All in art exhibitions
Rejection is not the end of the world, although it may feel like it at the time. Applying for art opportunities is part of the process of being an artist, whether it is for exhibitions, collaborations, residencies, grants or any other project you dream up. Not all applications are successful, which makes the ones you do get accepted for even sweeter.
Whether you are making art or appreciating it in its myriad of forms; immersion in art can be exactly the therapy you need on a grey and dismal day or when life itself feels a little overwhelming. Artists supporting each other gives truth to the saying, when one rises, we all rise together.
What makes a successful art exhibition? Gallerists can provide a special bridge between an artist’s work and its audience, advocating for the artwork on the artist’s behalf. They handle the installation, marketing and selling of the art, leaving the artist free to talk to their audience and enjoy the ‘buzz’ of the exhibition opening.
Do we truely value what we do? If the answer is no, is this about the ‘tall poppy’ syndrome or living ‘under the radar’ as a woman, to not draw attention to yourself? This undervaluing can translate into how you value your own creations and artworks. What do you choose to exhibit or share?
Self publishing is a fantastic way to create a printed catalogue of your art project. The images in a book retain the essence of place, the sounds heard and smells experienced there as well as a document of art created ‘on site’. Books can become ambassadors of your work, able to travel and represent you when you can’t be there yourself.
Can artists save the world? Papermakers are giving it a try! Presenting at the International Association of Hand Papermakers and Paper Artists (IAPMA) congress in Dresden were papermakers from around the world, sharing ideas, goodwill and challenging us to find creative ways to be sustainable.
Art is never created in a vacuum. It is always a product of its time, taking its influences from politics, society and the artist’s experiences of life. Art challenges and disrupts, it expands our thinking as I discovered this week at the Tate Modern in London.
It’s disappointing to reject artworks you know you have laboured over. Painful as it may be, we have to ‘kill our darlings’, the works that we have spent so long with, they no longer feel fresh. Instead, think of these as pilots, leading the way for the better works to follow.
What’s the secret to selling art? Time and time again, I’ve found that my artworks that sell almost make themselves. They jump from the paper with joy and fizz with delight in their frames. Quite often the artworks I labour over for many hours and days are not the ones that sell.
Why do I love paper? I love it as a material to touch, smell, fold, stitch, crinkle, burn and print on. I love to thrust my hands in water and fibre and pull out a sheet of still wet paper. Its an alchemical process that never fails to inspire me.
Whenever I make new art, I ‘talk’ to my materials with my hands; moving papers around, ripping some up, stitching some together, folding and glueing. It's what I've been doing as I get ready for my exhibition, Paper at The Centre, Beaudesert, QLD in January.
What if you could make art that incorporated a formulaic method of response to an idea or materials where the images appeared “as if by magic” and all you have to do is join up the dots. Wall art or ‘art to make you scratch your head’?
How do you price your artwork, especially when you are starting out? Valuing yourself for where you are on your journey means embracing all your perceived ‘failures’ and keeping on going. I know now that the more I exhibit, the more I value what I do and why I do it.
Quite often my best art works are created really quickly. Things “just click” and the work literally makes itself. Other pieces I will labour over but these are not as successful as they have lost that initial “spark”. Knowing when to stop is key.
Each place and landscape has its own story, but it is relative to who is the storyteller. Shetland for me is about knitted jumpers and the BBC series Shetland. As I walked along the streets of Lerwick, rain shimmering on wet concrete, I felt like I was a character in the this story of place and identity.
What is the allure of exhibiting in a public space and what are the exhibiting options? There are numerous considerations when you are applying to exhibit, some involve cost, some money. Both group and solo exhibitions have their own benefits.
How do you promote your art? Tell a story. When the Rijksmuseum in Amsterdam was reopening after 10 years of renovations, a flashmob were hired to stage a recreation of the museum’s famous painting, Rembrandt’s The Night Watch. Connect stories to your art and you will never be lost for what to say or how to explain what you do and why you do it.
How do you make time work for you? This might mean synchronising with your body clock to create extra time so that particular tasks are done when you are most focused and alert. When there is a big job to do, like getting ready for an exhibition, you need to create time in abundance.
Why go on artist residencies? While you need a proposal to submit with your residency application, the work you make might completely go off on a tangent. I’ve learnt the best thing is to stay flexile and adapt to your new surroundings.
Occupy is a powerful word. Ten years ago it was a rallying call for people in over 900 cities worldwide to protest against wealth inequality. Occupy is also the title of my forthcoming joint art exhibition and art workshops in Murwillumbah in August. Both are narratives of human habitation and occupation.
