentences (2003)
Heidegger – “What we call the world is constructed through ontological assumption produced by and engendered through language which provides an unspoken ‘context’ or background for our way of being.”
One final thought on the Pg Cert session is the conversations around codifying a new language and how the creation of new words goes through a process of translation, where language always implies a shared and plural notion of understanding – it exists for more than one person. Burrows also spoke of what got him into art – what “event” as such. This I found intriguing and very insightful. For him, it was David Bowie, and seeing the TV programme ‘Nationwide’ after the news on the BBC at about age 12, where they were reporting on an exhibition at the Tate Gallery. This made me think about my own reasons for getting into this creative whirlwind. Apart from my Grandpa being a photographer, it was one painting that I used to visit time and time again at the National Gallery as a child, and one that I still have to go and see whenever I’m in London today. It is still on display there now…‘The Execution of Lady Jane Grey’ (1833) by Paul Delaroche. I can sit in front of this piece for hours…it’s making my hairs stand on end typing about it, thinking about it, visualising it.
One final note, the New Art Gallery Walsall celebrate their 10th Birthday next year and have created this rather beautiful public project that everyone and anyone can apply to, where you create, make and send a home made birthday card to them. Super sweet…in a childlike sense…and I can’t believe they’ve been open ten years already. Time…we all know what happens…
…everything I have to do. My to-do list is ever-growing, sometimes it feels out of control, but I actually love that pressure, or do I?
Just thought I’d do a quick studio practice update as to the shows I’m going to part of in 2010, and to be honest it’s actually quite odd typing those digits as 2010 seemed so far away at one stage and now it’s just around the corner. In January 2010, I will be part of a show called ‘MAIL Art’ at the Long Gallery, Glasgow. An accompanying zine called ‘Mail Art One‘ will also be produced in conjunction with this. As part of this show, I am exhibiting the pre-paid response postcards once used as part of the 2007 installation ‘Time Tells You‘ so I hope to receive further responses to this project again, I love the fact it’s ongoing and the process of collecting the cards from my PO BOX address, you never know what you are going to get.
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Rachel Marsden - Stafford (2007)
I also hope to be part of ‘The Bibliotherapy Artist’s Book Library (BABL)’ created by a very fabulous artist Lucy May Schofield. The handmade book ‘Little Book of Fears…‘ from 2004 is perfect for this year-long mobile library project where visitors are provided with an area within which to express their fears, habits, anxieties, disorders and desires and a place to offload their worries. Schofield hopes the library will diagnose and reveal a lot of the nations woes. In a word, serendipitous that I found this opportunity…
…dinner. I think I promised to update the day after the conference, needless to say life took over this week. I don’t think I’ve had one night in yet.
The post-conference dinner took place at a Thai restaurant opposite the IKON Gallery in Birmingham with the conference delegates, the Head of the School of Art at BIAD John Butler, Jiang Jiehong (Joshua, my PhD supervisor) and Nancy whose Chinese name is Jiang Qian. She kindly helped out with the conference as another student was unexpected ill. We had many broken conversations, her English was fantastic though in comparison to my Mandarin skills. She reassured me I would be able to speak Mandarin at some stage and gave me some little Chinese snacks in the form of Wasabi nuts, a dried scallop and these sweet apple thins. A cacophony of flavours that’s for sure. She was even generous enough to invite me out to China in the new year for the Spring Festival and stay with her family. I think I’m definitely there in April/May 2010. Anyway, at the dinner it was proposed to produce a publication to present the conference findings, bilingual and possibly ready in conjunction with the Shanghai Biennale in October 2010. This seems to be going ahead after further conversations, and there may even be editorial opportunities for me. Another wait and see situation. There was also a bit of an inappropriate lost in translation moment…it involved vegetarian food but i’ll leave it at that.
Wednesday’s Mandarin class started with an impromptu photo shoot for use in the college marketing material. Surprise surprise muggins ended up in them, one of which is shown below, though it’s actually quite a nice shot. By the way that’s Tan Lao Shi, or Lilly as her students know her, my tutor. After this drama the class consisted of double figure numbers, times and days. Lilly also let us see some more advanced material such as common phrases like ‘It’s all Greek to me’. This particular phrase made me laugh out loud immediately. It translate quite literally…gicheng…’It’s like chicken intestine’s, and that’s exactly what my PhD is right now. We also referenced back to previous material such as colours and food…for some reason my head is really struggling to retain some information, or maybe I’m not giving it the time that it deserves. I think it’s post-it note time…all over everything as reminders. Nancy did teach me two new phrases though on Tuesday – lao ban (boss) and bu ke qi (you’re welcome), oh and not forgetting gonggong yishu (public art). I am determined to make serious headway over Christmas.
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On Thursday it was PhD day starting with a tutorial with Joshua. We discussed the interdisciplinary nature of the CCVA and Negotiating Difference conferences, the outcomes and follow ups that needed to be done. Joshua confirmed my third supervisor which is the renowned contemporary Chinese artist Xu Bing. I am overwhelmed and so excited by this, I have to initiate contact with him asap. There was discussion regarding current research and methods of, also about the difficulty in finding specific relevant literature where it is obvious that my research will not always directly reference contemporary Chinese art, crossing boundaries with literary translation, philosophy and sociology. There was further discussion into interview methods and the issue of location, where the use of MSN was suggested. It can have a better functionality than talking face to face as it involves more thought, and saves transcribing time as it is already written into text. Sounds perfect right? Pros and cons to everything. In the afternoon it was the Pg Cert course this time highlighting the completion of the 9R form in order to register your PhD. It is all slowly becoming reality.
Both Thursday and Friday evenings consisted of fabulous art parties…firstly it was the IKON Eastside closing party ‘ON/OFF‘ organised by my friends COLOUR, the visuals for which were fantastic. It was such a cold evening though, really brrrrrr.
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On Friday night, it was the opening of Nottingham Contemporary. We arrived quite late, but still in time to see many of the UK’s art elite drunk and dancing to chart music like Beyonce. We are all normal underneath the contemporary art game facade. Totally totally random, free bar, double kisses, americana neon signage, a drag queen, concrete perspectives, smiles and a beautiful exhibition by Frances Stark. This display I heart – text, process, collage, obsession, emotionality, perfection…the gallery also seem to be producing a very distinct type and format of catalogue which I hope continues. A perfect way to end a very busy week.
Until next week…”inshallah”.
…conference. Now I have just realised there is an alphabetical theme starting to arise here. May I state it is completely unintentional but these things seem to happen in my world, i’m always attempting to categorise and archive. It may prove to be a linguistic challenge so let’s see how it works out.
The past two days have been spent assisting my superb PhD supervisor Jiang Jiehong (or Joshua as he is known in a Western sense) with the conference Public Space, Art and Collective Memory held at BIAD. Day one started with Xu Jiang who reflected on the individual based creation of artistic creative practice in the field of interdisciplinary public art. “Can architecture, design and websites be public art (gonggong yishu)?” Also, this paper highlighted the issue of transcultural translation of specific terminologies, that in Mandarin Chinese (here in pinyin) there are two words for space or site - chang (event) and suo (place or location). Next was John Aiken who looked at interventions within the traditional methodologies of the city and the perceptive experience, the paradox of the incidental becoming the artwork and how public art can “devour”. Lunch then followed which was your average conference sandwiches and snacks, and the hot water tasted extremely like coffee, sadly this meant Starbucks got my money over the two days.
After refueling, Gao Shiming, an established curator, contemporary art researcher and writer (who will perhaps be interviewed as part of my study) presented the paper “Nowhere, No Here”. It examined the institutionalised process and production system of public art as an artistic practice embedded in historical discourse and how these histories have penetrated the walls of collective memory. He referenced Barthes’ theory of ‘The Death of the Author’ and Foucault’s views on how “writing has become linked to sacrifice…where the writer must play a dead man.”
Gao - “We cannot observe reality and be part of it at the same time…we are all entangled in some sort of false reality with society.”
He also spoke of the space of art museums calling them artificial thus, institutionalised within a mechanism of artistic production. He questioned whether art can create a new way of communicating not through advertising, propaganda or publicity, how interpreting life drives us to produce art and where this is placed within Modernism (“Nowhere”). “Das Lebenswelt” – life world, rather than seen in the public realm where it does not need interpretation, it just exists, it is the experience.
Yin Shuangxi referenced symbolism through the construction of Asian cities, how they are planned in a formulaic sense, their position and historical grounding specifically referencing at Tiananmen Square in Beijing, China.
The final speaker of the day was Nick Stanley who examined the fetishisation of the foreign through didactic experiences where consumer culture and renowned locations are transformed into miniaturised venues for the site of Chinese spectacle such as ‘Window of the World’ and ‘Splendid China’. It was a “delicious ironic parody” referencing the continuities of the world alongside their physical differences, and the national and international complex models. He spoke of the relationship between art, knowledge and education, and the development of learning processes through these sites.
Stanley – “Public space, art and collective memory can be harmonised for a safe and welcome future.”
During the end of day discussion, people became embroiled in this concept of “theme park” but then began to unravel ideas around the mediation of culture.
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Day two started with a comfortable and relaxed atmosphere in the air, and a pint of Starbucks Calm tea (cha). Richard Wentworth was the first speaker of the day. He spoke about his anxious state of being as an Englishman, discussing the notion of his own exoticism, the development of colonial space, and how people claim space and exercise power of them - “I’m not brought up to be a tourist but i’m not a traveller.” He sees this culture (UK) as being beyond ugly, referencing the work of other cultures as using inventive (visual) languages. He viewed, what he coined as, “Princess Diana effect” as “cheap flowers from the garage meets Henry VIII culture…where it could be deemed the best way to make public art is to kill enough people, to make them feel guilty about it…through memorialisation.” He also referenced a conversation with Richard Long.
Wentworth – “Whatever you walk towards means that you have walked away from something else…we are always in recoil from something.”
He examined how you see yourself as a foreigner in the public versus private domain stating we are all spectators of each other – the world is private yet we behave so publicly. He questioned what is going to happen to these ciphers and ultimately, who on earth are we? Goa Shiming summarised this paper succinctly by stating public art (gonggong yishu) is not a “genre” anymore.
Sui Jianguo discussed the development of his sculptural public art practice which conveyed a sense of time, direction and location. Presenting democracy through visual practice, he is interested in the idea of life cycle, time and being, expressing feelings of embodiment in nature and culture, specifically how nature operates whilst referencing the regeneration of life and the body. He discussed examples of his artworks including ‘Legacy of Mentor‘ (1997) influenced by the developments in Hong Kong at that time, and the concept of the jacket worn by Sun Yot-sen, the revolutionary political leader and pioneer of the Republic of China. His jacket symbolises the modernisation of China and the ideas he advocated. This is also seen in the commission he completed for Beijing Fashion University this year (2009). Asked to design something to represent the characteristics of their University, he again used the idea of Sun Yot-sen jacket. This also marked the 60th Anniversary of the founding of the People’s Republic, it questioned how should modern chinese history from 1911 should be understood and how he, as a leader, should be remembered. He stated people are rethinking the Chinese Communist and Nationalist parties, where agendas have been reset in, and through, public debate. Another example he referenced was ‘Motion/Tension‘ (2009), an intervention within the Today Art Museum, Beijing, made up of a series of static and moving steel balls. What makes this artwork unique is that the balls can be viewed through several channels, from the interior to the exterior. Either mobile within a closed gallery space or running through a network of pipes and tubes in between the interior and exterior gallery space, they hit the edges of the interior or exterior spaces creating sounds.
The final speaker for the morning was Francoise Dupre, who spoke of her workshop-based practice which combined traditional and contemporary theories of making through the development of an interactive network of social, cultural and human elements.
Dupre – “Making has an empowering role in the development of a human being, responsible for identity formation, acting as a form of cultural resistance against war and globalisation.”
The invisibility and marginalisation of the stitch and of the handmade object shows it is undervalued as an art form. Textiles activities are accessible and universal, usually associated with women. Her projects reference the functionality of ornament and its transformative quality on architectural space, locating identity and performativity through formativity and the construction of making artwork. preferring the phrase public sphere than the term public space, Dupre is creating a sphere for communication between artists, participants and communities. She references the theories of Susan Sonntag that remembering is an ethical act and questions what happens when the act of remembering is an impossible task for the artists, when it cannot have a visual outcome? Is it the right of the artist to represent this information, historical and cultural connections between artist and participant? It is only the participants who can articulate their rich cultural history and heritage, part of the projects concept, not to be put into a memorialized context.
At the end of the morning session, Jiang Jiehong questioned whether memory belongs to the collective? Wenworth responds by saying “he cannot be responsible for his knowledge, it is unbearable, almost impossible…the point at which I went to english art school is the point when carving had stopped being taught. This was the point in which they had stopped making war memorials too.” Dupre replies by stating the practice of memory is more important It is making sure memories are not fabricated by others as there’s not one collective memory. It’s the performative quality of talking about it and the problematic representation of memory in the pseudo neutral space (gallery space).
Over lunch Wentworth and I ended up talking about a photograph he referenced in his paper. It was of a neighbour who placed planks of wood in his doorway to stop people from entering, which to him was a normal traditional action. This cultural activity was unknown to us. We then spoke of feeling foreign in a Berlin supermarket, living in London and then how I have had quite a nomadic life, moving every 6 years or so courtesy of having a father who was a Methodist Minister.
Wentworth – “Curators and art historians often come from that kind of strong parentage.”
I liked this comment. It makes me feel like it’s possible. Whatever “it” is.
Mao Jianbo started the afternoon session by looking into Chinese painting in public spaces and whether they have a specific public dimension. He examined Chinese painting in the modern era, the politics behind them and its future. Paintings had a traditional function, set in spaces such as temples but now exist as “intellectual” paintings. It is the impact of this and the way in which artists create paintings that has become important. Politics evidentially became a common issue, giving the paintings a specific political function, where Chinese painting was in a great need of reform as it could no longer represent the so changed reality. The publicness and how to achieve it poses great challenges to the contemporary artists along with the translation of content in this new public context.
Sian Everitt, art historian and Keeper of Archives at BIAD (who also lecturers on the Pg Cert I have to complete as part of my PhD), presented her paper on the archive of public art in relation to public art working as a historical archive of our time. She highlighted sculpture logics and building decoration such as murals, where recording the realisation process of the development of this type of public art projects is integral – temporary, performative and contingent. The potential academic and public benefit have made organisations and institutions aware of their legacies and historical grounded futures.
Everitt - “The archives have the potential to capture the meanings created through the actualisation of the artwork that may otherwise go unknown, adding and preserving layers of meaning to our understanding of that public art.”
Archives can assist as memory aids, not intentionally commemorative in context. “They do not store memory but offer the possibility to create memory.” She sees memory like history is neither objective or static and cannot be captured - it is constructed and reconstructed. By conceptualizing public art, it makes it into a collective practice not just an individual artwork, from product to process, from record to the recording context. She referenced Derrida stating ”society is suffering from archive fever” and acknowledges the fragmented construction of archives. There are gaps, there is no absolute definition of public art practice.
The finally speaker for the day, closing the conference was the contemporary Chinese artist Qui Zhijie. The funny thing is I saw his most recent exhibition ‘Twilight of the Idols‘, which he calls a special study of monument, at the Haus der Kulturen der Welt when I was in Berlin in October. Stunning…anyway, his paper “Nanjing Yangtze River Bridge: The Shadow of a Monument” examined key Chinese symbols referencing and shown in modernity. Over 300 to 400 people try to commit suicide from this bridge every year and it is constantly causing severe controversial debate where any events in relation to it will be highly publicised within the media. In 2007, Qiu started to be concerned with the history and reality of the bridge, largely looking into the recurrent suicides thus the suicide phenomena. Textual interventions have taken place on the bridge in the form of statements, phrases and graffiti portraying the many voices and personalities of the bridge users - ”Love is dead. All that’s left is the void.” – the sentence, written in blood, is supposed to be the last words of a suicide victim. He increased the awareness of the problem in an artistic way through the involvement of volunteers, those who have been saved by their friends and/or family from suicide. “A Suicidology of the Nanjing Yangzi River Bridge” presented his research through paintings and note-taking, a special focus on monument, displaying the concrete-itisation of the artists perspective and the blunt reality of the situation. When talking through recent projects he references the imagination of modernity as more industrial where the study of Chinese monument shows icon, text and calligraphy was the centre of Chinese visual culture as well as the notion of monument. Qiu talks of two words, specifically the difference between ”tablet” and “monument”. The tablet is the physical form or material existence whereas the monument is more memorial like, like a book that you need to open and read on one’s own initiative, like a reading room, inviting people to come inside, think and read. “An endless monument…an ongoing monument…a dialogue with…” The words are not written for any specific audience, they are written for the heaven and the earth in a timeless dimension (monumentality) in an ideology of time in relation to ancient China.
Qiu – “In terms of attitudes we have to focus on the past but walk into the future – walking backwards.”
The final panel discussion unravelled ideas of spectatorship, whether passive or active, translation, the grey areas of terminology and also the notion of monumentality.
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The day eventually came to a natural end although issues were still murmuring in the background. It’s time for the post-conference dinner to commence. I’ll fill you in on that tomorrow.
…book fair.
Yesterday I was at the 4th Manchester Artists’ Book Fair in the Holden Gallery sharing a stand with my friend and artist Georgina Vinsun. We came prepared with cups, tea bags and things to keep us busy. Georgie was knitting a rather beautiful cardi all day. I wish I knew how to knit…it seems almost second nature to her. The day was quite successful, a lot of interest but not much sales. I also had corporate interest in my handmade paper (made from Romance Novels) from a book binding materials company called Ratchford’s – a possibility of producing paper for them perhaps?
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So as I had some time, I thought I’d fill you in on what my PhD has had to offer so far but the internet kept on dropping out during the day, hence why it’s been uploaded now. As part of the course we have to complete a Postgraduate Certificate in Research Practice which teaches you basically how to research, well how to be a good researcher. It is also a chance to get to know your fellow PhD-ers which is such a broad mix of people this year, some with such a fantastic sense of humour. Thursdays usually involve a lot of laughter. Smiles always make the day better.
Two weeks ago I went to Berlin for the conference Negotiating Difference: Contemporary Chinese Art in the Global Context held at the Haus der Kulturen der Welt. It was a very intense few days (one lasting from 9am to 8pm) but I had the priviledge of attending all the dinners. Some people get very preoccupied with the refreshments, particularly if they are free.
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During the conference all I wanted to do was be able to speak Mandarin, speak it correctly and fluently, instead I’m on my 6th lesson and can just about order food let alone have a full conversation. It disheartened me slightly but at the same time made me think everyone has to start somewhere as people kept on telling me. I met some fantastic minds and some key people who I need to interview for my research including Birigt Hopfener, Zheng Bo, Franzicka Koch, Eva Aggeklint, Francesca Dal Lago, Pauline Yao, Thomas Berghuis and Davide Quadrio. Quadrio, founder of BizArt and Arthub, was a key point of reference as he specifically discussed ‘translation as adaptation’ and how ‘misinterpretation can change this’, directing me to a critique, article and interview which further discusses the notions of transcultural translation and the interpretation of terminology in the East. Although I cannot directly reference this article due to its credibility as a website (it’s not ‘concrete’ evidence), it has provided me with further material to investigate and locate.
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This weekend has been somewhat hectic but productive somehow I think, it has flown by. Now that I’ve got to grips with this blog i’m hoping to be more responsive! Tomorrow I’m assisting my PhD supervisor with the two-day conference Public Space, Art and Collective Memory at BIAD’s Margaret Street location. Another opportunity to meet some great minds. I’m responsible for the Powerpoint presentations…we’ll see how that works out. I’m expecting technical glitches, who doesn’t on occasions like these?
…art.
This is the beginning of reflection, the beginning of discussion and the beginning of an archive of my words on my creative world.
These words will daydream and deliberate the start and development of my PhD studies at BIAD alongside the development of my artistic practice and general click-clack of the typewriter keys against a fresh piece of paper.
Are you ready? Tomorrow i’ll begin…enjoy…
