Sunday, October 16, 2022

Silver Letters - Part 2

My studio scavenger hunt continued and I came across some mirror cards which is years old, I distinctly remember buying them while at university for the university shop. This was back in 2015/6. And backs up my 'keep everything just in case' rule, which I think many artists live by.

The mirror card had clear benefits above and beyond the sharpie on black paper. The main one was that it was shinier. 



I also found that I could interact with the mirror card in different ways, cutting the letters out, etching into the surface of the card, and layering the letters.

On the right-hand side, I mixed the two types of letters up, and it is here that you can start to see how much more shiny the mirror card is in the way it catches the light so clearly.

I am still unsure if this is going anywhere but I have mirrors on the mind now.

Sunday, October 9, 2022

Process

I found over the past couple of years that my processes for writing academically and for art are one of the same. 



Both essentially start with an automatic writing technique. I write without stopping and without worrying about errors. Both practices then go through an editing process, in which audience and convention are considered consciously. 

The academic writing will be spell-checked, and grammar and any other conventions for publication will be added. With my art practice, I might correct spellings, but I might not, but I leave grammar out. However, word and letter placement might become more important, and constrictions of size and how they will be exhibited are considered. 

I am eager to see what happens with both practices as time goes on, I am keen for the two to merge into one - but do not want to rush this process. 

The merge comes as a gain conference in my place in both the artworks and the academic world. I push boundaries and jump over lines. I mix the two and see if anyone notices.


These finders were first presented at the NUA Terminals Conference in August 2022

Sunday, October 2, 2022

Silver Letters - Part 1

I most often work in black and white. I work with a pencil on paper. Until now I worked on white paper and so I hadn't fully appreciated the silvery glint of graphite on black paper, in the last of the summer light making it shine bright silver. 


This let me turn my studio upside down to find silver things, much like a magpie. If it was shiny, I wanted it. I found a silver sharpie, I can't say I remember where it came from initially, but it was much better than the simple graphite pencil.


I continued to work on the black paper and saturated it in silver ink. I enjoyed the subtle black edging that the paper provided. I am not sure where I am going with this, but I am enjoying the light relief of play.


Sunday, September 25, 2022

Two outcomes: Art and Academia

I would like to share with you an example of two outcomes, one for an art audience and the other for an academic audience. Both collections are titled artist-teacher-research-student and use parts of the same words.





The images on the top are produced for an art context, while the image on the bottom shows extended versions of the text, published in a Further Education Magazine, JoyFE. While this is an extended version, even longer versions exist, which will likely be placed within my PhD thesis.

By a way of example, I will share with you the extended first chapter of ‘I am an artist’

 

Earliest memories, aged three, at the University of Essex day care centre, a nursery that my Nan worked in - the only reason I was here, rather than at the village nursery held in the village hall, a place I had refused to return to after having a plastic red teacup with large yellow flowers thrown at me. 

An early start and drive by car, arriving with the workers early, rather than with the other children half an hour later.

An opportunity which meant I got to unlock the door, press the combination of numbers, turn the lock. 

A large building with long corridors, bright lights and a distinct smell of artificially scented orange disinfectant. 

Sitting at an easel painting a picture with Mary – who it later transpired was in fact called Laura, positioned as close to the nursery room door as possible for a quick getaway - I did not enjoy education at this young age. 

Three boys, Matthew, Jacob, Niesen, on a large blue bean bag sat across from us, as we squeezed on one chair and wondered who would get to take home our collaborative masterpiece home at the end of the day. 

Four pots of thick ready mixed paint that smelt of chalk and chemicals, large clunkily wooden paint brushes – one for each plastic pot with safety lid, no water. 

Pastel coloured A3 sheets of sugar paper waiting for a brush stroke. Names neatly written in the left corner with a black marker pen. The work was taken and hung from the ceiling to dry.


This piece of autoethnographic writing continues for another 1,400 words. Not all pieces are this long, but ‘I am an artist’ is something I keep returning to, as I use memory work to recall the events of my past and moments in which I felt like an artist. 

Thus far this chronicles, foot painting, red oil paint on a new pink skirt, playing with limestone, decorating black bin bags, cyanotypes in a stock room, decorating biscuits, drawing a dragon, pouring plaster into silicone moulds, and building a life-size model of a rowing boat, to name a few. 

All these instances happened before I had even left primary school, so you can start to see why this particular piece of automatic writing keeps growing in length. 


These finders were first presented at the NUA Terminals Conference in August 2022


Sunday, September 18, 2022

A look back as Artist-Teacher-Researcher-Student at Community 360 August 2022

This exhbition took place at the same time as the Level Best exhibition (August 2022), each exhibition housed some of the body of work from the Artist-Teacher-Researcher-Student collection. 

The work explores themes of a multifaceted identity. Within these texts, I am working out who I am as an artist-teacher but also as a researcher and postgraduate student. The works employ the use of purple, reflecting the thoughts of Alan Thornton (2013), an artist-teacher who ten years ago asserted in a colour mixing metaphor that artists are red, teachers are blue, and thus artist-teachers and purple.  


The work intends to make visible inner thoughts, feelings, and experiences. With the hope that others will resonate with them. The topic is focused on my grappling with a multifaceted identity. I hope it has a wonder reach and prompts others to consider their many identities too, artist-teacher-researcher-student, or otherwise. 





You can find out more about my PhD research here: https://www.nua.ac.uk/study-at-nua/research/research-degrees/students/abbie-cairns   

Sunday, September 11, 2022

Jelly Print - Part Three

I felt that I should not let the small square dictate my art practice, and in a jigsaw kind of way am working on bringing longer text to my jelly print collection. 

I knew that if I really wanted to bring text from my research into the medium - which I have been doing over the past two years of my Ph.D. I needed space for more words.



I found working like this to be many things and offer many options. Firstly it was time-consuming. I could not use old art, and studio scrapes, I needed to create bespoke templates of the research text on paper cut to size to fit the jelly print plate.

This required thinking about how large the final outcome would be, here you can see I have decided to go create the final outcome as two wide, as this fitted neatly onto an A3 sheet.

The next thing it offered was two different kinds of print; positive and negative. The first print came from placing the stencil on the plate, then placing the A3 sheet on top and pressing down to transfer the ink. The second print came from then removing the stencil and placing the A3 sheet on and pressing down.

Visually the two outcomes are very different and I found could be mixed and matched - allowing me to create two outcomes at the same time - saving me from wasting ink and stencils. 


The placement was difficult, made harder by the A3 paper - it was much easier when I was working with smaller squares the same size as the plate.

Overall, this is time-consuming and I may or may not come back to it. But it is good to know that I can use the jelly plate to create later outcomes.

Sunday, September 4, 2022

A look back as Artist-Teacher-Researcher-Student at Level Best August 2022

Visual documentation of an art installation. This exhibition was held at Level Best in Colchester for the duration of August 2022. 

The body of work Artist-Teacher-Researcher-Student was created during the first year of my Ph.D. at Norwich University of the Arts and takes text from reflective writing on my identity as I studied it. Within this collection of work, I reposition the reflections as text art, bringing my many identities together as I do so.  


The text is selective, and phrases were selected from longer reflections, based on which felt most pertinent to the research.   






You can find out more about my PhD research here: https://www.nua.ac.uk/study-at-nua/research/research-degrees/students/abbie-cairns