A breakthrough! Finally!

This may all amount to nothing (have to put a little negativity in there before I start, it's just my style!) but this morning I had a 'hallelujah' moment whilst talking to one of my friends. I was venting my frustration over not being able to place a 'meaning' to my work, and telling her of an Artist I'd found on a contemporary Art website called Derek Albeck. Here's one of his drawings/paintings...
I realise now, that your work in order to be recognized, should have a symbol, or more obviously, a meaning. Of course I've always known this... It's just insanely difficult for me to commit a meaning to my work. I get panicked in case I change my mind, or in case there isn't enough to go on... and so on.
But, I thought (only this morning, it's just like me to leave things completely to the last minute!) why not merge both of the avenues I was exploring into one. Using the idea of limits (time limits, and limits as to what I should draw) and also the idea of my work becoming autobiographical... Possibly exploring each year of my life through someone who influenced me during that year.

I have to admit, I'll be extremely hesitant to tell tutors about this, or explain in great detail, only because I really can't take another, 'But what does it mean?' interrogation.

Rise of Women Artists.

There was yet another trip to the Walker art gallery yesterday. This time to see the current exhibition, 'Rise of Women Artists.' The exhibition features works from art history's most celebrated and successful ladies. On show are works starting from as early as the 16th century up to today's more contemporary pieces.

The Artists featured that really stood out for me were Paula Rego and Aubrey Williams. I've always been a quiet fan of Rego's, so to see some of her earlier works in the flesh was quite exciting...
The exhibition was rather poignant, there were stories of tradgedy and courage behind so many of the works of art. I held a feeling of satisfaction and great-fullness after we'd left. From now on I will leave my opinions and stereotypes at the door... When creating art, gender and race should not play any part, we are all entitled to create whatever we see fit.

Beverly Bennett.

I forgot to blog about this lady... I recently saw her work at an exhibition at the Bluecoat in Liverpool. At the time, I didn't appreciate the work at all. It was only after walking away and coming home that it really had an impact on me. This is the sort of work that really baffles me, I can never decide if it's not enough, or just right. Say if I was to take this work to a review, what sort of reaction should I expect?

Well there's really only two options, there's either 'it needs work', or, my personal favourite... 'what does it mean?'

I've got to say, I love it. More than anything, I love the fact this lady probably just thought, 'you know what, I'm going to scrape a few lines into this paper, and while I'm here, stick a few pins in this card and stick it in the wall!' (insert any dialect here.. makes it more amusing!) I'd love it even more if that was the case. It could be about absolutely anything... the fragility of the paper could link with almost any global issue. The fragility of our nation... the fragilty of the global economy.

However, having read up about this exhibition, which is actually called, 'Action', linked with Sonia Boyce's 'Like Love - Parts one & two'; it turns out I am completely wrong... obviously! 'Action' is part of Bennett's MA degree, which was completed six months ago and forms the basis for her pieces; interacting with the medium of drawing using a mix of paper, pins and sharp scoring tools, which she describes as 'a sort of Hansel and Gretel approach'... Not really sure what that means! The fact it is mounted at eye level is to give extra impact; allowing you to come face to face with the pins. Bennett describes it as 'quite scary and violent', 'very alluring and delicate'. Boyce depicts Bennett's work as an avenue to explore concerns about the depictions of performative actions in art - 'Subtle artworks become evidence of her interaction with the medium of drawing, and then the audience becomes witness.'

... Yeah, now she's lost me.