Becoming Part of Something

A new beginning

2011-11-21T10:09:00.004Z

It seems apt to restart the blog right now. One million things have happened over the days since I have left posted.

In a tumultuous 48 hours, the studios where I and Core Gallery were housed were lost after negotiations with our Trustees and landlords broke down.
It was time to stop being bullied for us all but at the same time it was terribly traumatic. Since that point over the churning days that followed I also came to realise I wanted independance from the studio group Cor Blimey Arts but at the same time that also meant I shall lose my Core Gallery. Although I founded it and it was my brain child, my blood, my heart and it should have been my priviliege to take with me to pastures new, but, it was not my legal right.
' All anxiety stems from the fear that we'll lose what we have or the future wont be what we want. It seems rational to quell the fear by
winning those battles. But perhaps an equally effective, even preferable solution might be to lose them, decisively and
irreversibly- eliminating the sense of fearful struggle by eliminating the struggle altogether. '' Oliver Burkeman
It was hard to do that, harder than you can imagine. And this is going to be quite a shock for some people. But its time to move forward and tell people this.
Because all is not lost. Not at all. Because now I have the independance, skills and experience to do what I wish and the last year working with Annabel Tilley on DIY Educate I have found a new partnership with her. Annabel is passionate, astute, committed and clever. She makes me laugh and she is great at funding applications. Its a fantastic partnership. So we are going to start anew together in a new space and it actually feels rather fabulous.
DIY Educate continues with us. Genorousity and integrity and the will and desire to nurture artists continues with us.
Its been a incredible 2 years and I have learnt an incredible amount. I had the priviliege to work with amazing artists and curators. Some of which will be part of my future.
With special thanks to Annabel Tilley, Elizabeth Murton, Chantelle Purcell, Jack Hutchinson, Kate Murdoch, Charlotte Norwood, Lisa Snook, Jane Boyer, Becky Hunter, Michaela Nettell and as ever my mentor and Graham Crowley. Here is a potted version of all that I achieved with Core Gallery ( if anyone wants to give me a job- this is what I can do and this time I want to be paid for it! )
Founder , Gallery and Education Manager, Curator: Core Gallery 2009-11
Core Gallery founded by myself and Elizabeth Murton through a determination and initiative to create a dynamic exploratory exhibition and education programme; providing exposure, advise, education and nurturing artists whether emerging or established and to enhance the Cor Blimey Arts studio group profile and assist CBA in making their studios a more vital and desired place to be in a competitive studio market.

I managed a small team working remotely across the world and worked with over 200 artists and Curators: programming curating, co-ordinating, managing, marketing and promoting 17 exhibitions, 30 talks attracting more then 6,000 visitors over 2 years and a 95% increase in the mailing list. An attraction of national press- we were even mentioned in the same breath as Frieze Art Fair.
Over 2 years we secured Funding to carry out workshops and education programmes from a variety of revenue streams local authorities , national charities, corporate sponsorship, crowd funding to run educational projects and bring resources to Core Gallery and Cor Blimey Arts.
and much much more. All assisted by the fabulous group of people named above and many more.
I made partnerships with Artquest, Goldsmith’s, an , AIR, University of the Arts, South London Art Map, LEAN, Matt Roberts Arts , Reprezent Radio, Q-Arts, Jotta, Jerwood Space, Transition Gallery, Standpoint Gallery, CoExist, local schools and community groups in Deptford.
I go forth with these allies and finish with a talk about setting up your own projects and how to achieve the above.
Come along, it would be nice to see you.
http://www.coregallery.co.uk/diy-exhibitions/
http://www.coregallery.co.uk/

I am also luckily talking about Curating etc for an AIR event at Surface Gallery. http://www.a-n.co.uk/air/topic/469394
And if you have any suggestions for a name or a building I can use then let me know....

and its goodbye from me.....

2011-05-23T16:49:00.002Z

It was our first birthday in April at Core which aptly was exhibiting Extra-Ordinary which I curated with Jane Boyer: Tom Butler, Alyson Helyer and Marion Michell are utterly wonderful.

‘ Never was a title more apt - you really have created something that lives up to its title. It was a pleasure to look at. Stimulating but also, quite overwhelming

when you really consider the content, the work itself, which is so excellent’

DIY Educate has been getting overwhelmingly positive feedback with people visiting us from as far as Southend and Birmingham and people driving from Somerset and Devon to have tutorials with Graham Crowley…!

heres some nuggets of joy – or feedback as others like to call it… the stuff that keeps me going.!

‘Thanks very much for the helpful and motivational talk last night’

‘ A fantastic and informative evening’

‘ I am absolutely amazed at how effective your session was at making me take action.’

‘ Thanks for organising Engine ChatChat. It's great to see what other artists are up to and comforting to know that you're not alone in facing obstacles as to why and how your work won't quite move forwards at times.
And as ever, the nurturing environment pervading Core Gallery always leaves me feeling glad to be associated with such a positive and encouraging place and group of people.

‘Just wanted to let you know how helpful it was to attend the ChatChat . When one is in art school one has a special status and so much input and a real sense of being part of the world of art. Later, after struggling alone to be an artist one can then feel on the outside.

What you all are doing at Core Gallery is admirable as it gives those people who are trying so diligently to continue as artists a chance to feel connected with other artists in the same pursuit, to hear how art practice is discussed at the moment and to begin to feel part of an art community. I can see that it is important in the current financial climate to create the opportunities ourselves.’

For those of you that read this blog you are also part of something and it is really something quite special. Unsurpassed. Goodbye for now, I am starting a new blog , but sure to return and thank you for reading.

Below is a blogger interview about what I am up to for now in my practise as well ...

http://www.a-n.co.uk/artists_talking/article/12165...

www.rosalinddavis.co.uk

www.coregallery.co.uk

Share Campaign | MailChimp

2011-04-21T16:00:00.000Z

Share Campaign | MailChimp
April Exhibition: Extra-Ordinary, new interviews with a-n and articles for Artlicks. - http://eepurl.com/duMaP

DIY Educate launch!

2011-03-04T08:43:00.005Z

The weeks are moving at such a fast pace and so much is squeezed in that my blog is becoming long essays into my life. However , This is a good news blog!

Core gallery got some funding from Fenton Arts Trust with lots of thanks to the glorious Annabel Tilley for helping get that . I was so excited at this prospect of actually being able to pay artists for DIY Educate I nearly blacked out when I got the letter.

It also means we can offer more on our DIY Educate programme. In addition we are also now able to offer students and recent graduates a half price discount on our membership. This means we can give more accessibility and for recent graduates the first year after graduation is when they are most vulnerable.

DIY actually launched over the weekend. It was a fab start

Some feedback from one participant....

Just to say thank you so much for putting on engine chat chat on Saturday. It was great to meet everyone and to get some feedback on my work, I found it really useful and motivating as well as very stimulating, and really enjoyed the artists talk afterwards in the gallery also.... brilliant brilliant brilliant!

Our first nuts and bolts was packed to the rafters, 34 people (four travelled from Maidstone ). It was a fantastic talk , everyone who came seemed so attentive and interested. Nick Kaplony and Jack Hutchinson joined me and they were amazing, it was a really relaxed and friendly environment full of anecdotes. One of the most important parts was a discussion about rejection. I recounted a residency I applied for that I was not eligible for ( it was in very very very small print ) . I spent a long time working on the form, deciding what I was going to do with my practice. When I got the email to say I wasn’t eligible, I didn’t get cross, I thought, it does not matter, I will do everything I set out in my project. I will move my practice on and I have. I fulfilled my own residency. So failure and rejection can be turned around.

After the talk I spoke to people that came, they seemed so relived about being told the truth. Some told me that they had never been told this at art school – art school was just about making, however now that they had graduated they felt so lost because even if they had made fantastic work they were drowning in the complexities of real life in the art world. It made them feel inadequate and failures, which I very much doubt they were. This is a disservice for Art Schools to do that, they have to start addressing professional practice. It is very unfair, particularly if so many higher education institutes are putting up fees because they ‘ offer so much value’

Skin Job: Another fantastic exhibition curated by Andrew Bryant at Core Gallery

Artists: James Prevett, Niklas Tafra, Chad Burt, Daniel Lichtman, Ciarán Ó Dochartaigh, Adrianna Palazzolo and Miguel Pacheco

The PV was jam packed – the South London Last Friday Art Map launched, that partnered perhaps in our mini break over xmas meant lots of excitement in the air.

The curator/ artist talk on Saturday was informative and fascinating and allowed us tp spend more time interpreting the artwork. It is a rare pleasure to be told by an artist their processes. My role in this is to ask serious non art questions, such as ‘ so what did the Ukulele repairman think when you brought in a Ukulele you had smashed to pieces in a field in Holland…’ y’see accessible…..

www.coregallery.co.uk

Skin Job....

2011-02-14T15:13:00.005Z

The last couple of weeks have been diverse! Amongst the things that have happened: Matt Roberts I had the great honour of curating the Salon Photo prize which was very generous of Matt to allow me such responsibility ( and daunting!) I am learning new skills which I just love! Matt and he is a very good boss! Read more here/ see the cataologue here: http://www.salonartprize.com/ I also managed the online catalogue ( new skills part II- hello Indesign) the PV which was incredibly busy, 1000 odd people in one night ( I felt a bit seasick as wave upon wave of people came in ) as part of First Thursdays in East London.

DIY Educate launches this week, I am nervous and excited about it- feedback has been great, we have a really strong programme I feel and we now have about 20 chair sponsors which is incredible so seats for people- bonus! DIY educate feeds into my role at AIR, a desire to improve artist's situation, to make up for the lack of professional practice compulsory components within art course, so essential, yet often neglected.

Xhibit Selection for the UAL. Being a judge for the open submission for the all UAL students, very interesting day of considering artworks for a show in March

My Work: Had an installation at Battersea Power Station for the last 3 days, incredible space. The Lost Lovers Ball was a festival created by the Secret Garden Party team ( all of whom are incredibly ambitious in their vision) . My installation, an interactive map of lost love, developed from a previous installation at Shunt a couple of years ago. One could call it socially engaged as the people make it what it is- from a barren map to a forest of stories and narratives. It was incredibly popular with hundreds of people adding to the forest, taking photos, pouring over other lost loves. I was there on hand as Lady Valentine and it was a majestic experience! Tonight, appropriately I guess for Valentines, I shall be reading all the stories to compile.... http://www.coregallery.co.uk/ http://www.rosalinddavis.co.uk/

Degrees Unedited Article: Published on Jotta !

2011-02-08T18:31:00.001Z

Degrees Unedited Article: Surviving and navigating the Wilderness of the Artworld.Published on
Jotta

Core Gallery Interview with Chantelle Purcell

2011-02-01T09:15:00.002Z

Monday, 31 January 2011
Interview with Rosalind Davis
http://www.flickr.com/photos/54820085@N02/page3/

I am delighted to interview Rosalind Davis a practicing artist, writer, lecturer, elective member of AIR Artists Advisory Group, and co-director of Core Gallery.

Core Gallery launched in April 2010 with the experimental curatorial exhibition 'Exquisite Corpse' since then it has continued to thrive into a dynamic and innovative space for contemporary arts and has worked with around 100 emerging and established, international and UK artists and curators.

In this interview we look to the past and survey Core Gallery’s 2010 highlights, we find out the commitment and work that goes into sustaining a gallery. I get a peek into this year’s exciting programme and discuss the cultural relevance of artist run spaces.

8,000 Souls Part II, Oil and embroidery on cotton, 60 x 40 cm, 2009 © Rosalind Davis

Rosalind Davis is a graduate from the RCA (2005) and Chelsea College of Art (2003) She has exhibited her work nationally and internationally.

Davis also has a blog on Artist’s talking on visual arts directory a-n (www.a-n.co.uk) which has received much acclaim, winning one of 2009’s blog of the year. It was also selected by Matt Roberts (Matt Roberts Arts) as a choice blog of the month in July 2009.

February 2011>>

CP: Can you tell us about Core Gallery’s ethos and how this is unique within Deptford’s art community?

RD: Core Gallery invites curators into the space to explore their practices, they are free to develop ideas and bring in artists that they feel will fit; they work without limitations as much as possible. We in return do our utmost to promote and facilitate their shows, connecting them with other artists, spaces and opportunities wherever possible.

The Deptford Arts community is a very exciting one and each space has its uniqueness and our colleagues here have been very warm and inviting, if it had not been for such a rich artistic landscape here then it is unlikely we would have set up the gallery – we felt we would like to contribute somehow and in turn create something exciting in an underused space which would also feed into our studio artist’s practice and nurture networks.

Here are two very good quotes from 2 curators we worked with at Core in 2010 which does better than I in expressing what Core is about:

“One of the few truly eclectic contemporary art spaces in London, Core Gallery's first year of exhibitions and events has been diverse, thought provoking and substantial.

As a writer/curator Core Gallery has provided me with the space, the support and the network to develop my ideas, try out new things and showcase new and emerging artists. Core Gallery is proving to be a vital addition to the South East London art community.”

Andrew Bryant

“Working with Core Gallery is an energising and inspiring experience for me as a curator. It embodies many of the most positive aspects of artist led spaces, acting as a platform for risk taking, experimentation and diversity of practice with real commitment to and engagement with the development of the local arts ecology”

Nick Kaplony

Artist Talk: The Eighteenth Emergency, 2010 © Core Gallery

CP: William Morris declared in his 1884 lecture ‘Art & Socialism’ that: “Association instead of competition, social order instead of individualist anarchy” were the ways to free creativity and return it to the working man. How pertinent would you say that this statement is today? What associations have arisen from the conception of Core Gallery?

RD: I believe through sharing knowledge and working together we can only strengthen artists roles and improve our situations. Association is better than competition, that way you can build a community from which you can nurture and sustain yourself, your career and others.

At Core we have also set something of a new precedent in terms of our associate members, who are not actually in the studio space itself but contribute significantly to the space such as Jane Boyer and yourself and the artists who contribute to the space or education programme.

I spent 5 years pursuing my own career (and still do) after leaving RCA and it was time to expand myself through the expansion of my own practice through the gallery and it is something I find very fulfilling and rewards me tenfold. Running the gallery and the hard work we do inspires generosity from others in a mutually beneficial way.

CP: The programme last year promoted an experimental approach to exhibition-making and placed a strong focus on curatorial concepts. How do you plan to maintain that this year?

RD: This year our exhibition programme is going to continue to be experimental, focusing a little closer to home with myself, Elizabeth Murton and Jane Boyer all curating exhibitions rather than just having guest curators.

Two shows I shall be curating this year: one with Jane Boyer of our DX winners ‘Extra-Ordinary’ in April and an exhibition called ‘Home’ with Annabel Tilley in October. With home, we are exploring this theme in the widest sense of the word- a place of fragility, transition and identity from a cross generation of artists. Artists so far for this project include Graham Crowley, Delaine Le Bas, Rich White, Freddie Robins, Peter Davis, Rose Wylie, Lucy Austin, Emily Speed myself and Annabel Tilley.

64 almost-identical drawings of Josef Fritzl blindfolded © 2009 Annabel Tilley

I am finding the process of curating a very interesting, analytical, critical and exploratory role. I am testing new muscles and learning an awful lot. Also working in partnership is something I very much enjoy, the debate, the conversations which lead you to interesting new paths. It is a delight.

We are also delighted to invite back Nicholas Kaplony and Andrew Bryant and we are very excited to be working with Coexist, a dynamic artist led space in Southend in a collaborative project with our studio members that will tour from Coexist to Core at the end of 2011.

CP: In Jane Boyer’s interview I asked; “What do you think the key is to creating a sustainable artist-run space?” Jane answered, “co-operation… honesty, integrity, trust, sharing, responsibility, communication.” What other strategies are also key to a gallery’s survival and what will you be implementing this year?

RD: I concur with Jane, she has pretty much nailed it: Strong shows, an awareness of the need to be accessible, to be good at promotion and marketing.

Last year we had 11 shows, 3x open studios, 1 community workshop, loads of art talks and it was rather overwhelming and not exactly sustainable (somehow we managed it) so this year we are having less shows and already have our 2011 programme sorted and so it is more manageable for me – so I would say also that balance is also key.

I would conclude in saying that generosity is part of the backbone of what we are doing here, to artists and curators who work with the space and they are equally generous and supportive of us so I think that is part of the success of artist led spaces. I think artists like the freedom of not working with a commercial gallery- it’s a very nurturing way of working, you don’t just feel like a commodity and that is essential and empowering for artists to feel their integrity is being respected and uncompromised.

CP: In an AIR interview with Jack Hutchinson you stated that: “In art education there should be compulsory professional practice for artists, which is essential if new graduates wish to survive in the art world and even get a sense of their newly qualified direction. It is a wilderness out there and you need to do your research.” How important are internships for new graduates? Can you describe the internship programme you have established and how it has added to the dynamics of the gallery?

RD: I think the internship programme is very important. I value my interns highly and seek to harness their strengths and push them to learn and follow projects that they are passionate about. I have three interns at the moment- Jo who has been with us for about 6 months and helps deal with audience development, Jasvinder who has been sorting and jazzing up our website and creating some fantastic graphics for printed materials.

Charlie Norwood is also joining the gallery team (previously at Goldsmiths) and is going to be undertaking some art writing for the space- critiquing shows or possibly writing essays to accompany the exhibitions which will be a wonderful addition.

Without them, our studio artists and our associate members, core gallery would not exist. They in turn are great supporters of the space. I am very pleased to say that one of our interns has gone onto do a curatorial internship at the Tate.

I think part of the role of the gallery is about good practice and we pass this onto our interns. Core, at every level, gives people room to manage their own projects – such as these wonderful Core Gallery interviews which again increases our profile, is a fantastic educational tool and also contributes to your own career.

The Eighteenth Emergency: Exhibition shot, 2010 © Core Gallery

CP: Core Gallery’s is re-launching this year with a show in February curated by Andrew Bryant? What can we expect from this show?

RD: This is the second time Core shall be working with Andrew Bryant: his first show the Eighteenth Emergency was a very intelligent experimental show which I really enjoyed and learned from and I know we can expect something similar this year.

I cannot divulge too much more than that about the exhibition at this stage except that the show is going to be exploring the use of technology and within art.

The artists are: Jim Prevett, Niklas Taffra, Chad Burt, Daniel Lichtman, Ciarán Ó Dochartaigh and Adrianna Palazzolo all of whom studied or are studying at Goldsmiths. The work I have heard about so far has sounded compelling, amusing, strong in concept and execution.

The Eighteenth Emergency: Exhibition shot, 2010 © Core Gallery

CP: A question that is frequently recurrent and is the title of a recent symposium held at Whitechapel is: Art: what is the use? Speaking on behalf of an active artist and gallery director, in your opinion what is art’s use? Any why more than ever is this question crucial?

RD: Artists are incredible. What the general public don’t understand about artists is that they are talented, not just at the art bit. Practising artists know that this is not the only thing we have to do: out of necessity one has to do your own marketing, research and development, manage people, projects, understand law and legal frameworks, create business plans, business development, marketing strategies, organize and manage finance, pr, network endlessly, be adept at negotiation and writing funding applications, leading and managing people, audience development, collector development, education, teaching, professional practice, social engagement and politics. Surviving rejection, funding cuts, knockbacks to name but a few things.....

Out of the desire to survive and sustain and to nurture we learn countless skills: we are analytical, thoughtful, empathetic, compassionate, passionate, philosophical and aware of countless issues.

We draw on a range of skills, experiences, cultures. We are endlessly creative. We are endlessly self educating, self critical, self directive. We challenge ourselves endlessly, we adapt and we try over and over. That takes courage, it all does.
The creative sector works damn hard at being everything we need to be to survive and you know what, we are pretty talented at all this plus the actual making. We need to be recognised and valued further for our contributions to this world. Don’t forget artists are needed, and should be appreciated.

Alyson Helyer, Marion Michell, Tom Butler

CP: Can you tell us about the much anticipated show that is with 2010’s Deptford X Open competition winners; Alyson Helyer, Marion Michell and Tom Butler?

RD: The exhibition is called Extra-Ordinary and will be at the end of April. Jane Boyer and I shall be curating this exhibition and the three artist’s works are going to create a very intelligent show exploring the transformation, subversion and distortion of the normal and everyday into something Extra Ordinary.

The title of the show also reflects the fact that these artists were selected ultimately from over 250 artists and have great promise.

At the moment we are pulling together the curatorial themes and the next thing shall be to visit the artists studios and select works for the show / discuss new possibilities.

Tom who lives and works in America at present is coming to London to be here during the exhibition which is a great bonus too.

Deptford X Open Competition, 2010 © Core Gallery

CP: You have a blog (Becoming Part of Something). That followed the emergence and development of Core Gallery. Can you tell us how this has been useful to profiling the gallery and gaining a larger audience?

RD: Extremely useful! A blog opens up opportunities for dialogue with artists, curators and many others. The blog is quite unique in the sense that there aren’t many blogs about running a gallery space. It is often about ones own practice so it gives an interesting insight into the amount of work a gallery can do and demonstrates the integrity of our space which then also brings in supporters amongst the artistic and wider community who are now contributing to the space in one way or another. I had not quite expected such a thing, such generosity!

I am as well as others very grateful about the artists talking platform on a-n, it is such a fantastic platform for critical engagement.

One of the most important developments through the blog was the involvement of Jane Boyer as an associate member of Core who has been incredible in the helping of the running of the gallery since Autumn last year.

To expand as well: the support we get from other artists due to the blog is down to the honesty of it I think. The practical challenges. I have a genuine passion for artists and I am constantly fascinated by their practices- I celebrate those things through my blog. At times as well I demonstrate my sheer exhaustion! I think it’s important to be realistic about the challenges artists face and the difficulties of juggling my own practice and my many different roles as artist, teacher, writer, gallery manager, project coordinator and now AIR advisory member.

I also had a letter published in a-n about the workings of an open submission as it is fairly controversial issue amongst artists- (where does the money go to, how is this justified etc) explaining how much work open submissions can take. We have a huge responsibility to the artists we work with to get things right and to change the way artists are treated for the better.

We shall actually be discussing the usefulness of blogs at a future Nuts and Bolts Workshop as part of DIY Educate partnered with a-n.

CP: You were recently elected to the AIR Artists Advisory Group, how do you plan on fulfilling this role and representing and campaigning for artist’s causes?

RD: It was an incredible accolade to be nominated to AIR, to be part of a group that shall contribute an insightful, balanced, representative view on current issues faced by the creative sector, to engage others in a proactive manner with the aim of helping and tackling challenges to achieve the goals faced within the creative sector.

I think that we need to collectively create change in current Government policies, public opinion, employment, galleries etc. Education as well is a hugely important issue for me. Part of my election agenda was as follows and so I hope in the 4 years that I shall be on the AIR council that I shall have been able to contribute towards these goals I have set myself.

Air Event, 2010 © Core Gallery

* Helping artists directly by providing them with tools which can enable them to navigate and maximise their impact on the art world while avoiding the pitfalls.

* Facilitating the development of its members by growing the artist community and representation of artists within cultural institutions.

* Creating a structured educational programme of artists’ talks to educate others from our own experiences and giving beneficial advice to advance artist’s careers.

* Promoting the interests of AIR members by effectively building key relationships and ensuring the interests and views of artists are understood and acted upon.

* Developing the arts by building networks of artists and institutions either directly or indirectly facilitating creative partnerships and arts events.

* Increase our visibility and emphasising our strengths as a culturally important sector to the public so that we can gain more support for our issues.

* Helping to Empower Artists as a group not only within the commercial world of galleries but also the wider cultural strata, to be considered as important as any other social commentator working for example alongside government.

CP: Core Gallery has already received a considerable amount of support from its Cor Blimey studio members, associate members, invited artists and curators, but how can people become more involved in supporting the gallery?

RD: We are looking for patrons, sponsors, supporters on every level! We definitely need more financial support as we have no funding to run the gallery and there is an opportunity for people to contribute with a donation, or to purchase a core gallery chair which is giving an important resource to the space and is a very manageable £10.

In addition we are very open to people being involved in the space whether it be; helping mount or take down a show, invigilating, flyering etc! A little help can go a long way! Just get in touch, see our support pages or buy a chair!

We are also happy to have the joining of a new associate gallery member Becky Hunter, an artist, art critic and writer who is going to be looking after our press side of things. Basically the door is always open and people can contribute by just coming and enjoying the shows and passing our info onto others.

All our DIY educators are supporting the space which enables us to provide something even more to our audience and community.

CP: As well maintaining a full exhibition programme Core Gallery facilitates and runs an education programme: DIY Educate. Can you outline what this entails?

RD: DIY Educate is a contemporary education programme run by artists, curators and other art professionals to encourage artistic development for those seeking to further their career in art.

From peer-led and one to one critiques, professional practice workshops as well as a number of artist’s and curator lectures, DIY Educate provides opportunities to learn, network, share ideas and knowledge, providing impetus for artists to develop their practice. DIY Educate also gives practical guides and resources to help artists survive in an unstable and competitive climate, making the most of their skills. How to get work, how to get paid, how to maintain your career- artists have to do it all for themselves constantly and it is a lot to navigate. It is also the real stuff about surviving, the nitty gritty, that we can all feel disappointed and rejected at times but having worked with many artists and students and the last year at Core we saw there was a real need for artists at all levels (and not just when you first graduate) people can get isolated in their practice, be unaware of how best to push themselves whether creatively or even publicly. Another thing is that the London Art scene is huge, we are creating a nurturing pocket for those who may have just moved to London, giving them an opportunity to tap into a rather huge network.

Artist Talk: Psychometry exhibition © Core Gallery

CP: In your recent blog you give a rundown of the highs and lows of 2010. Can you describe briefly the highlights and the challenges you have faced. Also what can we look forward to in 2011’s exhibition programme?

RD: I think everything to do with the gallery has been a challenge but a rewarding one. I have been stretched– particularly intellectually. The skills I have gained, the amazing artists and curators I have met, that is beyond measure.

Having never run a gallery before I am proud of all that we collectively achieved and this year we have more support structures in place and even more support than we started out, so I feel very positive about 2011.

The challenges I think will often be the same challenges: trying to find a balance, trying to do everything I can in the time I have, finances…… but we will just get better at this more.

CP: If you could write a Core Gallery manifesto for 2011, on behalf of the arts collective, what would it entail?

RD: Really simple things which is not exactly a manifesto but is how I hope that we can all be:

* Be generous
* Maintain your integrity
* Be respectful and generous to others
* Nurture art and artists
* Pull your weight
* Explore ideas
* Do not limit yourself or others- be open, seek to understand, to educate yourselves and others.
* Professionalism
* Say thank you (and please)
* Remember that people are not perfect so try not to throw stones.

CP: Is there any news or projects that we haven’t discussed that you would like to divulge?

RD: I have just started working with Matt Roberts as his exhibition manager which is very exciting. I shall be assisting specifically with the Salon photo prize, the Salon video Prize and Julie Cockburns solo show at Matt Roberts as well as working on the catalogues. Matt is an example of someone who is extremely professional, friendly and extremely generous and a very intelligent curator. He has been a great mentor to me and Core Gallery and I am really thrilled about learning more from him and being involved in another fantastic space.

I have also been asked to be on the judging panel for the University of the Arts, Xhibit 2011, which is UAL’s most prestigious annual student exhibition, now in its 14th year. The central aim of Xhibit is to showcase high quality student work from across the numerous colleges of the university, ranging from painting and photography to film, fashion, sculpture, and beyond. The exhibition is expected to reflect the diversity of talent within the university. It is an unexpected honour to be asked.

CP: Thankyou very much Rosalind

Degrees Unedited Article: Becoming Part of Something

2011-01-28T13:12:00.003Z

Being part of something

Rosalind Davis

Original article published in Degrees Unedited, a-n, June 2010

Graduation comes so fast that many students rarely plan for what happens on day one of becoming a ‘professional’ artist. The loss of the supporting educational environment and immediate peer network can lead to feelings of isolation. Making the transition from being a student to establishing a professional career, building a reputation and garnering interest in your work can be a daunting experience,

I started writing a blog on a-n in 2009. It was self reflective and analytical of my own practice. The process of talking about how I work and who I work with, made me aware that over a period of time I had become part of an ‘art community’. Being part of something is, I believe, crucial to self development as an artist and is utterly rewarding.

Some advice for the new graduate

Be realistic:

As an ‘emerging artist’ it is important to be ambitious, you wont get anywhere without drive and determination, but be realistic too. Not many people have sell out shows overnight.

Be methodical and understand the Art world. Find out which galleries you want to be part of and that are likely to appreciate your work. Start with smaller galleries/ project spaces and invite them to your exhibitions and build up from there.

An exhibition I had at The Residence Gallery only happened because I knew that the Curator was looking for emerging artists and that she appreciated my medium. I approached her and was offered a solo show soon after graduating.

Build your profile

Create a mailing list from visitors books at your exhibitions and then send out invitations to your subsequent exhibitions. Curators and buyers alike want to know you are active, progressing, dedicated and professional. You’re unlikely to get interest in your work if you don’t tell people about it.

Art Dealer and Gallerist Julian Hartnoll bought several pieces of my work a year ago. I continued to speak to Julian, sending exhibition invites and updates. Julian offered me a solo show in Piccadilly a year later

Create your own opportunities if needs be by putting on your own exhibitions, using empty shops as a base or even at the beginning hiring space and then promoting it to galleries

Be professional

If you are offered an exhibition, galleries and curators will notice your professionalism, or lack of it. Remember the shows success is not wholly down to them. Being professional and enthusiastic is much more likely to advance your career and networks than being arrogant and disorganised.

Nurture Relationships

Keep in touch with tutors, identify new mentors in your field of interest and create a critical peer network. Nurture these relationships and it will reward you intellectually, creatively and inevitably create opportunities.

Write a Blog

I was surprised how interactive a blog was; opening up opportunities for dialogue with artists, curators and many others. A blog enables you to be self reflective about your work, give others an insight into your practise and can be used as an effective marketing tool.

Join a studio

It took four years after graduation for me to get a studio and I realise now it is a relatively small expense that is invaluable in creating a peer network. As a result of many exchanges of studio members ideas with we have set up an artist led exhibition space; Core Gallery (www.coregallery.co.uk)

Build your confidence

You need to be articulate and engaging when promoting your work. This can take a bit of practice. Take part in networking events. Make sure you get feedback into your work where you can and understand what others read from your work. You can also join organisations such as www.mattroberts.org.uk and go to professional development lectures etc.

So to conclude; persist, be professional and remember that lots of other artists want to be part of a network too. Join them and be part of something.

Rosalind Davis is a painter, freelance writer and lecturer. She lives and works in London.

www.rosalinddavis.co.uk

www.a-n.co.uk/artists_talking/projects/single/579530

Artists are incredible !

2011-01-28T13:08:00.003Z

After an inspiring first meeting with the AIR council, a very rich and resourceful, intelligent group I got to thinking about the 21st century artist. Who we are, what we do and why is it important....these are my sketchy first draft thoughts....more to come

Artists are incredible. What the general public don’t understand about artists is that they are talented, not just at the art bit,. practising artists know that this is not the only thing we have to do: out of necessity one has to do your own marketing, research and development, manage people, projects, understand law and legal frameworks,, create business plans, business development, marketing strategies, organise and manage finance, pr, network endlessly, be adept at negotiation and writing funding applications, leading and managing people, ,audience development, collector development, education, teaching, professional practice, social engagement and politics. Surviving rejection, funding cuts, knockbacks to name but a few things.....

Out of the desitre to survive and sustain and to nurture we learn countless skills: we are analytical , thoughtful, empathetic, compassionate, passionate, philosophical, aware of countless issues.

We draw on a range of skills, experiences, cultures. We are endlessly creative. We are endlessly self educating. self critical, self directive We challenge ourselves endlessly, we adapt, we try over and over. That takes courage, it all does,

The creative sector works damn hard at being everything we need to be to survive and you know what, we are pretty talented at all this plus the actual making. We need to be recognised and valued further for our contributions to this world. Dont forget artists are needed, and should be appreciated.

for those artists who are more high profile or established artists' give something back to those who are still climibing the mountain: those of us Campaigning, fighting to make better futures for artists in every way. Use your influence to create change. Dont isolate yourselves. Give back.....be part of something more than yourselves.

the courage of artists

2011-01-27T01:13:00.000Z

Preview post | Artists talking | a-n
Artists are courageous....

Cracking on !

2011-01-24T20:36:00.001Z

So, January is in full swing, I have had my ear operation, got a job with Matt Roberts (more on that later ) and Core Gallery is motoring ahead.

The xmas period was spent putting the final touches on DIY Educate, finalising our exhibition programme and looking at various funding applications as well as working on 2 curatorial projects within the exhibition programme.

DIY Educate is now launched and looks very exciting! A whole host of a-n bloggers are contributing as well which is fantastic and a-n and Artquest are partnering up with us.

So what is it?
DIY Educate is a contemporary evolving education programme run by and for Artists, Curators and Art Professionals to encourage artistic development.
DIY Educate is providing opportunities to learn, share ideas, network, and knowledge, providing impetus to develop your practice.

Basically that which we all need in this wilderness of an art world, plus the stuff that art schools dont always teach you.....We have 5 strands:

Nuts and Bolts Talks/ Workshops: Professional Practice( the nitty gritty of being an artists- tips and toolkits)

Engine ChatChat art crit: Peer Critique

Curators and Artist Talks:

Individual Artists Tutorials with established artists such as Graham Crowley

Discounts on practical workshops such as painting and photography Discounts on the Core Gallery Open Submission

DIY educate is just £18 per year and allows you access to all of these workshops either for free or at a concessionary rate plus more special offers and events to be announced.

You can read a lot more here

This week sees my first AIR council meeting and 2011 looks set to be ever so thrilling!

Highs and Lows of 2011

2010-12-29T14:54:00.005Z

Highs and lows of 2011

My last blog outlined some of these things but to follow the a-n blogging way as inspired by Emily Speed I shall also make a little list

Highs

Core Gallery: launching in April: working with over 100 artists and curators, forging partnerships, giving exposure and support to artists and curators. http://www.coregallery.co.uk
Input from Jane Boyer, Gillian Best Powell and Elizabeth Murton as team mates for the gallery who have been splendid.
Having Graham Crowley as a supporter for Core, a mentor and Relay exhibition Partner
Hosting an AIR Activist meeting !
In general being on a-n and all the wonderful people I have met through it
People’s generosity and support such as Matt Roberts, Andrew Bryant and Nick Kaplony
Chantelle’s Core Gallery Interviews: http://www.coregallery.co.uk/chair-appeal/Having
A successful chair appeal for the Gallery : http://coregallery.co.uk/chair-appeal/
Launching DIY Educate http://coregallery.co.uk/diy-educate/
Meeting Amy Mckenny at Coexist ( with whom we shall be having a collaborative exhibition in 2011) http://www.coexist.org.uk/tap.html

Me ( personal achievements as an artist )

Learning so much from the artists and curators I have worked with
Being elected to the AIR Council ( very exciting! )
Exhibiting and being in Derby for the UKYA events, selected for the ING Discerning Eye, Lynn Painters Stainers Prize and having a solo show in Regent St London as well as Wilderness Exhibition and talk. www.rosalinddavis.co.uk
Being blog of the month in June on a-n. http://www.a-n.co.uk/artists_talking/article/647129
Teaching at West Dean College, Brighton Phoenix and University of the Arts
Having a new extended family made up of my cor blimey studio mates and wider members and being part of the Deptford Art Scene
Having a commissioned articled published in a-n in July as well as a letter in their magazine in November 2011
Getting some very nice press regards of Becky Hunter, AIR’s Jack Hutchinson and doing my first radio interview with Reprezent and really enjoying it
http://www.coregallery.co.uk/press/
Exhibitions outside of Core: Gauguin, Phylidda Barlow and Fiona Mcdonald at Coexist, Fade Away at Transition Gallery , The Crash Open Salon at Charlie Dutton Gallery, Vicky Wright at Josh Lilley Gallery

Lows:
Overworked and underpaid!Being so tired that I thought my brain would snap at times.
Having to be an uneducated web developer for our website because the guy who did it has abandoned us to his unfinished job!
Not having enough work to quit my part time job yet as admin bunny
The government
The A3 laminator breaking

To look forward to:

Exhibitions at Core Gallery in 2011; including curating exhibitions with Jane Boyer and Annabel Tilley
DIY educate in action working with lots of DIY educators
Having my work exhibited in India
More teaching
Hopefully getting out of my part time job as admin bunny
Restored hearing in my ear so I am not quite so hard of hearing.
Being asked to be a judge for Xhibit , a University of The Arts Exhibitions

Overall though and to reiterate, I am so very happy this has all been wonderful way to be part of something and thank everyone for their input throughout the year
Happy New Year !

Reap What You Sow

2010-12-13T08:53:00.006Z

This week has been a new surge of energy and inspiration. Planning the 2011 exhibition and education programme are reminders of how thrilling running the gallery is and the possibilities that can occur.

Jane Boyer commented on wondering how I keep all the threads of the many different demands on my time, I am not entirely sure myself at times. However I realise how extremely lucky and privileged I am to be an artist. To be doing that which I love even if it can be sometimes a painful and frustrating path exemplifies in all of us artists; we are extraordinary in our own ways.

I also realise that sometimes these skills are innate in us and we just need a chance to make more of them. It is something many of us as the teachers and mentors that we are, try to bring out in others, teasing out the skills, harnessing them.

Running the gallery has been a steep learning curve for us all here at Core Gallery and of course at times, extremely stressful but endlessly rewarding . we have done our very best for the artists and curators that exhibit with us. I see artists such as Andrew Bryant and Nick Kaplony who have curated in the gallery, their confidence in their own skills and vision building. It has been an honour to sit by them and learn. To occasionally be able to contribute because they are kind enough to value me as well, asking my opinion and calling upon my judgement. I see they have quite brilliant careers ahead of them.

A result of all of these lessons is my role as a curator for a show in April co-curating with Jane Boyer for our DX 2010 Open Submission winners and then a show in November 2011 with Annabel Tilley which is growing and strengthening. The lessons I have learnt these last few months are deep and wide. I am very excited to be thinking about applying these new skills to a personally curated exhibition.

I see also how important our space has become to others who seek us out.

An example of one of the kindest things that has happened to me in the last year through all our engagement with others was a present from Kate Murdoch.

Kate is a local artist and her work I find very beautiful, intelligent and powerful Following on from one of Elizabeth’s engine chat chat where we discussed the importance of an artists statement I spoke to Kate about hers and helped her edit and strengthen her statement. I came into the gallery one day and Kate had left me a bag of goodies: a bottle of wine, a chocolate bar, Vogue and lavender bubble bath: an indulgence kit. Thinking of that kindness from her even now brings tears to my eyes, after months of working so terribly hard it was very much needed as a symbol that somehow we were doing well in our mission.

see her statement here

www.katemurdochartist.com/artist's_statement.html

I see how important the advice was to Kate and I know it has brought her confidence. That we can help other artist’s career, is why we began, why we continue and why we are launching DIY educate.

If someone had told me that 18 months ago I would be running a gallery and would have worked with over 100 artists and curators, that I would be elected to the AIR council as a recognition somehow of a journey so far, of harnessing a collective's beliefs and desire to help artists , I would have been shocked. I had not realised that writing a blog about ‘becoming part of something’ and my desire for that would grow so much.

You reap what you sow and although it is winter, the harvest is golden and bountiful.

Selection for the AIR Council, step forward Councillor Davis

2010-12-06T17:29:00.004Z

Image courtesy of Edd Pearman and Ceal Warnants.

Relay,our exhibition at Core came together beautifully in the end. A lot of people worked extremely hard. As suspected, assocations were created throughout the show as Jane eloquently puts it

‘The first part of the show is loosely based in structure as container, containment, imprisonment; house as metaphor for the body. It is this structure which houses and holds the potential to distort the soul.
As one moves through Relay, structure as metaphor gives way to the actual body/psychology which confronts its physicality and the force of time and limitations. The translation of physicality upwards to the resonant sounds of the soul gives way to charms imbued with meaning, mythology and spirituality.’ Jane Boyer
www.jlbfineart.com

Jane Boyer came from France for the show and it was a delight to meet her in person and spend time with her and her works. The more we talk the more solutions we find.

One of the ideas that came out over supper before the show was a chair appeal – a much needed resource for our space for our DIY Educate next year and on the private view we got 10 chairs! Contributions came from many of our friends and supporters at the gallery including from the lovely Jane, Annabel Tilley and Rob Turner all a-n bloggers. See more about our chair appeal on http://coregallery.co.uk/chair-appeal/

There was in addition an open studios this weekend as well for us at Cor Blimey which was good fun as always but very exhausting ( I have been working at least 12 hours a day on average , for 7 days for I don’t know how long- last weekend I was teaching at the Phoenix in Brighton). Also a couple of weeks ago I had a fantastic crit with Graham Crowley who has given me a solution to the age old problem of ‘ how do I move my practice forward…’
We will be opening up these crits from Graham and other artists to other artists in order for them to get much needing practical and conceptual feedback into work. The bare essentials of the DIY educate are now online,so you can seem more there.
http://www.coregallery.co.uk/diy-educate

I also have some other very good news ; I have been elected to the AIR Council!
http://www.a-n.co.uk/air/article/335841/778528/

I am very excited about being part of a new something. Already I have ideas about how AIR could harness more exposure to our causes as artists. I cant wait to get started.

We also have the great delight to be hosting an AIR Activists event at Core Gallery on Weds 8th December and all are welcome to come, see the AIR page or
http://coregallery.co.uk/air-event-2/

See you there I hope , and dont forget to buy a chair!

RELAY ! 42 Artists

2010-11-22T12:46:00.004Z

We have been working on our plans for the development of Core Gallery's DIY educate programme. As an artist put it ' the sh** they dont teach you at art school...' http://www.coregallery.co.uk/diy-educate/
Busy too with exhibitions I have work in: ING Discerning Eye and the Lynn Painters Stainers Prize that I was also selected for ( me and Prince Charles work in the same room- not sure if thats good or bad....think it may be bad somehow although they were harmless watercolours and sure they sold whereas I dont think my works have...) Then again Annabel Tilley and Graham Crowley were also there so that balances that one out....
Also in the last couple of weeks there has been the wonderful, strange and macarbre exhibition Psychometry at Core Gallery , curated by Nick Kaplony. http://www.coregallery.co.uk/psychometry/ We had a fantastic artists talk on Saturday , the artists are so interesting in explaining their works. Peter Jones as well was a delight to meet, his strange Monkeys and Lambs have captivated me the entire 3 weeks they have been here, looming and leering and somehow very charming at the same time ! Peter is a charmer, a walking encyclopedia of contemporary art. He told me as well as terrible story of an unscrupulous gallery that ran away with the money from his art! Left me fuming, which leads me onto another event about artist's lack of rights and the ability for us to be trampled upon by galleries etc with no safety net.
This and amongst many other reasons I have also decided to put myself forward to be nominated to the AIR council. Trying to measure whether I can balance this role if I were nominated with my role as artist, gallerist, creative practitioner etc. At the same time my passion ruled all those concerns out. Emily Speed an AIR member , 1 0f 3 who has nominated me had this to say about why I may be good at fighting for your rights. I think I would be good too. I am pretty determined.
' Rosalind is a tireless, open-minded and enthusiastic person, both in her own practice and in her capacity as Manager at Core Gallery. Her ability to empathise with fellow artists and a particular talent for presenting a balanced view and understanding all aspects of a given situation would be valuable assets to the AIR council. I wholeheartedly support her nomination'

We are delighted to be hosting an AIR Activist Event at Core Gallery as well on the 8th December , read all about it here
As well as writing my campaign I have also been organising Relay, our final show of the year at Core Gallery, 42 artists...ouch! I am still hunting down our artists for their info for the show ! Jane Boyer, our Core Gallery associate member is arriving from France today too. Jane has been so invaluable and I look forward to buying her a well deserved supper this evening as a small thank you for her amazing organisation skills. You can read more Jane and her practice here: Anyway, Relay , its going to be fantastic, really exciting collaborations going on. Opening Friday , Read more about our lists of artists etc here. Image courtesy of Peter Jones ( top )

Image courtesy of Peter Jones ( top left ) and Graham Crowley ( top right )

The Great Open Submission Swindle......?

2010-11-04T13:32:00.001Z

(02.11.10) My letter about ' The Great Open Submission Swindle' is published in November's a-n Magazine
Read it here
http://coregallery.co.uk/assets/core-gallery/Press-Releases-documents/a-n.nov0001.pdf

Image courtesy of Alyson Helyer

75 Artists in one room....bound to be trouble...!

2010-10-27T13:16:00.002Z

The UKYA event was this weekend in the lovely city of Derby and all of us 75 artists who had been selected for this citywide miniature biennale were there to meet each other

So we buzzed around Derby, gorging on exhibitions, installation , lectures, artists talks, poetry, dance, networking , beer, wine, our heartbreak and romances, successes and failures, lots and lots of laughter, fried breakfasts, and far too many late nights ( I decided dancing in a car park party prob was a step too far , but hey I can robot with the best of them….!)

We took part in a speed networking session which was quite insane and left us all befuddled and confused as to who we were, let alone anyone else! Brilliant ! We forged what feels like lasting connections and relationships

75 artists full of promise and brilliance, all trying to figure out how to navigate this complicated world. To survive. It felt like such a priviliege- like how art school would have felt if I had been in the art dept, endlessly fascinating conversations ( and silliness) but also interesting because we had all been out in the real world for a little while.

I don’t know how the organisers did it, several venues, accommodation, lecture series and us artists! I am still recovering now, I wonder how they did it, but full of so much happiness and hope they are proud of their massive achievements.

Something else I am noticing is that there is a curator inside me , in the way that a lot of the curators who work with us at Core are coming into it as artists; I start seeing connections or works that I really want to show in some context…..We are yet to think about next years programming properly but I know we need to get a balance between what we want to show ( a lot) and we can actually physically manage. It is breakneck at the moment.

Liz and I had a meeting with the marvellous Amy Mckenny who runs Coexist in Southend. Firstly the Fiona Mcdonald and Phyllida Barlow show is excellent, secondly Amy is brilliant in all they have achieved down there. We are going to set up a different kind of Relay for next year in a cross artist led collaboration! Very exciting. So all in all a pretty marvellous couple of weeks.

Sisyphus - The Absurd Hero and UKYA

2010-10-21T22:23:00.004Z

So Sisyphus opens tonight and I myself am not there for the PV at Core Gallery for the first time so a bit nerve wracking but I leave it in competant hands.

I am doing my art thang having been selected for the UKYA event in derby

( through an open submission- that oh so controversial subject....! ) http://www.ukyoungartists.co.uk/content/who-we-are-and-what-we-do

4 days of exhibitions, events, dance, poetry and mucis, lectures and networking. Its going to be fantastic!

Here is more about Sisyphus which looked amazing in progress and we have a fab interview with curator/artist Rachel Price who has an interview with on http://coregalleryinterviews.blogspot.com/

SISYPHUS: THE ABSURD HERO

Core Gallery Deptford, London, SE8 3DX

21 OCTOBER - 30 OCTOBER 20

(Part I): Nick Bailey │Alexander Bates │ Jim Bond │Rodney Dee │ JooHee Hwang│ Matthew James Kay│ Rachel Price

New sculpture and video by 7 artists across in response to the Greek myth of Sisyphus. The exhibiting artists all explore notions of the absurd, futility and circularity in their practice whilst simultaneously displaying an immersion in the process, be it material or conceptual.

In Greek mythology Sisyphus was the king who for his crimes was subjected to the ceaseless task of pushing a boulder up a mountain only to watch it fall down the other side, and to repeat this for all eternity. However it is Sisyphus’ approach to his hopeless fate that rouses interest and why the myth is so frequently revisited in literary interpretations.

The French Absurdist, Albert Camus, refers to Sisyphus as ‘The Absurd Hero’ concluding that: “I leave Sisyphus at the foot of the mountain! One always finds one’s burden again. But Sisyphus teaches the higher fidelity that negates the gods and raises rocks. He too concludes that all is well. This universe henceforth without a master seems to him neither sterile nor futile. Each atom of that stone, each mineral flake of that night filled mountain, in itself forms a world. The struggle toward the heights is enough to fill a man’s heart. One must imagine Sisyphus happy”. Albert Camus, The Myth of Sisyphus (1942).

I think we have all felt a little like Sisyphus at times......

Deptford X Madness and New Formations

2010-10-14T14:28:00.006Z

Wow, so it has been nearly a month since I have written a blogpost! There is so much to tell but where to begin. It has been dizzyingly busy.

Since my last post we had the Deptford X fortnight. South East London’s foremost contemporary arts festival
Our open submission exhibition was absolutely superb, the artists a delight to meet. Alliances have been formed and an exhibition seed planted for 2011 with Tom Butler, Alyson Helyer and Marion Michell who won the other prize we ran of a 2011 exhibition with Core Gallery

We had over 900 visitors in 2 weeks, including Lewisham College our local adult education who took part in our community drawing day event ( that is called engaging with the arts Sir! ) . We had open studios as well which was fantastic. Art talks and events, Arnold Borgerth and I both ran an art talk and ended up selling work afterwards to our new audiences! Many interesting and new connections were made.

Pretty exhausting too. I thought my brain might just might break at times. I also had a 30th birthday to celebrate somewhere along the way too. My present was a brand new shiny bicycle, a result of many new friends and studio colleagues all chipping in. The bike seems to symbolise to me what I have been blogging about, I have become part of something……

Anyway , I am going to be writing about the benefits of open submission competition in defence of quite a lot of negativity about them ( rightfully so in some cases) . I feel I need to justify and balance the arguments a little as we have just run one ourselves at the gallery and pretty darn successfully too and it was quite the opposite of a swindle!

There is also another new and exciting development . Core Gallery has a new member, an overseas associate , Jane Boyer who I met through our blogs here: Jane’s fantastic and thought provoking blog about working in isolation is here http://www.a-n.co.uk/artists_talking/projects/single/643588

Jane is coming on board to assist us and we are most grateful and lucky for this.

Jane is going to help us on a variety of levels and we are planning to make the gallery more sustainable and we are all going to work on a funding strategy so we can implement a proper educational programme; at the moment, we run art talks, engine chatchat ( peer on peer critiques etc ).

It seems to me that we are beginning to forge a new model of gallery , with people inputting, maintaining contact and assisting us outside of the studios ( ex studio member Chantelle who runs the wonderful Core Gallery Interviews).
Even our friends who are art lovers are ready to help. We have an Art Kibbutz!

In response to this momentum our final exhibition of the year is going to be Relay. Each artist in our studios invites an external artist to exhibit with them. Jane shall be joining in as will Josie our intern, a new graduate from Newcastle , who we wish to thank for her endless help by giving her an opportunity to exhibit. Its going to be a smasher !

The Pleasure Parlour

2010-10-14T10:49:00.005Z

The Pleasure Parlour opened in September too which I have not properly blogged about yet as it has been breakneck

http://bit.ly/PLeasureParlour

With my father ,Peter Davis who has been an artist for over 60 years and my partner Enver ( a heady mix for me ) as well as Holly Revell and Kelda Hole , it was a splendid show

Here are two more of Chantelle's fabulous core gallery interviews to accompany the show.http://coregalleryinterviews.blogspot.com/2010/09/interview-with-peter-davies.html http://coregalleryinterviews.blogspot.com/2010/09/interview-with-enver-gursev.html

I interviewed the artists on the closing Sunday which was wonderful . Debating art, erotica, nude's and nudity.

My father told stories about art and we expanded to greater philosophical questions about beauty and transformation. I need to find a way to do podcasts so you can all listen.

The night of the private view my father, now nearly 80 had the opportunity to see how his work still reached and touched people. He has an audience of cross generations, all who wanted to meet him and shake his hand, admiring his work, studying it, touching his sculptures . After several years of feeling like he may no longer have anything that people want to see , he is transformed. For this alone , the hard work is worth it.

October – Rosalind Davis « NepArtism

2010-10-13T14:23:00.003Z

October – Rosalind Davis « NepArtism
I am delighted to have been selected by Liv Pennington to start a game of Nepartism!

Its been mentally busy so this blog post is a precursor to one where I actually talk about things but in the interim:
I am delighted to have been selected by Liv Pennington to start a game of Nepartism! http://nepartism.wordpress.com/2010/10/06/october-rosalind-davis/
A fantastic game of artist's tag. Liv Pennington showed in The Exquisite Corpse.
' The show grows because of who we know; it is nepotism with a bit of altruism. I am interested in where this chain goes, does one artist get selected more than once. How small or large are the artist pools.
How do our selections reflect on our own artist practice, are we interested in similarities or differences, do opposites attract? or is it safety in familiarity?
Are our relationships formed with others because of admiration and interest in the artwork or in spite of?
A series of monthly online exhibitions ' Liv Pennington

2010-10-13T14:08:00.000Z

Core Gallery on the radio!

Aired on 3rd of September

Presented by Christelle on the Chatterbox Show

Gallery manaager of Core Gallery and local painter Rosalind Davis talks about the drawing day a free art event for young people in September talks drawing, Frida Kahlo and um..hiphop

Core Gallery Interviews: Interview with Patrick Morrissey & Hanz

2010-10-13T13:49:00.001Z

Core Gallery Interviews: Interview with Patrick Morrissey & Hanz

Plus featured in the October issue of a-n magazine!

Reprezent | London's Youth Media - Shows - Revealed

2010-10-13T13:47:00.000Z

Reprezent | London's Youth Media - Shows - Revealed

Core Gallery on the Radio

On September 17th 2010 Core Gallery ran a drawing day for over 70 people from the local community with artists from Cor Blimey, Creekside Artists, The Old Police Station and Utrophia, all local studios. Tarek Chaudhury interviews the participants as well as Rosalind Davis, Core Gallery manager on the day itself as well as Deptford X , art and the education system and why you do not need to be rich to be an artist! Read more about the drawing day exhibition here

Open studios, DX, etc !

2010-09-16T23:34:00.001Z

We shall soon be hanging and organising the Core gallery open submission which opens next Thursday night, ( image courtesy of Edd Pearman , ' Allotment' )

Read all about it here: http://bit.ly/DXspecial

We have been lucky enough to bag an exclusive interview with Graham Crowley,

http://coregalleryinterviews.blogspot.com/2010/09/...

so this is uber short and packed full of info I have a ridiculous amount of things to finish for my open studios as well as an experimental drawing day to run tomorrow, all of which is very exciting- the marathon begins.

This is what I am doing for open studios:

I would love to see you if you are about in London next weekend, the show is going to be spectacular too quite clearly!

Benefts of Core gallery Part I

2010-08-09T19:03:00.008Z

Images from artists showing in the Eighteenth Emergency curated by Andrew Bryant

Andrew Bryant, Frauke Dannert, Chas Higginbottom, Stefan Sulzer,
Burcu Yagciogul and Daniel P. Lichtmann

http://coregallery.co.uk/assets/core-gallery/Press-Releases-documents/18th-Emergency-Press-Release.pdf

As someone who is very sensitive to criticism one person’s negativity can completely plummet me into doubt about what we are striving to do in the gallery , rather than actually looking at the other many many people who are completely positive and thrilled with our progression as a gallery and for whom there are many tangible benefits.

So it is time to evaluate and look at the positives.

Liz and I saw the potential that lay in the idea of the gallery and brought in energy. Yes it’s a lot of work but we both thrive on the challenges and the

Benefits of Core Gallery….Part I

Inspiration

We are bringing external international, local, professional, emerging, outsider, student, and community art to the space, to inspire and create dialogue and excitement in an underused space.

Developing our presence and reaching more audiences= increased opportunities

By establishing new relationships with these people we can attract more of an audience to our space for Cor Blimey Events.

With each show, with a further online presence we can reach more people.

As many people are professional artists in the studios, this is exactly what they want to develop and further their work, to increase sales and opportunities and even if just to increase their audiences, whoever they may be, and not necessarily sell work

We have also had and shall continue to have several CBA members shows throughout the year which are fully supported of course by those who work on Core Gallery

As a gallery we regularly receive Deptford Art Map tours for shows which is very beneficial

www.deptfordartmap.com

Networks

Core Gallery helps to nurture and support these relationships between external artists and our CBA members You can meet other artists and curators : strike up a dialogue and a collaboration could be fostered or even just a friendship! As a result of work done on the gallery so far there is tangible evidence of benefits:

Artists have sold artworks, been invited to exhibit in future curated show and had career opportunities, increased profiles etc.

Elizabeth Murton has been commissioned to create an installation at DX

Education

Engine Chat chat , peer on peer critique , Art Talks with professional artists and curators

Artists workshops

Community drawing

All of these are interesting and educational to both our studio artists and external members

Skills

The gallery is offering internships to new graduates interested in the arts to develop their skills and knowledge in the arts sector and gather valuable insight into a working gallery space.

‘ Rosalind consistently assigned worthwhile projects and was very mindful of the individual strengths and interests of those involved., I especially liked how much freedom I had when approaching certain tasks. Ros was always open to new ideas and welcomed the opinions and suggestions of others. Finally, her advice as a gallery manager and practising artist was incredibly valuable to my ongoing exploration of the contemporary art world.

Overall, this experience allowed me to work on challenging projects in a dynamic arts environment.’

Emily. Our first intern June 2010

Studios currently available! Please see coregallery.co.uk for more info

Part II shortly

PLus coming up: why external artists benefit from showing in artist led spaces!

Art isn’t just something you trip over to get to your studio

2010-08-02T11:59:00.004Z

The benefits of Core Gallery to studio members is now about 5 pages long and I shall oublish excerpts onto here- it shall be a good guide for anyone who wants to know about setting up an artist led space as there are many benefits which everyone is aware of but its good to have something in writing, so its there on record and clear as things have been moving so fast, we have hardly taken a breath; it helps with new studio member s as well , so they can see all the activites we undertake as part of a cooperative
. The trustees will also benefit from seeing the fruits of our labours.

It begins thus ‘ Art isn’t just something you trip over to get to your studio…’

Also 2 more exhibitions for the gallery. Monochrome set sees ex studio members Pat and Hanz ( Patrick Morrisey and Clive ( Hanz) Hancock return to us with their brilliant collaborative exhibition with Leyla Folwell.

Patrick studied at Goldsmiths a while ago and then left art and has now returned with works about utilizing ‘systems’ which are basically geometric/ numeric and ultimately tangential.
As Patrick explains:
‘ This work has sympathy with the neo-concrete/neo constuctivist methodology of the late 20th centuryThe title of the show is intended to bind the works together under a theme which may evoke any number of associations with Pop culture, kinetiscism etc. This is deliberate.
Clive Hancock ( Hanz) has evolved his method as an ‘outsider’ artist, having had no formal art education. His work again, has its routes in the late 20th century and also the contemporary practice of neo constructivism ‘
Bringing in the talented Leyla Folwell- a current CBA member who explores similar themes in ceramic work; concentrating on the deconstruction of simple everyday forms. Her unique making method captures energy in motion which she turns to stone. The show starts on the 8th October.

We are also delighted to have Pleasure Parlour, a 3 day festival and exhibition: Enver Gursev and Kelda Hole ( 2 Cor Blimey Members) , work with invited artists: Holly Revell and my very own father Pater Davis. An exhibition of photography, painting, installation and sculptures, exploring the naked form / nudes with live music and performance art along the way …..pretty exciting and alternative. My father was thrilled to be asked by Enver and so too was I. His sculpture is incredible, even if I do say so myself. His work is in the South Africa National gallery amongst other big South African Collections, where he began his work and I hope we get him some good exposure with Core Gallery At 78 my father is not slowing down a bit and he loves getting peoples reaction and engaging people with his work. I guess that may be where I get some of my passion for engagement from him. He has also written some interesting articles on sculpture that will be interesting to have in the gallery during the show as an educational tool.
Okay to page 6 now of the benefits of artist led spaces…….

Storms in Teacups

2010-07-30T12:14:00.001Z

We recently had a studio / gallery meeting with our studio members. As with all these meetings, getting 22 people in the same room on the same day is difficult but we try and have as many as possible to make sure everyone knows what is going on, to bat out ideas and update.

In the meeting we introduced the future gallery plans and sponsorship idea. I sent through an email as well with all the info to our members.

One member who wasn’t in the meeting sent an email that questioned us and our ‘profit drive’ and wanted to see our finances (do feel free to be our accountant Mister )

The complaint although slightly wounding is actually hilarious as it came obviously from complete ignorance of what we have been striving towards for the last 6months. I dont think he has even looked at our website or newsletter. Very strange too that you complain without educating yourself about the organisation first and after 6 months of actual being an entity with plenty of meetings along the way. Fair enough to have questions and want to know more. But that was not the gist of the email.

There was a query over accessibility to studio spaces too which never has been and never will be an issue.

The benefits of having Core Gallery outweigh the possible drawbacks and here is some feedback from other members which I publish here as it is far more eloquent than me ranting .

1. ‘ Please be assured that studio members are the key to the success of our cooperative and the birth of Core Gallery is not aimed to take anything away from you, rather give you further opportunities and have a good mix to ensure continuing survival and success.’

2. ‘I just want to point out that Core Gallery is something that we at Cor Blimey Arts have been aspiring to for a few years now.

It's a positive exposure into the contemporary Art scene, not just around Deptford, but to a wider stage.

This can be confirmed by the number of re-nowned Artists and Curators that have been through our doors and the growing number of attendance from the general public.

We (as there have been several of us working VOLUNTARILY) have put in a lot of hard work to make the space (incorporating Cor Blimey Arts members) visible and into a serious Arts Venue. Cor Gallery is NOT a profit making venture and is still very much part of Cor Blimey Arts, which is a registered charity.

Nothing has changed in the space in terms of accessibility or cost incurred since Core Gallery was set up.

In the past, whenever there was a show up or music events (mostly our own) we still had to be very aware and sensitive to what was going on around us in terms of lighting noise etc, no different to what is happening now.

Core Gallery has been open to everyone to be part of from the outset, It's up to the individual to decide how much or little they want to be part of this.

Along with myself I think many of the CBA members have experienced the benefits of being involved in such a prolific proactive working environment.’

To work towards making the gallery sustainable is essential. It is a long term goal and a sensible ambition otherwise we wont be able to carry on forever, no matter how passionate we are.

So now I need to set out a list of all the positive benefits to show our members, just in case it is required

Nevermind . It shall be a good evaluation for ourselves to see how much we have achieved and how we wish to move forward.

Recovery is quick

2010-07-26T18:25:00.000Z

I apologise for my little moan of exasperation in my previous post

thank you to Jane Boyer

Emily Speed

and Susan Francis

( all artists and all bloggers on a-n ) as well as a variety of other friends and supporters who perked me up with their commiseration, ideas, thoughts and suggestions all of which I am taking on board! So, thank you. Its nice to hear from you

These as well as other factors have contributed to a more positive outlook and reinforced all that we have achieved so far.

Firstly the tingle of excitement of having several marvellously strong shows lined up : the Eighteenth Emergency and Sisyphus amongst them . Both shows look fascinating and I realise how much I alone learn from having exposure to these artists and curators, their intriguing interesting ideas and all their concepts/ works/ practices.

As I said in the previous blog , the DX open submission is also very exciting, to see the wealth of talent that could show in our space is inspiring. ( 5 days left to enter! )

www.coregallery.co.uk

We also now have two new interns. Charlotte and Jo and they each have projects to work on that we tailored to their own interests and strengths.

Charlotte our press intern has written the most wonderful and illuminating press release for the Eighteenth Emergency. After her first day with us, doing admin, I handed over the artists cv’s, info etc and from it, she wove something wonderful. I am looking forward to her future input

Joanna is looking at our sponsorship programme and inspired us to move this forward as with her assistance we hope we can make it worthwhile. Jo has some great ideas and gumption. She will also be responsible for sales for our exhibitions, someone that can talk about the artworks and promote it at our shows. Not that Core is at all about sales, but we have some amazing talent in the space and they can benefit from our help in attracting collectors for their work. Both bright sparks!

I received a lovely report from my previous intern who seems to have gained a lot from her time with us , which was just 8 weeks so I hope that our new ladies shall be equally pleased by the end of their time with us. As ever I learn from them too.

A couple of friends have also said they shall assist me in my own practise on the admin side – very kind of them too!

Inb practical terms I am going to try and make a stricter schedule for myself in terms of paperwork and allocate specific time to painting and paperwork and try not to stray. In my non art job I am negotiating a sabbatical so that I can test the waters of having no financial security in order to see if it is manageable and that I can sustain myself. to have an extra days to work on the gallery and my projects shall hopefully be fruitful- I am just nervous of losing guarantedd security but more and more I know I have to make the leap. At least it shall give me time to breathe.

Finally I somehow did manage to fit in some amazing exhibitions at The Agency Gallery, Utrophia, Aubin and Wills in Redchurch street and a show which engaged me and invigorated me. A tonic for the soul.

I painted too in the end, after my wonky week , I am starting a piece about The Cadburys Factory in Stonebridge which has the most startling back story of its slow shut down and the loss of jobs for generations of communities that I initially heard on radio 4, fascinating story

Not bad for seeking a bit of clarity……group effort I say !

A quest for clarity ....

2010-07-22T11:34:00.000Z

My mind is a little fraught ; the gallery is taking up a huge portion of my thinking and of course time. I find myself caught between wondering more how to advance the gallery than my own career as an artist. I haven’t made much new work in the last two months as a result and anxiety for both roles is biting at my heels.....

I have to make both these jobs sustainable as selling paintings is slow these days and also I think that my work has a wider focus than just being in a gallery, it is becoming a documentation of society...

For both I think I need to find funding somehow

For the gallery we have a plan for philanthropists that we have just launched. You can now help support Core Gallery from just £35 per year and we have dreamed up loads of great benefits!

Now we just need to find some supporters…….

Here is our newsletter which has more info on that as well as everything else we have coming up.

http://us1.campaign-archive.com/?u=f11c093e634c7ac...

After a 14 hour day on Tuesday on gallery matters in my tiredness I smashed three plates in dazed clumsiness, knocked over countless glasses of water as well.

The following day I spent an hour travelling to drop off a painting, only to realise that I had brought the wrong one and then had to return and pick up the right one. I lost 4 valuable hours and was so mad at myself for being so silly and the fact that I am usually so organised it is a startling contrast as my mind is obviously elsewhere.

With my own practise I am not sure where to begin funding wise: I need a research and development grant to expand the scope of my work, but with all the funding cuts going on I am hesitant that writing a funding application will be worthwhile and perhaps instead we should just focus on getting projects for the gallery. I do not have enough time is clear and really what I want to do is paint right now….. hopefully a little clarity shall come soon….somehow……

The good news is that Elizabeth has been commissioned to do an installation for Deptford X, so this makes Core Gallery a little more sustainable for her. Also after a review of the way we both work in the gallery we decided on a slightly different title than Gallery Manager: Research and Development manager’ which suits more the skills Liz has in coming up with innovative ideas, whilst the day to day project managing is more suited to me.

The Deptford X open submission we are running is looking very healthy, I said at the beginning the standard was very high and it remains that way with a diverse array of works. The judges shall have a tough decision but I already know we shall have a fantastic show at the end.

The deadline is 31st July, so do get your submission in…..

http://www.coregallery.co.uk/competition-for-dx/

Now back to trying to find some clarity

Profile of my work by Becky Hunter

2010-07-13T20:48:00.000Z

Artist Profile: Rosalind Davis, London
Jun 30th, 2010
www.beckyhunter.co.uk

' I approached mixed-media, London-based artist Rosalind Davis for an interview for my site after reading her a-n Artists Talking/Blogger blog, ‘Becoming Part of Something‘, as part of my current research into setting up a gallery and studio complex of my own. In the diary-style blog, Rosalind self-critically discusses her creative work, as well as her stressful and rewarding role as co-manager of Core Gallery, Deptford…

While reading and looking, I was struck by the richness of her paintings – equally in terms of their spatial compression and otherwordliness, their conceptual meshing of the social and the romantic, manifest in montages of paint, printed fabric and careful embroidery – and decided to feature Rosalind’s excellent painting independently from her discussion of Core Gallery.

I am not the only one to be so impressed with Rosalind’s work:
Rosalind Davis reveals herself to be a visionary artist of sensitivity and complexity… Her mixed media paintings of dystopian landscapes incorporate embroidery and floral-print textiles ….they conjure up a claustrophobic world of the uncanny.
(Andrew Bryant, a-n)

With this inside/outside view of buildings, Rosalind almost supersedes the buildings themselves with the materials that could be seen on the inside. I have often seen this with demolished buildings, a set of fireplaces against the wall of the neighbouring building, remnants of wallpaper all that is left of a place that was a home.
(Julia Alvarez, Director of Bearspace)

I agree with Rosalind’s statement that her technique involves a reparative gesture, in the sense that (images of) disused or run-down buildings are mended and/or supported through stitching, as well as being somewhat transformed when their painted surfaces melt into, soak and stain the meticulously printed backdrop. That these are specific architectural structures recognisable only to local people is important, as is the artist’s painful observation of urban decay alongside an irrepressible romantic vision.
Thinking from my own standpoint as an art historian and artist, currently engaged in a study of Kleinian psychoanalytic subject positions, Rosalind’s works seem to rise from the depressive position, in which ambivalent encounters with reality are tested, dreams of (Utopian, urban) perfection mourned, and the objects and people we relate to eventually accepted as neither blissfully ideal, nor entirely harmful. Amongst other material clues, these paintings figure that struggle in terms of the stitch, a piercing, destructive action that is reformed, with practice, into the work of mending and strengthening.

A graduate of Chelsea College of Art and Design, and of the Royal College of Art, London, Rosalind is a founder and co-manager of Core Gallery, Deptford. She is also an experienced textile designer, educator and writer: an artist and organiser to watch for sure.'

www.beckyhunter.co.uk

New Exhibitions

2010-07-07T08:26:00.000Z

I am about to have a short break and the gallery is having a little breather of exhibitions before we launch into a breakneck series of shows and events in August beginning with a-n's very own Artists Talking editor Andrew Bryant who is bringing a group exhibition , The Eighteenth Emergency into Core Gallery . I asked Andrew a while ago if he wanted to bring a show to Core, confident in his vision, aesthetic, curation and judgement. I am curious to see how Core will once again be transformed .

Also , it shall be interesting to look at the contrast to our recent CSM MA fine art show and whether indeed there is a difference in approach, aesthetic etc and reflect on Sarah Rowles recent letter in a-n regarding art school.

We also have a sculpture exhibition programmed in at the end of October which is also very exciting and shall be very transformative in the space. Rachel is super organised and has the show ready to rock and roll!

www.rachelpricesculpture.co.uk
www.squidandtabernacle.com/Price

2 exhibitions squeezed in this week: The Whitstable Biennal at which I saw the marvellous Kate Murdoch, an artist from Deptford whose work explores memory, identity, nostalgia in very interactive works.
http://www.katemurdochartist.com

Saw the RCA Show at last, painting and sculpture left me a bit cold and bored. I think it would be interesting if a show full of wildly convergent styles, themes , techniques, ideas had some information about the artists rather than a big black wall of silence. I think it would be beneficial. Although there seems to be a trend in art schools to not provide any explanation/statement etc. Art as experience , not art as engagement ……
.
For my own short break I am currently deciding which of the 5 books I don’t need to take . I have a beautiful Egon Schiele Landscape book which I currently adore, Ways of Seeing by John Berger, How to be an Artist by Michael Atavar ( very interesting and not patronising at all – should be called how to try and balance your life and mental health as an artist! ) Then Pablo Neruda Poetry and Orhan Pamuk’s novel My Name is Red……

choice blog on a-n, June 2010!

2010-07-02T11:27:00.000Z

ARTISTS TALKING, a-n.

Home page story
Choice blogs - Sian Hislop selects Rosalind Davis

Wilderness Exhibition at Core Gallery
Rosalind Davis' blog Becoming part of something is a perceptive and illuminating insight into the trials and tribulations artists face on their post-college odyssey. "Becoming Part of Something" won the accolade of Artists talking Blog of the Year 2009, and the draw I felt towards it demonstrates that she continues to set a compelling tone.
Particularly topical and inspiring is the recently posted AIR interview, in which she argues the case for continued funding in the arts, in particular for it to be channelled towards those who attempt to improve communities through the arts and for free university education. As an artist involved in the Bow Arts Trust's live/work scheme I found her well articulated proposals and sensible suggestions ringing very true for my experience.

Along with an ever growing community of artists, I took on an "uninhabitable" abandoned flat in the type of Brutalist behemoth tower block that haunts Rosalind's intriguing paintings. These Modernist visions for social housing are now widely viewed as dystopian failures on monumental scales, but we are attempting to make positive changes in our community through our roles as artists.

Rosalind's blog does more than just record one artist's personal journey - as the title "Becoming Part of Something" suggests. Her posts have the potential to inspire other artists to use their energy and vision to help make change possible.

Siân Hislop, artist. www.sianhislop.co.uk

See also blogger Becky Hunter's interview with Rosalind Davis on the press page…..!

Interviews Interviews!

2010-06-29T17:48:00.000Z

I am afraid I have been neglecting the blog again- I have been finishing up 2 interviews and I wrote quite a bit!

Becky Hunter interviewed me for her website as she is going to set up an artist led space in Philadelphia
The interview is about being a practicing artist and gallery co-manager ; the highs, lows and intricate details of setting up, administrating and promoting an artist-run space in Deptford.

http://www.beckyhunter.co.uk/2010/06/interview-rosalind-davis-artist-and-core-gallery-manager/

It was all very interesting for me to do as a point of reflection on how far we at Core Gallery have come and how much I have learnt personally, how to keep on going.

Then an interview on AIR about the coalition too equally fascinating for me to do.

http://bit.ly/asX0Nw

And now.....a painting is to begin

AIR Interview: Rosalind Davis on the new coalition | AIR | a-n

2010-06-23T13:41:00.000Z

AIR Interview: Rosalind Davis on the new coalition | AIR | a-n

Home page story

AIR member Rosalind Davis is a mixed media painter and graduate from the RCA. She creates melancholic dystopian landscapes that explore human experience and identity. A freelance lecturer and creative practitioner with work in both public and private collections, Davis is also founding member of Core Gallery, an artist led exhibition space in Creekside, the new art hotspot in Deptford, London. Here she discusses her thoughts on the new coalition government and how cuts to arts funding will affect her personally.

AIR: The new Culture Secretary Jeremy Hunt has announced significant cuts to the arts under the new coalition government. How do you think this will affect you personally?
Rosalind Davis: I make art because I want to. I fund my practise by selling my work in galleries, working as a creative practitioner and lecturer which are all very fulfilling. So cuts to art funding wont directly impact on my artwork but it may impact upon my employment as a creative practitioner so I am concerned in that area.
I also co-manage Core Gallery, a not for profit gallery in Cor Blimey Arts studio's, that is a charity and cooperative. I do not gain financially from running Core Gallery. We want to make the gallery sustainable, run more educational projects alongside our exhibitions and make Core gallery a local hub for artists. Local authority and central government funding may have played a part in that sometime in the future but that now looks unlikely. We'll have to fight harder for any resources and be more creative in generating revenue streams.

Should artists be more politically aware?

I think most people have become more politically aware in the last year with various scandals, the election and the first coalition government since the war. Artists are about as much aware as anyone else and are impassioned no less so than anyone else. But I don't think an 'artist' should be anything in particular or think in a particular way - we're not a homogenous group. We have different interests, points of views, feelings about the world and that's a good thing. Its part of the reason why there's such a variety of art out there; something for everyone.
That said, Emily Speed’s blog Getting Paid » has been a fantastic contribution to the political debate on artist's rights; Why artists are poorly paid and badly treated and why we don't create some kind of union to get better representation? Although, I'm not suggesting individual artists should take a more personal interest in politics and reflect it in their work I do think more could be done to promote and protect the interests of artists. We need to be more politically active.

Do you think there has been a shift in generalised assumptions about artists and the role they play in society?

If we're looking at the recent past, say the last 13 years, we've seen massive changes in the role artists play in society which has manifested itself in different ways. Artists have become super rich celebrities quaffing champagne with blokes in pin stripe suits; art institutions are run by accountants; artists have worked more in schools and communities, inspiring more people than ever to have a passion for art and take it up: to some peoples consternations and others appreciation artists have moved into different spheres, making interactive and participatory work and using new mediums; and the profile of art and artists has been raised with bigger and more eye catching pieces being displayed in public squares, streets and the side of motorways.
There is always going to be sections in British society that think artists are layabouts and wasters but I think they are in the minority. What we have seen is a re-emergence of the artist as a critical part of society.
Diversification and reaching out is a really positive process. The more people that are engaged in art the better. Even if it is just to be enraged by it! We've gone too far in some respects though and the seemingly obligatory need to make work 'socially engaging' in order to get any structured employment or funding only leads to the X-factorisation of the art world; mediocre talent, lowest common denominator selection and transient work that doesn't stand the test of time.

My own work is socially engaged in a slightly different way; it is an exploration of human experience and identity, viewed through the wilderness of our landscape. Through my work I challenge perceived ideas about place. Exploring the social, political, cultural and historical as well as personal perspectives. When I teach I touch upon this, I teach people about their own community, landscape and identity as well as skills in which to express their feelings about this. I then learn from them too and it becomes a more interdependent approach- therefore more socially engaged.

As we continue to recover from the economic downturn do you think it is problematic the arts have taken an 'institution-led' approach to recovery?

I think if government cuts mean that we have to look to other institutions then the arts shall do so and already do so. We are a resourceful bunch. Large institutions such as the arts council, the national lottery and the like are in charge of the main funding resources to the arts and they are funnelling the resources available to sustain/recover the artistic community so often it feels like they have the monopoly to steer the cultural landscape, for good or bad.

However I think that funding should be improved at more local levels. I also think that the structure of the arts council should be addressed. I am aware that London is the most over subscribed region for arts council funding, whereas in other regions, the arts council do not receive enough feasible applications and therefore the funding potentially goes to waste. There should be more local London Borough offices for Arts Council funding so that the resources are better distributed across regions. Oh and shorter funding application forms would make the funding applications less obstructive to those of us who do not have a degree in nuclear physics and endless patience!

What are your opinions on Jeremy Hunt's advocacy of using philanthropy to plug the hole left by government cuts to the arts?

I have no problem with philanthropy but it needs to be a small slice of the funding pie. We can't let the art world be funded by a limited number of rich individuals who may be driven by self interest or commercial considerations. The more people interested in art, supporting artists and buying the better but all this needs to come from a range of sources so that all forms of art are catered for, not just the fad's of the day.
I am disappointed when I see massive campaigns to 'save' a painting for the nation, like the National Gallery's acquisition of Titian's 'Diana and Actaeon' which raised £50m from private donors while contemporary artists, who are saying something much more tangible, are left to fend for themselves. £50m invested in the art world of today would have a transformative effect. If we leave it up to private philanthropists to support the art scene then we'll just see higher and higher prices for the same old paintings, with the same old names. Emerging and contemporary art would die.

Our members at Core gallery, invited artists, curators and friends contribute time, resources, skills, art and knowledge to us all the time. If anything or anybody is going to help young, contemporary or emerging artists through the cash strapped times ahead it's the public's creation of artistic communities with where we all pool together and support each other.

Deptford has a very good community of artists, studios and galleries, greater spirit of generosity as a community of artists which has been helped hugely by Deptford X, Julia Alvarez and the Deptford Art Map, Bea De Souza and DNA all of whom have contributed to making Deptford into a culturally important and vibrant place to go. It's a group effort.
But we are faced with extra threats with 'regeneration' projects that are more about creating super swish flats and stamping out the studio's where we work and thrive. Our studio rent is going up constantly and we are under threat of being evicted with little notice if property developers offer our landlords enough money.
Funders, prominent artists and institutions have so much they could offer to others but I don't see them being so philanthropic to ground root art communities. They could, for example, choose to fund more studio complexes, educational resources, community art projects, or just even buy some art from artists to help our economy here; help us to evolve, develop and safeguard our livelihoods from property developers who seek to evict us and ' regenerate' this area and push the cultural quarter out.
But they don't. So called 'philanthropists' and institutions buy 'big name' paintings and that won't help most of us.

In addition to your visual practice you are a freelance lecturer and founding member of Core Gallery, Deptford, London. Would you describe yourself as having a nomadic attitude to sustaining your practice?

Despite constantly roaming across the country in different roles, to and from meetings, to teaching, to exhibitions, to the gallery office, to my studio I am rooted by the work that I do and the issues I try to bring out in my work. The various roles I have are all enable me to explore the concept of community and what that means across different sections of society across the world and to the individual as well as community.
It is definitely a diverse lifestyle but taking on these additional roles is essentially research and dialogue that I just happen to enjoy.

Your blog won Artists Talking's blog of the year in 2009. How important is digital networking to your practice?
A blog opens up opportunities for dialogue with artists, curators and many others. It allows my work to be seen in a wider context rather than just as a final painting in an exhibition. It gives insight into my practice: the research processes, concepts, anguish, joys, frustrations and experiences. It also enables you to be self reflective about your work. Plus it is not a bad marketing and PR tool either as it gets people more engaged in your work and gives you an opportunity to promote the people you've been working with. It all adds up.
The blog has also led to job opportunities and was a wonderful opportunity to reach an even wider audience through the publication.
I don't think I can manage twitter just yet though, I already do too much and I think that may tip me over the edge! Sorry tweeters!

AIR has over 14,000 members. If there was one issue you would like it to campaign for or against what would it be?
Free university education is something I feel very strongly about. If we levelled the playing field by banning the tuition fees then we could have people selected for courses based on talent alone rather than who can pay the most fees and using international students as veritable cash cows. At the very least government means-tested assisted grants rather than loans. It is feasible as demonstrated in Scotland, (and was the norm in the UK pre 1998) which has outstanding academic institutions. Idealistic I know

I also believe that in art education there should compulsory professional practice for artists, which is essential if new graduates wish to survive in the art world and even get a sense of their newly qualified direction. It is a wilderness out there and you need to do your research.

I recently gave a lecture at the University of the Arts about how students need to prepare and make the most out of their degree shows. Although well attended, as the talks are optional, as a percentage of the whole institution about 2% of the student body came. New graduates can be so immersed in their practise that their first opportunity to showcase their work is an opportunity missed.

www.rosalinddavis.co.uk
www.rosalinddavis.blogspot.com
www.coregallerydeptford.blogspot.com/
www.corblimeyarts.com
www.deptfordartmap.com

The Rosalind Davis Newsletter has arrived !

2010-06-18T08:09:00.001Z

My newletter has arrived, that’s right people, with pictures, jazzy boxes, links and everything. My friend Tammasyn Gambell ( www.tammasyngambell.com ) has a studio in cockpit arts and she sent me hers a while ago which was gorgeous and smart and I coveted it immediately and her lovely boyfriend Jamie Young assisted me.

Check it out here:
Rosalind Davis Newsletter http://bit.ly/dt3mxO

Why a newsletter one might ask, well what with exhibitions, press, core gallery etc its all too messy to put in an email and expect people to read all the info- this way people can just check out what interests them in bite size nuggets. I know it may not be very ‘ arty’ to be so professional and to do all this sort of ‘ marketing stuff’ but being an artist means you have to stand up and show yourself, get exposure, otherwise how are you going to survive telling no-one about your work? In this recession we have to work even harder to get noticed and you have to be professional; A two liner email with no image attached isn’t going to get people outside your circle of friends to a show.

On a different note our core gallery website may be live soon – only a few months delayed….somehow I ended up being the one to be instructed on how to update the website, a few words went into my brain from Max Saunders, our webdesigner and then the rest was dalek speak. Chantelle and I spent an evening tearing our hair out over the functionalities and I really did not understand what the heck I was doing…..so if it is down to me then it may not be live for a while…..plus I feel like I am going blind with tiredness at the moment, but one last push is the final week of Wilderness and open studios, a lovely blurb written below sums it up nicely;

We are sad to announce the coming of the end of the much celebrated “WILDERNESS” exhibition at Core Gallery, which will end on Sunday 20th June. *sighs and moans of grief*
But we are very happy to announce it has been a very great success. With over 400 visitors, an extended showing time, several artist talks including among them Deptford Arts Map and the fantastic discussion with the reputable Graham Crowley, we wanted to invite those of you who didn’t make it down yet, or for those who just want to see it again, for the final few days. *cheers and hoorays rise in crescendo*
Friday 18th June, we have a little chilled out bar, with some music and who knows what little surprises on the way.
Also starting on Friday through to Sunday there will also be the fabulous ‘JUMBLE JUMBLE’ arts sale going on in and around the space with guest such as Pigeon Wing Gallery and Miss Led…..and as if that wasn’t enough, the quite excellent Cor Blimey Artists are opening up their studios for everyone to have a little butchers at what everyone’s up to and maybe bag a bargain piece of artwork whilst you’re there. *exasperations of WoooooWWw*
Anyhoo…
It’ll be lovely to see you all again where you’ll all have the final chance to check out Rosalind’s dizzyingly beautiful painting-stitching, pull me up on my layering and spectaculour use of colour and have you’re photo taken in front of Neil’s now famous, idyllic mountainside wallpaper.

*applause ensues*

The Deptford X entries for Core Gallery’s open submission are pouring in which is fantastic and the entries are very strong already, Emily, our super intern is sending all over the place. If you would like to apply the info is here-
http://coregallerydeptford.blogspot.com
PLus theres a load of other great opportunities to get involved with Deptford X: www.deptfordx.org
we would love to hear from you……

Artist's talk, Mountains to climb, interviews to do.....

2010-06-09T16:37:00.000Z

I have been trying to clamber atop the mountain of paperwork as I mentioned, my to do list however has gotten out of control and its looking like I may never paint again! On the other hand I have worked my ass off painting lately, so the balance must be addressed and to keep all those various plates as creative practitioner, gallery manager and writer keep spinning away. besides I am letting ideas boil away in the background.

Our artists talk at Wilderness, ( my exhibition at Core Gallery with Enver Gursev and Neil Kelly) with distinguished painter Graham Crowley , ooh , a couple of weeks ago now , was superb.

Graham was utterly brilliant. Erudite, enthusiastic and full of energy, throwing art history, critical theory, opinion, popular culture; morsels of delicious information at our hungry feet. Charming too is Mr Crowley, when I introduced him as my visiting professor at RCA who taught me how to paint, he demurred, ‘No Rosalind I told you about painting, not how to paint, you did that…’ Graham has seen me develop in the last 5 years as a painter and I think he is happy with the result of what he sees from what I could gather. Neil and Enver were equally bowled over and charmed. To have a critically constructive eye over our work is wonderfully motivating.

Graham also gave us an overview of his work, admittedly difficult for a man whose career as an artist spans over 40 years, ‘like trying to do a short overview of Proust’ he told us. Graham started at the beginning of his art school education and emergence into the artworld; the climate, the way people were taught, again: more political, cultural and social history thrown in. Talking about his processes of working and ideas behind the work was fascinating.

A very satisfying day!

On another note, we finally got a teeny bit of funding to do a project at Cor Blimey! A one day drawing workshop involving the community working with 3 external artists from local studios in Deptford. The wrangling and endless re-workings of our application was worth it! As although its not much funding, we have had a success in it and it motivates us to try to do more.

Plus we have launched our first Gallery open submission with 3 fantastic judges; Graham Crowley, Kate Jones and Matt Roberts launched on

http://coregallerydeptford.blogspot.com

Now, about that paperwork, I have 2 articles to write- one for AIR about the government cuts to the arts under the coalition government ( eek !) and another for Becky Hunter who is going to create an artist led space in the US. All again very exciting stuff!

Axisweb

2010-05-31T22:00:00.000Z

Axisweb

Core Gallery in action!

2010-05-30T19:34:00.000Z

In this insecure and heady world of art and creativity, I and Elizabeth as spearhead and momentum gatherer of many people’s ideas at Cor Blimey helped establish a gallery ,created in two shows so far, in two months , that most edifying addictive atmosphere that celebrates the expressiveness of exciting contemporary art, opened up wondrous conversations and serious discussion,created opportunities for artists, established relationships with artists, curators and fellow visionaries. All held up , supported and channelled by my fellow believers at Core

I have been dazzled by Chantelle, Enver, Leyla's, Neil, Arnold and Gillian's hard work who have also been key in this, by Lizzie who has stepped in as well. I am awed by the genorosity of local galleries and studios such as Bearspace , The Agency and Creekside and all the artists and curators who have joined us so far and are part of the core family now; Nick Kaplony and Helen Griffiths

……Although I feel finally part of something I am also at times a little scared by the responsibility of it all ! but driven too!

read all the latest on http://coregallerydeptford.blogspot.com

Wilderness Art Talk with Graham Crowley!

2010-05-26T12:55:00.000Z

Gosh what a week or two! Got four new paintings finally finished on the day before the opening. The Core Gallery launch had taken up more than a chunk of my life so everything else has been shunted- to be expected. Then just as things looked a bit more normalised and I could start making headway on masses of paperwork the curator we had for the artist talk this saturday had to pull out to deal with family emergencies.

Several frantic phone calls later Graham Crowley managed to save the day, stepping into the helm and he shall be chairing our discussion about Wilderness. I am so very excited to have him chair the talk, it will be fantastic!

Also, we had our first gallery intern Emily Chan joined us who will be taking over some of the Core Gallery work for us. A double blessing week!

Invitation to :

Wilderness

rosalind davis, enver gursev & neil kelly

Saturday 29th May 2010, 2pm onwards

Artists in Dialogue with Graham Crowley

Graham Crowley one of the most distinguished living painters in the UK shall be in conversation with Wilderness Artists: Rosalind Davis, Enver Gürsev and Neil Kelly

Please rsvp coregalleryinfo@gmail.com to reserve a space as places are limited

Wilderness is an exhibition by three of London's most promising emerging artists exploring the idea of wilderness through painting, drawing and installation.

Davis, Gursev & Kelly’s works each interpret notions of seemingly abandoned spaces. The results depict urban and dystopian scenes, as if in the wake of apocalypse.

Graham will discuss and explore with the artists the concepts in their works, their notions of Wilderness as well as their own varied and fascinating careers so far in the Wilderness of the Art World!

Wilderness is a show not to be missed, with new works on display from each of the artists.

About Graham Crowley
Graham Crowley is one of the most distinguished living painters in the UK today
Born in 1950, Graham Crowley studied at St. Martin’s School of Art London 1968-72 and Royal College of Art London 1972-75, and has held significant teaching posts including Professor of Painting at the RCA (1998-2006)

His paintings span a vast variance in style from the approprationist art of the 70s to his brilliantly luminous landscapes of the present day, tracking a fundamental narrative with political, cultural and personal histories within them.

Crowley was a judge on the 25 John Moores panel in 2008. As an applicant he has exhibited eight times, winning prizes in 1987 and 2006.

www.deptfordartmap.com/core-gallery

coregalleryinfo@gmail.com

Core Gallery C101 Faircharm Trading Estate, 8-12 Creekside, Deptford, London SE8 3DX

A review of my solo show: A Difference in Vision

2010-05-12T15:21:00.000Z

As I frantically finsh paintings for my upcoming group show at Wilderness in Core Gallery , a lovely review for my current solo show has arrived! Hussah!

http://poptartlondon.com/2010/05/10/a-difference-in-vision/
Check it out on :
http://poptartlondon.com/2010/05/10/a-difference-in-vision/

Pop T'art London
I first noticed Rosalind Davis‘ mixed media paintings last year at the Deptford X art festival. I was drawn by the vibrant colours and clever use of fabric to create collage pieces which she then paints and embroiders over.
So it was a real pleasure to be shown round her new solo show A Difference in Vision by Rosalind herself at Bloww gallery off Regent Street recently.
The above piece, from which the show takes its title, is oil and embroidery on vintage print cotton sateen. It depicts the huge Robin Hood estate in Poplar, East London which was designed in the 1960s and condemned in the 2000s (much to the dismay of many leading architects campaigning to preserve it as a modernist masterpiece).
What I really like about Rosalind’s work is the surprising contrast between her subject matter of brutalist architecture with the materials she employs to depict them – florid fabric and delicate hand stitching – to create otherworldly, surreal pieces. “I enjoy mark making with embroidery,” says Rosalind. “It’s more controlled and emphasises the fragility of our buildings and of our own existence.”

Rosalind meticulously researches the buildings she paints by photographing them and talking to their residents where possible (many of the buildings are derelict).

This one above called 26 Remain refers to the 26 remaining families in the Ferriers estate in Kidbrooke, Greenwich.

While you may recognise Elephant and Castle’s famously dilapidated, and soon to be demolished, shopping centre in this piece, Belong Nowhere.
It can take Rosalind between one to four months to execute a piece. Often sourcing the fabric becomes a mission in itself as she likes to incorporate material which reference the period of the buildings’ construction.

Her work highlights the breakdown of social housing, community and the overall failings of modernity. And it certainly lives up to this show’s title. I really like Rosalind’s unusual, thorough and intricate approach which gives layers of meaning to each picture. Go see!
A Difference in Vision runs until 9pm, this Saturday 15th May. After that you can see new and existing work from Rosalind Davis (and two other artists) at a new exhibition Wilderness which runs at Core Gallery in Deptford from Saturday 22nd May.

Exquisite Opening.

2010-05-06T11:16:00.000Z

I owe an apology! A whole week without update on how the Exquisite Corpse private view and first week went. I have battling with a funding application ( more weeping and comforting tea at hand, thank you also Emily Speed for the consolation! )

Well , the Exquisite Corpse exhibition has been going very very well. About 450 people have come through the doors- local artists, studios, galleries, collectors, the general public, important people from various organisations have also come in support. It feels very very great to be part of something.
The private view was super excellent fun with some fantastic performance from La Donne and live music from the Islington Boys Club and Sex Funeral , who I somehow got wangled into singing with.

We also sold a piece, Lucy Newman’s ‘ Prehistoric Landscape’ to the University of the Arts Collection . Not bad going for a first timer gallery!

Exquisite Corpse is reaching the end of its time with us and its gone so quickly and so well! A great first exhibition. We are now looking forward to an

Curators and Artists in Dialogue; Nick Kaplony, Liv Pennington and Sarah
Schuster
Sat 08 May 2010 -2pm
Core Gallery
C101 Faircharm Trading Estate, 8-12 Creekside, Deptford, SE8 3DX
www.coregallery.co.uk
You are more than welcome to come along!
Free admission but please rsvp to book a place as numbers are limited
Email: Rosalind.davis@network.rca.ac.ac.uk

Also this month I have an article based on this blog in the Degrees Unedited Guide for a-n. www.a-n.co.uk
I hope you enjoy the read if you are a subscriber

All is coming together.....and collective crush on Nick Kaplony!

2010-04-28T15:26:00.000Z

Holy friggin wotsits! The website is up! Still needs to be added to , but at last we have the holding page live
http://www.coregallery.co.uk/
I cant tell you how thrilled I am !
The banner ,has also arrived today! Hooray !

The last couple of days we have been setting up Exquisite Corpse with Nick Kaplony and Helen Griffiths, sorting out and tidying the existing space, everyone mucking in and now all but one piece is up and it looks Exqusite. Justin Richel’s work is stuck in Customs and we are hoping will arrive any minute. …

We have all actually fallen a little bit in love with Nick, he is such an excellent, fun and intelligent guy. Although he is laidback, he is super competent and knows exactly what he is doing- a refreshing attitude in my experience!

Yesterday we had 3 prestigious curators in the space for meetings, Nick of course, then Zoe Whitley from the V& A and Eva Langret from Delfina. All here gladly. Zoe and Eva came here to talk about our next exhibition at Core Gallery which they are curating: Wilderness, featuring me, Enver Gursev and Neil Kelly, opening in May. A night of group discussion which was fantastic.

I cannot believe the progress that has been made in the last few months. I genuinely feel astounded. I came to Cor Blimey Arts Studios just 7 months ago and here we are with a gallery about to open, working with some incredible people.
I was remembering how I met Nick, through a one to one on Artquest about 3 years or so ago, I kept in touch and now, well its unbelievable to think here we are now, working together on a show. An unbelievably Exquisite exhibition and an ambitious exhibition programme that people want to be part of.
Right now I am dancing!
Tomorrow, gulp, we launch!

Exquisiteness........

2010-04-23T14:35:00.000Z

It really is a bare knuckle ride this Core Gallery craziness!
We wait on tenterhooks for the website to be up and running, a little overdue, but of course as someone is helping us out with this our hands are tied- however as we have 2,500 flyers with our non existent website it is quite a nightmare!

The gallery, artist led, is coming into its own in terms of people coming together with a shared vision and making things work!
I spent 3 days designing/ advising /liasing on a new banner for our front gate with Leyla, Gillian and Elizabeth. Leyla was a star thrashing out changes and layout with me making charming but nonetheless firm phone calls to the banner company as I slowly wept over fig rolls …oh and the banner has the website too in very big letters…..yes as I say fingers crossed on that front!. So in the interim, all our info is here:

http://www.deptfordartmap.com/core-gallery

Chantelle, our press officer has worked tirelessly on mailings and has managed to get us featured on artrabbit and updated listings endlessly as each artist in the chain is announced, revising press releases, distributing press releases etc ;

http://www.artrabbit.com/all/features/features
http://www.artrabbit.com/all/features/features/april_2010/corpse

Kasia has put together all the posters and invites- again endlessly updating and revising!

At the gallery we have our first artist Iris Priest who has come from Newcastle to draw her work directly onto our walls….the other works are still to come but its very exciting to have someone here making works here!

Enver our efficiency co-ordinator ( self named! ) and my partner has been sorting out the gallery space and the launch night in terms of entertainment ( which is going to be the excellent La Donne and the Islington Boys Club) and generally holding my hand, making coffee, soothing noises and listening to my ideas and backing me up.

Not only do we have this going on but we also have an external studio members exhibition which opened last night near to the Tate Modern , which was selected by the excellent artist Silvia Battista.

The Truth is Rarely Pure and Never Simple
Nolias Gallery
60 Great Suffolk Street
SE1 0BL

Gillian our studio manager is part of the London Fringe Festival committee and our exhibition was part of the launch of a visual arts competition. Gillian answers about 50 emails from me a day and is super efficient juggling all her commitments all with a beaming smile on her face. The PV was very good fun although I found many blank holes in my brain where people’s names were meant to be- as Core Gallery consumes my every thought!
There have been meetings and meetings and meetings, teaching and guest lecturing, and a little bit of soothing painting in between.

More plots are afoot about core gallery and my own place in being part of something may become a lot more entrenched as I am interested in creating a professional development network with my clever studio mate Elizabeth in Deptford and nearby areas……just a teeny tiny funding bid to put together in 2 weeks amidst the Exquisite madness!

Exquisite Corpse Artists announced!

2010-04-17T10:11:00.000Z

To Dischord of Many Hearts, Justin Richel, selected by Sarah Schuster

Exciting news from Nick about the artists who have been chosen for Exquisite Corpse :

(In the order they appear in the chain)

Liv Pennington, Lucy Newman, Tasha Aulls, Justin Richel, Leni Kauffman, Nicky Deeley, David Raymond Conroy, Linda Florence, Iris Priest. Jock Mooney and Rebecca Birch !

Due to our excellent press officer Chantelle Purcell, Art rabbit are going to feature Exquisite Corpse on their home page, the South London press and BBC may also be attending the exhibtion which is also great news!

I also may even be given the gift of an intern if I am super lucky!

I cant believe we are already near the end of April......and the launch of Core Gallery

11 curators!

2010-04-08T21:58:00.000Z

So after a little glutting on much wine and chocolate over stupendously late night backgammon over easter the race is back on and :

Ta Da! The first phase of Exquisite Corpse is done, all the curators are confirmed and my my they are pretty dazzling and an honour for them to work with Core Gallery

Nick Kaplony

freelance curator, artist and Exhibitions Officer at Battersea’s Pump House Gallery and genius behind Exquisite Corpse:

www.nickkaplony.com

Claire Heafford

Art consultant and curator

http://www.heaffordandhall.co.uk/profile.html

Matt Roberts from Matt Roberts Arts and the famous Salon competitions,

Gallery in Vyner st

http://www.mattroberts.org.uk/

Sarah Schuster, Curator at Pumphouse Gallery Battersea

Medeia Cohan-Petrolino, Curator of The University of the Arts London

www.ual.ac.uk

Angelica Sule, Curator of Gallery Primo Alonso in East London

http://www.primoalonso.com/

Laura Eldret

Collecting Live Art

www.lauraeldret.com/

Zoe Whitley

Curator from V&A, Contemporary Collections

www.vam.ac.uk

Julia Alvarez, Curator, Bearspace Gallery , Deptford

www.bearspace.co.uk

Helen Griffiths

Bea De Souza

Agency Gallery , Deptford

www.theagencygallery.co.uk

The chain of artists is also coming along and sure to be as dazzling hurrah!

My Core Gallery Pledge

2010-03-26T13:27:00.001Z

So far I am not too happy with March.

So far I am not too happy with March.

The one great thing is that I have been commissioned for my first article for a-n. Giving advice for new graduates about ‘ how to become part of something.’ This exhilarates me.

In this month of turmoil however .

I have

1. had a bike crash

2. had my purse stolen

3. had my bike stolen

4. developed a sore thoat flu type thing that has bunged up my brain and given me lethargy which makes me just want to go to bed and watch the entire season of Lost for a bit of escapism from the many commitments being asked of me.

I have strong and good feelings about Core Gallery, our team of artists, our professionalism, efficiency, energy and pooled resources. I am awed by the enthusiasm that others show in our project and the awesome happiness that others want to be part of our little something.

I pledge I will not treat artists like commodities, I will give as much support to anyone who needs it, not for my own gains but for the mere satisfaction of it being rewarding to help and to teach. I will make sure we meet our deadlines, that we are professional and organised. I will try to be as visionary with this as I attempt to be in my own work. This is an experiment, a ground roots determined project. Sure I don’t know everything I am doing at this stage but I am good at project managing I discover, I am good at co-ordinating and inspiring others and I am not saying this arrogantly but by the excitement that I see in others as a result of this project. I stand by these aims and you know what I am pretty ambitious too. I refuse to be knocked down.

Bun House Bandits and Bea De Souza

2010-03-19T08:52:00.000Z

My fingers are healing from my bike crash albeit a little sore, but I wanted to write a little.

My meeting with Bea De Souza from Agency Gallery was invigorating. Bea gave me lots of sage advice and also said she would help input into our development. It gave me an idea that I should try and set up a few more meetings with the Deptford Art map Galleries in the area and just say hi. Some are more forthcoming than others. I guess some people are part of something really because they have to be rather than want to have enthralling and stimulating conversations and exchange of ideas. Each to their own I guess…..

I mean in many ways I keep thinking what am I doing? Am I insane to be setting up a gallery? I have not only my own practise to think about , but teaching, lecturing and blogging, finding more art related work, entering competitions and writing proposals, well that is plenty to do but somehow I want to make this work and all the studio members that are working so hard alongside me and are such great cogs in this Core Gallery Machine , well they are relying on me to make this work…..so no pressure then!

…now my mind is occupied with how we could get a bit of funding to run the space, but my god, funding applications are an art of their own and so much trouble one just gives up………Bea suggested trying to get funding for an International Residency which sounds great , but just exactly how?

I did meet some other art geniuses last week as well who run an experimental art space and studios. The art space is in a place called The Bunhouse in Peckham, which always looked to me as I passed it on my journeys through Peckham like a scary tumbleweed blowing , locals only kind of place albeit with beautiful tiles and authentic mouldings. Well blow me, it actually houses a thriving exhibition space and arts community plus the bar staff give you chip sticks and jelly babies with your pint of Stella and are actually super friendly and have a fantastically diverse crowd due to the bunhouse bandits I am guessing. Plus of course intersting exhibitions.

You can read more about them here

http://www.bunhousebandits.com/about/

http://fieldonline.eu/

Craig and Francis are an inspiration to Core Gallery

Okay ouch ,my fingers hurt now. Have to go

A blog review by Mr James Oakley

2010-03-15T10:17:00.000Z

I am injured! I have had a bicycle accident! I fell in a pot hole about 1 foot wide and 2 foot deep on Peckham high street. I fell on my chin and gashed it open, same goes with my hands. My shoes flew off down the street and were returned by two sweet girls. A man from chicken cottage attended my wounds whilst I wept copiously and somewhat hysterically. I refused his attempts to call an ambulance and wobbled off home, to be attended by my partner’s gentle hands and then fainted. A short stint at the A&E in the glamorous Lewisham hospital resulted in the doctor saying nothing was wrong with me and being sent home without even a plaster. Nothing serious then…. Except the major pain I am in and my black and blue legs!

Luckily I have been sent an analysis of my blog through by a very talented writer friend of mine and as I cannot properly type as it hurts my fingers it is quite handy to use for today!

An analysis of my blog by James Oakley
www.JamesOakley.info

The arts boffins at Central Station said I should write a blog entry...
I thought cripes - what shall I do?
What if all those self-harming arty types don’t like me?
And also - I’m bursting for a cuppa tea - will this kettle never boil?

In order to get a grip on exactly what it takes to make a top quality arts blog, I wrestled blogging supremo visual artist Rosalind Davis to the ground to ask for her top tips.
I also turned on the kettle. It does help.

Rosalind Davis is best known for her haunting and uplifting mixed media potraits. She layers bits of old curtain, wool, embriodery, good old fashioned paint and anything else she finds lying around creating beautiful urban landscapes. But I wasn’t here to ask about her art - I wanted to know the tricks of the trade. How do I make my blogging “Award Winning” like what hers is?

Unfortunately she was so busy suffering for her art, I got to suffer with her answering machine. So I nicked someone’s teabags from a cupboard in the office and looked back over her blog to what ideas could inspire me. While the tea brewed I made these notes about her Blog:

Gentle distinctive tone, like Sir Trevor McDonald reading you a bedtime story. Lovely.
Beautiful pictures of amazing artworks. Like really good.
A real human interest stuff - Ros doesn’t force her story. It’s subtle, it’s there, and it makes you love her. A lot.
She’s in London and I’m in Glasgow I don’t have a clue about some of her London references, but she explains enough to give me the gist. I feel I’m treated like a proper grown-up rather than the teabag stealing ruffian I am.
She has a distinctive opinion, but she’s not shouting. Whispering works.
When nicking tea bags check they’re not green tea.

Agency Gallery and University of the Arts

2010-03-14T13:11:00.000Z

Last night my supper was crisps. A pretty good flavour- vintage cheddar and red onion. Washed down with a little red wine. Hmm…….the reasons why – well there is no time to eat…….

Bea De Souza from Agency Gallery in Deptford http://www.theagencygallery.co.uk/

Bea is a real mover and shaker and she is coming to see Core Gallery and talk about our plans and working together in the future. The show we currently have in our gallery space was from before xmas- Fraction. Which we left up and which has been evolving with studio members work changing and new members joining etc.

So what we had up needed to be pulled together and made more cohesive and edited. So as it was last minute, I and Helen hung the show last night, poor Helen was ill too and had to go, so I finished myself and am anxious that everyone will be happy yet also saying to myself that I am doing this for the benefit of everyone….it may be hard to please everyone in the studios at all times –you cant. And the gallery is going to be standing interdependently to studio members- we are not going to populate every show with members works basically but inviting artists and curators into the space. It is for all our benefits to have this energy in the space......

I was a guest lectuerer at the University of the Arts as well this week, part of a professional development lecture series about how to sell your work at degree shows. I remember how consumed we all were at college and uni. To think about the degree show and organising ourselves for the press and business side was not a priority but it is so important to start planning things now, for students to really launch themselves, to make themselves stand out and get the attention they want. To believe that your University will do this all for you is unrealistic. You need to be proactive too with all your exhibitions and build your presence.

I had a friend who had an exhibition I was trying to get to. He said to me ‘don’t worry , I don’t really care if my family and friends come, I am not that bothered about it ’ I found it really offensive to say that. So I did not go. Even if at the beginning of your career if you bring people, any people to a show, then it shows you are involved to the organisers and curators. It feels good when people come to shows. That’s why we invite them……..

Anyway I have to go and sand some walls and go to 3 meetings today, one for me two for core gallery. Tonight I may branch out into balsamic and red onion crisps……

Bede Estate

2010-03-04T15:11:00.001Z

' Painting is a way of showing oneself as an artist and every painting is a kind of face, a self portrait.'

Michael Borremans

The painting here I have very nearly finished. It is of Bede House, part of social housing estate in Bermondsey. It is completely abandoned.

You can see into the rooms people left behind, the shadows of the pictures that once hung on the wall, the curtains they left behind. It seems people left there in a hurry, as if an apocalypse occurred and they left with just their most important possessions.

I wonder what happened to them all. where did they all go?

Exquisite Corpse- our launch is confirmed!

2010-03-01T11:34:00.000Z

Our launch show for Core Gallery, opening on the 30th April has been decided:

"Exquisite Corpse" An Exhibition and Curatorial experiment by 11 International artists and curators. Co-ordinated by Nick Kaplony

‘Also known as "exquisite cadaver" or "rotating corpse" Exquisite Corpse is a method by which a collection of words or images is collectively assembled

In this context Exquisite Corpse is an experimental approach to constructing an exhibition selected in response to the corridor like structure of the Core gallery itself. A number of curators and artists have gathered to play and to construct the Corpse. The game works like this. A chain of curators/selectors is established, the first curator in the chain selects an artist for inclusion in the show. The next curator in the chain selects an artist in response to the work selected by the previous work selected. Each curator can only see the selection of the previous link in the chain so it continues and so it continues until the Corpse is completed.’ Nick Kaplony

Nick is a genius.
Matt Roberts is going to be one of the curators which is fantastic news and it is going to be rather sensational!

The end of the Race !

2010-02-23T10:48:00.000Z

My my my !What a couple of weeks! My head aches…..!

The race for ideas workshop was indeed a race- a half term festival of learning and it went very well. I organised 10 primary school children to visit between them, 9 museums in 2.5 days in Central London, organised workshops or tours where possible in the venues and pointed them towards objects that would reference the Olympic values ( friendship, courage, equality, inspiration, excellence, determination and respect) with the help of these many venues’ cooperation. Facilitated and co-managed by the marvellous Sophie from Camden Council and Sian from London Transport Museum who not only created this amazing project but helped and advised on my coordination but took the kids around these venues, bought wickedly lovely cakes when much needed and so much more!

The students learnt what a Sarcophagus was ( and indeed how to spell it) from Sir John Soane’s Museums, were inspired by Dr Johnson- who spent 9 years pennilessly compiling the English Dictionary, were awed by the tree of life in the British Museum and painted to music in the October gallery amongst other activities! With me onsite at school the kids came back inspired, where I had created a system of symbols for the values and we created flags, maps, sculptures, drawings and treasure boxes.

A member of the Olympic committee who visited on the Friday seemed super impressed by the activities. Maybe I can sell them my symbols system…….some of that arts council funding that has been cut could be put towards it methinks. ….?

On the Core Gallery side of things Helen, Elizabeth and Gillian have been whipping up a fabulous gallery mission statement. Plus I attended my first Deptford Art map meeting- very exciting! Talking to all the other galleries who seem really excited by cor blimey studio’s development into a gallery and I am looking forward to more dialogue with them. It really is a community and such a thriving and ambitious art area! I can’t wait until we launch in April, (although so much to do! )…oh and we have some free studio space if you are interested in joining us in Deptford……contact us at www.corblimeyarts.com for a lookie….

On the art side of things, my solo shows: A Difference in Vision and Belong ( one in Regents Place, London and one in Bedford College are both up. Please check www.rosalinddavis.co.uk for more details of dates, times etc. The private view for A Difference in Vision has unfortunately been moved 3 times to mid march due to unforeseen circumstances, which has been a bit messy for my invitations but sure it will be great!
This week I am going to get back to some serious painting (ah bliss!) and more meetings! One of which is for a group show at Core Gallery that I shall be in with artists Enver Gursev and Neil Kelly called Wilderness to open in May…….

The Olympic values.....

2010-02-10T14:34:00.000Z

Its been a crazy 2 weeks- I shouldn’t be surprised really at this stage!
I have a freelance job as a project manager and workshop practitioner for a half term project with Camden council and London Transport Museum.

Part of the role is liasing with cultural venues in Camden- The British Library, British Museum, Wellcome Trust and Sir John Soanes etc. Writing workshops for off site trips as well as creating workshops to deliver myself to students. Its about the Olympic values- friendship, equality, courage, respect, determination…..etc. etc.
It is my biggest teaching project yet and dizzying to me in its magnitude, but thrilling also. I realise how much I love working with people, interacting and co-ordinating. I feel connected to so many people.

Compared to a about a year ago where I felt rather isolated and invisible, - I really am becoming part of something. The studio is a huge part of it- and now Core Gallery, this beautiful idea emerged as a result of collective thoughts and determination. I am project managing that as well

So much is going on- we have a wall planner and already it is filling up with exhibitions. We even had our first tour of the gallery space as a potential location for an MFA show from Goldsmiths! We are opening at the end of April with Nick Kaplony’s show and hope our website shall be up and running soon! I just have to keep my head screwed on and on top of everything- deep breath!

Deptford Art Map

2010-01-29T13:32:00.000Z

Core Gallery is most definitely go!
A surge of momentum from everyone is giddying and delightful!

I have been sending out little jobs for people – to research and sort and they are busily finding the answers. The obstacles that seemed to loom before are melting away.
Cor Blimey Arts are now on the must see spots on Deptford Art map and we shall have Core Gallery on there as well as soon as
http://www.deptfordartmap.co.uk/
I shall be posting my blog about Core Gallery once we are more finalised onto there as well as going to a meeting with Deptford Art Map and Bearspace to meet and talk to other gallerists and studio spaces. Very exciting!

In addition I have had some good meetings with Curators and artists; Nick Kaplony, an artist and advisor from Artquest is going to collaboratively curate something. Our very own A-N editor Andrew Bryant is also on board to curate a show! Both of which sound very interesting. Hopefully Zoe Whitley from the V&A may get involved along the way as well. Chantelle Purcell is going to be liasing with students at Central St Martins and University of Kent, Arnold Borgoreth, a lecturer on the "Image & Communication" MA degree at is also going to see if he can get some more people involved there-perhaps a photography exhibition…. Already an interesting programme is unfolding…..
More plans unfold by the moment!

Core Gallery is go!

2010-01-27T21:44:00.000Z

Core Gallery is go!

Hooray!

The trustees are letting us go ahead with the idea. Bless them!

Hooray again!

new technology.....

2010-01-25T09:23:00.000Z

I have a new phone that is terribly unreliable which doesn’t help a gal with sleeping problems. Today the alarm did not go off at all and some part of my slumbering self must have realised it was getting lighter in my room. I shot out of bed at 8am ( should have been 7am ) and left the house in 6 minutes flat!
I am at my admin job today- where I am a drone for the day ( financial security is a must for me to be able to paint so this is a necessary evil ) I have not painted for about 2 weeks since I dropped off my last piece to Long and Ryle for the London Art Fair. It feels strange.
I don’t know what’s happened with the time- except I have finally done my tax return and sorted out lots of admin. Plus read the December and January Saturday Guardian Newspapers – hurrah!

I have not been sure what I was going to paint next and I was thinking I was going to have some time to really research my next research trips around and outside London but I am about to send all my work out to 3 different places. I will have no works left for anything if I need it…..so I need to crack on! One idea however has been brewing subtly in the background and it began to form over the weekend. The addictive elixir of paint is drawing me back……..

The other good thing is more teaching is coming my way. I am doing mixed media courses for adults at West Dean College and Brighton Phoenix http://www.phoenixbrighton.org/courses.html and am back at The Stephen Lawrence Centre and Bedford over the coming months. Hopefully one day, not too far away, I may be able to exist on this and painting alone…..

Core Gallery Meeting no 2.

2010-01-22T14:27:00.000Z

Core Gallery

We had a second and fuller meeting about developing our studios into more of a gallery space/artists initiative…..as one of the newly set up Gallery Committee members there are lots of logistics and politics to get through.

Our first main issue is the name. Cor Blimey Arts Studios is the current name for our space. We cant change it completely as we have charitable status, plus we have a board of trustees some of whom live in Somerset, half are up for it, the others it is unknown.…….the studios and their artists have moved on in their output. there is a desire for those of us in the studios to be taken somewhat seriously now . We pay rent so surely we should have some say so?

Hence kick-starting this gallery idea…..

We have to work within some kind of parameters of that name in terms of branding and also to try and persuade our trustees to allow us to do this, so the suggestion was Core Gallery. Connected but different…..

If we cant change the name of the gallery space we shall have to do something else, somewhere else……possibly we could have a splinter group of artists, collective, utilising empty spaces to put on exhibitions….be part of something….

Other news is that London Art Fair with Long and Ryle Gallery was a success and they have some of my works hanging in their gallery in Pimlico until mid feb which is great. Then 2 more solo shows pending in feb-literally opening on the same day I think. One in Regents Place, London with Trudie Stephenson and an exhibition with Bedford College where I lecture occasionally…..the new year didn’t take long to have many scheduling clashes! It is all invigorating though!

a-n's 2009 blog of the year!

2010-01-13T21:07:00.000Z

Crikey ! Very crikey!
I am delighted to tell you the following news:
Andrew Bryant announces the 2009 blogger prizes

' One of the three winning blogs of 2009 is Rosalind Davis' Projection Space for its honest self-critique and insight into both making work and developing a career. '

http://www.a-n.co.uk/artists_talking

To say I am really rather surprised and humbled is an understatement. I thought it was just me and the dog that read it and the dog is not even real….more a vegetarian taxidermy! Thank you Mr Bryant and to anyone who read it!

One of the A-N’s 2009 blog of the year!!!!! To say I am really rather surprised and humbled is an understatement. I thought it was just me and the dog that read it and the dog is not even real….more a vegetarian taxidermy! Thank you A-n!

I am celebrating right now with a glass of merlot and complimentary cashews!

The first Core Gallery meeting occurred in the last few days too which was super interesting. Many ideas cooked up by 3 of the 8 or so gallery committee as they shall be known….however even getting 8 people together is nigh on impossible so I am having several meetings as some sort of liasing gal…. There is another thing that has popped up that has been playing on my mind- we are likely to have to move studios…..ours is going to be smashed up for new development housing…what the hell are we going to do is the first thing? As one artist put it, we take the legacy of this gallery idea with us but still, very difficult….the hub of Deptford artists workshops is going to change rather dramatically as everyone now sees an opportunity to make money on this overseen space. Darn…….let me know if you know anywhere we can move to- a collective- at least 10 artists, somewhere…….

2010-01-07T23:21:00.000Z

I am afraid I have been rather lax on the blog front.

After my show with Julian Hartnoll I hit a slump and my body melted down along with my weary head. I always marvel at how these things; paintings and exhibitions can both exhaust and of course invigorate you.

The show with Julian was great. Julian Hartnoll is a charming man and we even got a piece in the financial times. Hurrah !

It has been 12 months of huge change, artistically a miasma of development and opportunity. 12 exhibitions, overlapping and clashing and finally a studio where I can be enlivened and thrive in as well.

I am now though, thirsty for new research and visual stimulation and I am slowly emerging from the marathon of last year.

The studio/ gallery idea is to be put back into the forefront of events. There is a lot to do: planning, programming etc. I am not sure how any of it will work…but I think it will. With some elbow grease and vision and people working together……all very exciting.

Next week I am in the London Art fair with Long and Ryle Gallery and have been working on another large painting of Elephant and Castle for it. and then....time for research and planning

A review of I am Yours. My solo show at Julian Hartnoll Gallery

2009-12-18T10:16:00.000Z

I am afraid I am empty of words right now..so here is a review of my show at Julian Hartnoll Gallery by a spectacular artist Enver Gursev, who kindly sent me this after seeing the exhibition:

' “I Am Yours” by Rosalind Davis consists of a series of small paintings on patterned textiles, which are embellished with delicate stitching.

The subject is consistent; deserted landscapes mostly urban, with buildings sitting majestically under floral skies. The impeccable stitching sitting on and in between the forms, evokes sensations of desperate care, as one might feel for a dying relative. It is almost as if by carefully underpinning the abandoned scenery, Davis is trying to rescue the memories they are imbued with from impending demise. The work exudes a quiet sympathy for these places and the people that once inhabited them.

Among the many works, ‘I Am Yours’ and ‘Thawing’ depict intricate yet disconcerting fairground environments. ‘I Give to Thee’ and ‘Belong to Someone’ are beautifully worked compositions, teetering on the edge of abstraction. ‘Belong to Something’, dwells on the grim landscape of the Kidbrooke Estate in South East London.

Visually vibrant and intellectually moving, this show shines massively in the tiny confines of the charming Julian Hartnoll gallery. '

2009-12-09T22:40:00.000Z

' Every work of art is aggressive. And every artists's life is a small war or a large one, beginning with oneself and one's limitations. To achieve anything you must first have ambition and then talent, knowledge and finally the opportunity.'

Carlos Ruiz Zafon. The Angel's game

Group Crits

2009-12-09T22:22:00.000Z

In the last couple of weeks I attended 2 group art crits (because I wasn’t busy enough with two exhibitions about to open !)

One was Engine Chat Chat set up by my studio mate Elizabeth Murton and a group of artist friends / colleagues from Goldsmiths. The other was with Matt Roberts Arts.

Both crits I found interesting. I found parts of it very challenging in that most of the artists speaking did not set out who they were and what they did and I need context and visuals

( which were not always available) as otherwise it was very abstract. With some people I could not understand what the heck they were doing and their explanations were muddled so I could not contribute so much.

It was obvious that some found it difficult to talk about their work- which is completely understandable . I have mentioned before that RCA makes you consistently talk about your work. I am talking unendingly about it – at exhibitions, artists talks, to students etc so it is luckily second nature. I know its not that way for a lot of artists Writing this blog as well has allowed more time to self reflect on processes and concepts too.

So back to these crits, some people didn’t seem to be able to stop rambling, with little energy or enthusiasm ……..and talked for 30 mins instead of 5-10 mins which became rather much…..

Small groups are much better ( there were 11ish at Matt Roberts, 7 at Engine chat chat, both lasted 3 hours! ) – maybe 5 people max to really get into the subjects.

The good idea about Engine Chat Chat in particular was that the idea was to come with a question to ask the group so that this becomes the debate rather than just introducing and talking about your practise. I think this is a good way to structure the crits…..

I did see some very interesting and thoughtful work however and across both groups similar themes came up. Confusion and doubt of what direction and how to move the work along came up consistently, fear, lack of confidence and time all were universal subjects.

I am grateful to Elizabeth and Matt for making these exchanges possible. Its needed I think , to keep engaged with people and create peer networks.

The most brilliant thing though was that on a couple of occasions where we discussed problems artists were facing you saw them light up as we made suggestions. You could see wild fire of thoughts crossing their faces. This is why I love to do these things. For moments when you see people light up…and you become part of something.

Unveiled!

2009-12-09T22:10:00.000Z

The opening night was quite an event. Enver Gursev, an artist at our studios is a musician as well as an artist and he organised some great music and a performance piece. Two ladies, Luci Boccino and Denise Heinrich-lane http://www.myspace.com/ledonnedonnedonne did some beautiful abstract poetic performance art piece! It was brilliant and mad and created a great buzz. It emphasised the need to have something maybe apart from the 2d and 3d art happening in the main of the gallery on our private views to draw people in.……

The exhibition was pretty well attended – Cockpit arts had their open weekend and we were getting a lot of their audience popping in. Leyla was drawing them in off the streets, amazing lady! Despite numerous signage and leafleting and having listings on loads of websites, blogs, local newspapers it was a little quiet- although 200 people came so that is brilliant! ……..the gallery ideas were gathering momentum over the weekend too.

Quite a few pieces from our Fraction auction wall sold. Not enough as I would have liked. In fact I have ended up buying two pieces myself - i would buy a lot more if I could! I feel rather responsible that not everyone sold as as we set people the task. However I do know that they also enjoyed the task being set and we are now thinking how to sell them- a facebook page? A January auction…A corblimey art shop?

However, we still need to get more publicity for the studios somehow……so the good thing is that Greg Tallent from London Fringe came in to visit us about doing something as a collective in August. In a few minutes, Neil, Enver and I envisaged A Cor blimey boat, from Greenwich to central london, with flaming Japanese lanterns being thrown off it some kind of performance/ art thing going on, All sounds very fun and exciting….( Greg loves the name of our studios, ‘so London! ’He said. Harrumph say I…..scuppered )

After the exhibition finished we had a studio meeting to discuss the future and Core Gallery was unveiled ! Hurrah! People seemed interested and there will be some kind of gallery committee of us that will formalise and structure things and I guess start creating a programme of events. Neil mentioned the Chapman brothers may come and do something and I know a few guest curators I would like to get involved……Elizabeth is going to approach the curating dept at Goldsmiths….and maybe more stuff with the galleries and other studios in the area….exciting stuff.

Now, I have to read a lot of blogs…..I am to choose one this month as a guest editor on A-N….how terrifying and fun!
we are part of something…..

London Fringe Festival!

2009-12-07T09:25:00.000Z

The opening night was quite an event. Enver Gursev, an artist at our studios is also a musician and he organised some great music and a performance piece. Two ladies did some beautiful abstract poetic performance art piece! It was brilliant and mad and created a great buzz. It emphasised the need to have something maybe apart from the 2d and 3d art happening in the main of the gallery on our private views.……

The exhibition was pretty well attended – Cockpit arts had their open weekend and we were getting a lot of their audience popping in. Leyla was drawing them in off the streets, amazing lady! Despite numerous signage and leafleting and having listings on loads of websites, blogs, local newspapers and new it is a little difficult to get people in the door……..people are so busy these days……

Quite a few pieces from our Fraction auction wall sold. Not enough as I would have liked. In fact I have ended up buying two pieces myself ! I feel rather responsible that not everyone sold as as we set people the task. However I do know that they also enjoyed the task being set and we are now thinking how to sell them- a facebook page? A January auction…A corblimey art shop?

However, we still need to get more publicity for the studios somehow……so the good thing is that Greg Tallent from London Fringe came in to visit us about doing something as a collective in August. In a few minutes, Neil, Enver and I envisaged A Cor blimey boat, from Greenwich to central london, with flaming Japanese lanterns being thrown off it and people doing drawing lessons/ action drawing on their boat trip. All sounds very fun and exciting….( Greg loves the name of our studios, ‘so London! ’He said. Harrumph say I…..scuppered )

After the exhibition finished we had a studio meeting to discuss the future and Core Gallery was unveiled ! Hurrah! People seemed interested and there will be some kind of gallery committee of us that will formalise and structure things and I guess start creating a programme of events. Neil mentioned the Chapman brothers may come and do something and I know a few guest curators I would like to get involved……Elizabeth is going to approach the curating dept at Goldsmiths….and maybe more stuff with the galleries and other studios in the area….exciting stuff.

Now I have to read some blogs on A-N…..I have been asked to choose one this month….how terrifying and fun! You guys are teaching me a lot….we are part of something…..

Core Gallery!

2009-12-07T09:20:00.001Z

Fraction opened with aplomb and the exhibition is very strong. Talking to my fellow studio artists they say that Elizabeth , my studio mate and I who are amongst the new arrivals here have been told that we have come in with some great energy and organisation, that there is a feeling of productivity that had been missing here. Neil who helped with the concept of Fraction said the fact that people were forced to make new works for the show was motivating for everyone. For us, we are thrilled to have energised the space. We have lots of ideas of how we want to connect with people and the possibilites seem endless. We are all now discussing the possibilities of making the studios into a gallery space!

E and I have thought we could name the gallery ; Core Gallery. Then its linked into the title of our studios

We are hoping to get guest curators, make links with other studios/ students/ organisations. Invite proposals, possibly curate and more! Its very exciting, this new chapter.

We are all going to become part of something.

I am Yours

2009-12-01T11:37:00.000Z

Friday looms. Everything happens on Friday….

Fraction and our open studios as well as delivery of my new works to Julian.

I have created about 15 new works in the last few weeks. I don’t know how. I am beyond tired. ….hysterical laughter bubbles up quickly…..the tranquillity of making the works lies deeply though. ...and the determination. Calming, keeping me alight.

The work for the exhibition I am Yours and Fraction has been an interesting journey. the intimacy of the sizes has invoked a reflection of a deeply changed emotional landscape for me. the works are more of a personal narrative, ….still purposefully using the buildings to illustrate these ideas that are more than me…..but the titles reflect upon this highly personal aspect. A jigsaw to put together

Artwork Titles;

The Journey Begins and Ends Here

Last Orders

The Winter Palace

The Watchtower

The Castle

The Martyr

Whittled

From Afar, From Afar

belong to nothing

belong to no-one

belong nowhere…..

Belong somewhere

Here lies my confession

Here I laid hope

Here I laid to rest

Out of the dust comes light and power

Thawed

I am Yours

I give to thee

Repositioning studio to gallery

2009-11-27T13:29:00.000Z

In Deptford there is a huge hub of artist studios: Cor Blimey Arts, Creekside, APT, Artworks to name a few and we are all collected on this rather splendid artmap
www.deptfordartmap.com
Set up by Julia Alvarez of Bearspace who has been one of many pushing for the presence of Deptford on the art scene and has organised this map, tours of Deptford’s galleries and studios as well as a Last Friday openings in the galleries in the area. My, what a treasure trove.

We at CBA have been debating the merits of realigning the studio into a more of a permanent gallery space. Which is great and serious ! It would be profile building for the artists here and mean having constant exhibitions of our works or curated exhibitions. It can only be a good thing…..The only drawback is the organisation of it all which with everyone juggling other commitments is a challenge, things like- when would we open? who would curate/facilitate/invigilate/do press? Then again introduce this idea and people start bubbling away with plans and tap into exciting prospects and opportunities….they will be invigorated- I hope , I think…….plans are hatching

Organisation and Co-Ordination.

2009-11-27T12:29:00.000Z

I am part of the crew of the Cor Blimey Artists helping organise our open studios exhibition, Fraction. 4-6th December.

I think there are about 25 of us and I have been collecting info for a press release, biogs and mailings.

The studios has not currently got a biog of the artists there so I think it will be useful for them to have. It was also very interesting for me to do as a relatively new member I learnt about everyone here-this is what a few of us wrote :

Cor Blimey Arts studios is based in the famous art hotspot of Creekside and is home to a wealth of national and international talent: graduates of the best UK art schools; Goldsmiths, Wimbledon and the Royal College of Art as well graduate artists from Taiwan, Australia, New Zealand, Brazil and Uruguay

CBA Artists are a variety of emerging and established artists and they have had a startling amount of success; amongst them they have been selected for the following prestigious shows; John Moores Painting Prize, the Jerwood Drawing Prize, Salon 08 and the Creekside Open. There have been commissions for the Crafts Council and winners of the RBS Emerging Artist Award, Design Selected Award and New Cross Art Prize. They have been involved extensively in Deptford X and Brockley Max international art festivals.

The idea of Fraction was that Cor Blimey artists challenged themselves to create innovative artworks within a restricted size. By limiting this aspect they produce a contemporary collection of affordable art; capturing creativity in a thumbnail.

It has been somewhat manic though, helping to organise a show of 25 people’s works and overwhelming in logistics and emails. Our studio manager is incredible.

In terms of CBA there is a fantastic group effort. we utilise all our skills and education and contribute to the lot of the exhibition. It is very satsifying and exciting.

I am learning. I am part of something.

Exhibition Titles

2009-11-13T17:58:00.000Z

I have been contemplating a title for my show in December 8-18th with Julian Hartnoll. Julianhartnoll.com

I have decided on

I AM YOURS

There are a few reasons;

Firstly it is a title that is provocative and intimate

Secondly the buildings I choose to paint are public or community buildings. They are shaped by society, by the people who use them and they become part of the narrative of that building. Their lives are interwoven to that building. In some cases the public shape the building through consultation as well.

Louise Bourgeois once said ‘Art is all about seduction’ and this title references that powerful statement. Through our work we seek to seduce, we, artists, also put ourselves in a vulnerable position putting our works on display, to be celebrated perhaps in some way or to be rejected or ignored…. We are fragile. Through my own work I feel I give something of my soul to the audience- a fraction of a world I see and source, even though it is also more complex than just this alone it is certainly part of it.. My own stories and other people’s stories become inextricably interwoven.

Julian has a small gallery in St James’ London and wants some small ‘masterpieces’ from me. The biggest painting shall be 30x40cm or so- hence the intimacy as well. Small works has been something that has worked very successfully in the past in terms of progress and experimentation. Working small lets me try out ideas and compositions quickly…or that’s the plan……

Here is what Julian wrote
‘These little pictures by Rosalind Davis work on several levels -technically they are intriguing because where one would expect brush strokes there are stitches; the subjects, more often fifties buidings observed from a picturesque perspective, question the absence of people and what might have happened; and in the title of this exhibition "I am yours" the artist implies some suggestion of a glimpse of herself.’ Julian Hartnoll

Blog 2. I am part of Something.....

2009-11-13T17:23:00.000Z

I am part of something…..

In my first blog on A-N I was moving towards an exhibition at John Jones in their projection space. The blog had a natural conclusion. I have though been missing the blogging process, the self- reflecting nature, the writing...the conversations and interaction with you. I also found out that few people even enjoyed reading what I wrote and I am sucker for flattery! So here I begin again...its nice to be here.
I feel I am part of something.....an arts community, a network. One that I have fought for, cajoled and persuaded people to join or to allow me to join. I now have a handful of wonderful arts mentors and people I can speak to about painting and this complex world of art.

So, since my last blog on A-N I moved into a studio at Cor Blimey Arts www.corblimeyarts.com on Creekside Deptford. They are an affordable artist’s space- a cooperative as we like to talk to each other and plan exhibitions as well as engaging with the community. There are a lot of very nice people there including my lovely and talented studio mate Elizabeth Murton www.elizabethmurton.co.uk.
Both of us are fascinated by architecture and enjoy radio 4 (a link to the outside world) so it was bound to be the beginnings of something good.
I was not sure if the studio was going to work, that I would sit in the space and feel blocked. I found it impossible to create work at the RCA – I could only work at home- mind you I had about 15cms of desk space so that’s not surprising.
But there has not been much of an opportunity to even allow for that as it has been busy for me with more exhibitions and teaching!
So a little update- after John Jones I had an exhibition with Brighton Phoenix gallery in Brighton and then open studios here at CBA for Deptford X. All the studio artists from the area and galleries opened up and it was a great weekend of art and meeting artists…..thrumming with activity!
The plans have already begun for our Xmas open studios, which I am helping to organise, Fraction: we are going to each create 2 small pieces of work to be auctioned off at the opening.
In December I am also going to be having a solo show with Julian Hartnoll. A ‘ fine art monger’ www.julianhartnoll.com
Julian has a small gallery in St James-‘ the smallest in London!’ he gleefully exclaims. He bought my work earlier this year and now wants to give me an opportunity to show with him. I need to make 10 small new paintings by the end of the month…….so I have to go!

Projection Conclusion

2009-08-26T10:45:00.000Z

The exhibition at John Jones has now finished and with it comes a trace of sadness but also many positive things to conclude this blog with. It has been fantastic in terms of feedback, I have had my first reviews, one from our very own editor Andrew Bryant which is rather amazing!
click the below link to read it.
http://www.a-n.co.uk/artists_talking/projects/single/533863

as well as on Spoonfed.co.uk
http://bit.ly/Projectionreview

Projection really did project me out there and project my work.
It made me start a blog through which I have met and had dialogue with a number of interesting people. For John Jones, it created a buzz of excitement for them and the staff all said the exhibition was getting a lot of positive comments. Their enthusiasm and professionalism did not wane and I have grown very attached to them all.

I have since been preparing for the next group show I am in at Brighton Phoenix , Louise Bristow , Peter Bobby, Rowena Easton, Mark Hewitt, Jane Ward, Rich White
which opens next Friday for a preview, 4th September until 11th October .

Floor Plan explores buildings, architecture, and the physical, aesthetic, and psychological interactions between these structures, their inhabitants, and the surrounding communities.
PHOENIX BRIGHTON
http://www.phoenixbrighton.org/

We are going to be having a panel discussion on the 23rd September with Zoe Whitley, Curator of Contemporary Programmes at the V&A, around the central themes in the ‘Floor Plan’ exhibition, and in particular, the interrelationship between psychology and architecture which inspires further thoughts on the themes I am concerned with in my work.

There are several more exhibitions to go this year and each one teaches me something new and makes new connections. It is a joy ( sometimes laced with anxiety)
And so now I leave you with two things, this interview I did for Oh Goodness Greatness, which is something more personal

http://ohgoodnessgreatness.blogspot.com/2009/08/62-painting-light-rosalind-davis.html

So, fellow travellers I leave you with words from Graham Crowley. ‘ Being an artist is a complex and demanding business...’ Ain’t that the truth

An interview with Oh Goodness Greatness

2009-08-21T10:22:00.000Z

Tuesday, 18 August 2009

What: Artist and painter

Where: London

http://www.rosalinddavis.co.uk/

Rosalind at work…

I am a mixed media painter (a graduate from the RCA) creating melancholy dystopian landscapes that explore human experience and identity. Before the RCA I was at Chelsea College of Art and studied textile design. I left the RCA in 2005 and have been painting and exhibiting ever since. I live and work in London and got here through sheer determination!I seek out buildings that on the surface might seem neglected. But for the individuals who use the them, they are a refuge and are of vital importance. Often, the buildings house communities in areas of widespread social deprivation that may seem hostile or full of pathos. I am interested in transience and survival, community and isolation.In terms of the physical aspect of the works, I fuse painting with collage, print and embroidery. Embroidery is used as a form of paint – the qualities of textiles provide an opportunity to find new freedoms and expressions in painting. The meticulousness of the embroidery and its intimate and alluring qualities are used to emphasise the fragility of the spaces depicted.

Childhood…I was very melancholic as a teenager. My home life was an area of great conflict and trouble and I was often left alone at home during my adolescence, which was very lonely. My family are wonderful in their ways but we have had a very tormented and difficult past. I was estranged from my mother and father for a number of years when I was younger. My mother is an alcoholic and when she left my father she had relationships with violent and aggressive men and that all spilled over to me, my younger brother and older sister, with whom I have very close bonds. We lived on a council estate in Brockley and we were very poor, which did not add to the fun. When I was 17 I was also trying to look after my little brother, which was difficult. I did not have the purpose and meaning of painting in my life then so I felt lost.It wasn't all bad though – I loved school and I did have a fantastic social life to make up for the emptiness at home! I also became a published poet – an outpost for all that angst! Things are very different now, thankfully, and I have also found my drive and purpose within my painting. So, I guess it was all this instability that made me fascinated by homes and communities as we had neither. I also feel a huge amount of pathos for these places and I hope to explore this side of humanity in my works. Also, in terms of me, part of my own recovery from my childhood is linked to my work, in the creative and physical expression as well as the concepts. And I am also happy to say I have a close relationship with both parents now.

Hurdles…Apart from the above there have been plenty of hurdles. I studied mixed media textiles at the RCA. When I went into painting I didn’t really fit in at the college. I had quite a lot of challenges in my work and practise there. I used to feel very conscious of the fact that I had not come from painting, officially. But now I am being taken seriously as an artist and painter so that no longer worries me. It also means that I have originality in my work – I embroider and use print and collage on top of painting.

Unconventional education…I come from an artistic family. My father is an artist, a sculptor, and my paternal grandmother and great aunts used to be painters, although I never met them. My maternal great grandmother was a model for Vogue and she married into the Pringle family (the jumper empire) and my maternal grandmother sings with The Bach Choir. All in all, it’s pretty creative. Art and creativity was always around us and we were always going to exhibitions with our dad and grandparents.I loved drawing when I was very young and used to draw porcelain dolls from adverts in magazines and Disney books. I also had an amazing art department at my secondary school (Sydenham Girls). The whole art department was very passionate and we were using oils from the age of 13 and doing big paintings. We also went on incredible art trips to Barcelona and Nice which really inspired me.But I think it was at the RCA I became an artist. I was actually in the Textiles department so I persuaded the professor of painting, Graham Crowley to teach me. I learnt a lot about painting, concept and theory with him. Since leaving the RCA I have had opportunities to be mentored by Trudie Stephenson and Paul Benjamins who have also been invaluable in moving my work forward. I am still learning all the time. I rely on a peer network as well as going back to former tutors and talking to them about my work.

Talented lady…I am constantly wanting to improve my painting and to be experimental. I find painting rather humbling as it is always a great challenge and acts as a constantly moving dialogue. My interests are architecture, the places that bind us together as well as the stories behind them, the social and political aspects of the places I paint, which are fascinating. Where possible I try and speak to people in those buildings and find out their stories.

Right this minute…I am finishing some new paintings for a group show called Floorspace at Phoenix Brighton, a great contemporary art space and public gallery, and I am also promoting my solo show at Projection at John Jones which closes on the 21st August. Gradual build-up…The art world is a pretty competitive place but since I left the RCA I have managed to exhibit a lot. The shows I get into each year, or am offered to a place take part, get better and better and I sell a bit more every year. I take that as a good sign.Last year I was selected for Salon 08, an exhibition selected by judges such as Andrea Tarsia fom the Whitechapel Gallery. I felt like I had finally gotten recognition as a painter in the contemporary art scene. It also led onto a solo show at John Jones, which was great! I also feel more confident within my work. I got the first reviews of my exhibition as well which was lovely.

On the side…I teach. I am a freelance tutor for Bedford College, teaching the textile HND. I also set up educational workshops and have worked with the Stephen Lawrence Centre teaching people how to paint and embroider. Right now, I am planning for a drawing workshop I am doing at The Tower of London in autumn.I have also been working on a blog called ‘Artists Talking’ on a-n, which has been really interesting and enjoyable to write. I even made it as a choice blog in August on a-n, by Matt Roberts, quite a surprise! The blog has led to more dialogue with other artists and art professionals, which has been great.

Pros and cons…It is all consuming, in both good and bad ways. It’s an obsession! I love what I do. But I dislike the uncertainty of it all. For someone who craves stability I have chosen a career that has none, so I can feel fairly fragile at times.

London life…I’ve lived in London since I was very small. I utterly adore it. I know it is a cliché but it is such an exciting and diverse place – such a rich cultural place. There is always somewhere new to explore and I am never bored here. I’ve had access to fantastic universities here, which undoubtedly helped things. Growing up on an estate in south east London, I learnt to appreciate unconventional beauty in order to survive in what may seem, on the surface, hostile and ugly places. That fascination grew with me and into my work. Average day…It’s ever-changing! I usually try to spend as much of my week painting but often this is broken up with the occasional meeting with a curator or gallery or meeting people about the workshops I do or teaching. There is always a lot going on. And so much more paperwork than you’d expect!

Confidence…I still have lots of insecurity at times and can feel rather shy. I just get better at hiding it! But I get a lot of confidence from various things I’ve achieved since leaving college. Whether it be an exhibition or a meeting with a curator or arts professional, particularly where people give positive feedback or engage with the works or, of course, if I sell a piece. I’ve begun to get confident in my skills over time although I always think I could improve.

Encouragement…I am very lucky my friends and family are my fellow travellers in this funny and difficult world and we go through all these experiences together, they always come to see my shows and support me and I do the same. My partner is very supportive of me and encouraging, listening to me agonise over my works! He seems to think I am going to be rich one day and it will pay off somehow!As for my parents, neither my father nor mother ever really had a normal kind of job, so they had no judgements on what I should do with my life. They are very supportive of me and my father and I get together and have a rant about the art world, its pro’s and cons!I also get encouragement from supporters of my work, the people that buy my works and invest in it are very lovely too!

Learning about creativity…It is a deep unending well, that occasionally needs help!

Best advice…Keep going! Being an artist is a complex and demanding job besides, of course, being a fantastic job.

Collections…My partner and I have actually started collecting art! We are very passionate about contemporary art and have a few wonderful (and very small I hasten to add!) pieces that we fell in love with. It is a very satisfying thing to collect and support artists. I highly recommend it! We have a piece by Jane Ward, a piece by Fiona Curran and Donya Coward. I am saving up for a Matthew Atkinson piece.

She re-inspires herself through…Persistence! I do research trips where I go and explore – a lot of the time I explore places in London but recently also in Margate, in Kent! I go to galleries too and look at other artists. I do lots of visual research basically, but just also to keep going – drawing and thinking and making it happen.

Favourite places…I love the Tates and their bookshops! They’re always good for inspiration. And, of course, the east end galleries too and the Modern Art gallery in central London. On the web, I use A-N, Axis and Artquest.

A little downtime…I love to read when possible. I read a lot of Pablo Neruda’s poetry and love Louis De Bernière and Isabel Allende, the mixture of tragic romance and political history is enthralling. I always used to escape into books when I was a child. Now there is never enough time to do much of that. I also like films and socialising with my partner and friends. And I really enjoy cycling and running.

Back in time…I don’t really believe in looking back at what could have been but just moving forward instead. I guess I should have formally applied to go to the painting school at the RCA but I am happy with my life as it is and where it is going.

Great people…I luckily have lots of inspiring and brilliant friends and mentors. My friend Matthew Atkinson is very inspiring to me as a painter. His works are quite brilliant and he has been great at talking to me about my work, challenging and helping me to see how I can move forward. He persuaded me to use oil paints again too and I am very happy I took his advice!Also, in terms of painters, I am inspired by Michael Raedecker, Peter Doig, George Shaw, Nigel Cook, James Wright and Graham Crowley. Shelly Love is an inspirational film maker – my sister Miranda Davis produced her film ‘The Forgotten Circus’ which is a marvellous thing to behold.

Future… The immediate future is extremely busy! I have three more exhibitions before the end of the year – the one in Brighton I mentioned before Floorspace from 4-21 September at Brighton Phoenix Gallery. Then with Stark Projects, I shall then taking an exhibition I took part in at The Roundhouse, From Light to Dust, to Brussels. The third show is at the end of November. Trudie Stephenson of Emineo Arts and Salon Projects is putting on a solo show of my works at Four Regent’s Place, W1. I also show works with Long and Ryle Gallery, and so I shall also be in a couple of art fairs too before the end of the year.I am also about to move into a studio at Cor Blimey Arts, which I am really excited about. I think it will be a great experience! Dream life…I would like to be in a more secure position as an artist. I work largely independently with different galleries, projects and curators, which keeps things exciting, but I would one day like to be with an established gallery, such as Modern Art, painting away! Maybe I’d do a bit of teaching too… and who knows what else!

If not art, then what…I can’t really say what I would be doing. I can’t imagine anything else now. I guess I nearly became an actress or writer. I was also once a singer in a band, so I guess it would have been something creative!

Advice from the lady herself…You don’t just paint and then see stuff happen. It is hard work. You have to be very savvy, professional and organised. You have to learn as much about the art world as possible and be as knowledgeable about your subject. And be good at promoting yourself and create opportunities if there are none. Persevere and persist.

All images of Rosalind Davis: Courtesy of Anastasia Taylor-Lind

A review on Spoonfed!

2009-08-21T10:18:00.000Z

There has been some wonderfully exciting reviews going on for my show at Projection!

http://www.spoonfed.co.uk/spooners/claire_loves_jam-2366/assemblage-at-john-jones-project-space-1306/

Review on www.spoonfed.co.uk
Assemblage at John Jones Project Space
August 4, 2009
By Claire Shropshrall

Baroque wigs, knitted wedding cakes and singing Scots are to name but a few of the treats on offer as dozens of art lovers descend on John Jones Project Space to perch on bales of hay and guzzle mojitos. The area is transformed into a miniature fiesta of weird and wonderful installations, and there's still room to swing a cat – if that's what you're into.Assemblage is a 'festival of contemporary makers' pursuing the workshop's commitment to thrusting emerging artists and unseen, contemporary art into the public arena.

The project space lurks down a quiet lane near Finsbury Park tube station and strategically draped lanterns create an intimate, ambient atmosphere. It's refreshingly unpretentious.

The star of the night has to be Rosalind Davis. Her exhibition of mixed media paintings in the Projection space reflects a fascination with grotty and disused looking buildings which have an underlying importance to the communities they serve.

The pieces fuse painting with collage and embroidery and invite closer inspection to see where cotton ends and acrylic begins.The idea here is that the tessellated canvas explores equally complex themes enshrined within the structures they are based upon.

Often the buildings painted are taken from areas of serious social deprivation and are supposed to represent the lifeblood of their surrounding communities.From a distance broad, bold brush strokes used to depict neglected buildings contrast with delicate, floral print backgrounds but a closer look reveals meticulous detail. Each individual stitch masquerades as a streak of paint which at times can look a little chaotic – something I'm told is meant to emphasise the fragility of the structures captured on canvas. It's a bit like art nouveau; the deeper you delve into the image the more attention to detail you find. My eyes are sore.

Despite their vivid and bright tones, I still find the paintings very foreboding. Whether or not they're successful in portraying 'melancholy dystopian landscapes that explore human experience and identity' I would certainly recommend checking out Ms Davis' work.

A review on A-N!

2009-08-21T09:48:00.000Z

Andrew Bryants review of Projection;
http://www.a-n.co.uk/interface/reviews/single/556131

Rosalind Davis
John Jones Projection Space, London

31 July - 24 August 2009

Reviewed by: Andrew Bryant

In her recent exhibition at John Jones' Projection Space, Rosalind Davis reveals herself to be a visionary artist of sensitivity and complexity. Her mixed media paintings of dystopian landscapes incorporate embroidery and floral-print textiles from the 1970s. Both Oedipal and phallic, they conjure up a claustrophobic world of the uncanny.

Davis sources her images cycling around run down urban areas with a camera, photographing post-war social housing. The failure of social housing projects is the failure of modernity. This decaying architecture once signified a phallic phantasy of ascension; the sky is the limit for a technologised world. But our masculinity led us astray here, and we are now only too familiar with the consequences.

In these paintings it is not just the masculine that gets conflated with the failure of the modern project. Davis transposes her photographic images, via paint and embroidery, onto vintage floral-print textiles so that what was once inside – curtains and upholstery, the maternal and domestic – gets turned outward. Garish floral prints infect the sky, sickly blooms of Oedipal desire colonising everything, creating a claustrophobia born of nightmares.

That these fabrics were originally intended to ‘cover’ items of furniture or shut out the light is significant as now they cover the sky, and what they ‘shut out’ is the potential for any desire other than that sanctioned by mother.But the colonisation starts further back than this.

Fashion, as Herbert Marcuse has indicated, is propaganda for the capitalist world and these fabrics are already an industrial interpretation, an appropriation of femininity and motherhood for the mass market. Indeed it is only through the process of painting and embroidery that Davis offers a glimmer of hope.

Granted, painting has long been part of the commoditisation of art, but the stuff itself – paint – remains what it has always been: coloured mud, and an engagement with it as a painter is an engagement with irrational, irreducible otherness, that which resists colonisation and interpolation.Embroidery has a complex history.

A handicraft, it has connotations of femininity, domesticity but also of reparation. Historically, women used embroidery to commemorate death. Images of the deceased, dried flowers and embroidery were combined in a kind of collage. If painting resists the aggressive colonisation of modernity, could it be that embroidery represents a desire to repair the damage, to ‘make do and mend’?

Andrew Bryant is an Artist and freelance editor living in London
Venue detail:John Jones Projection Space4 Morris Place, off Stroud Green Road, Finsbury Park, London N4 3JGhttp://www.rosalinddavis.co.uk/

Lavender Oil at the ready

2009-07-30T10:01:00.000Z

The Summer Art Party is tomorrow! Eek!
The feedback from John Jones has been fantastic already with clients really engaging with the works. Tomorrow there will be about 600 people heading through the doors. I feel faint.
I actually really like talking about the works, the discussions are fascinating. Also if you go to the RCA you soon stop feeling self conscious about it as you are always explaining and exploring your works to rooms full of people. It doesn’t stop the nerves though and tomorrow will be super –charged. My biggest fear is being mediocre. I don’t mind if people don’t like it….well I do if I am really honest but that is not realistic.

In the interim I have been distracting myself with those research trips I mentioned. Assembling ideas and planning out pieces. I am going paint 3 pieces inspired by Margate. A memento-mori of a town. One of the pieces is going to be interspliced with social housing from Poplar as problem families used to be shipped out of London to Margate.
I remember Margate was so vibrant when we went there as children, now row upon row of boarded up shops are like skeletons on the marine parade. The Turner contemporary exhibition in a former M&S was fantastic though. A really great show and indicative of the revival which may have a chance to occur there.

I have also been to Brighton to discuss my next exhibition, ‘Floorplan’ at the Brighton Phoenix Gallery in September, a very good public gallery. I am organising a workshop with a local community group, plus I and the other artists shall be involved in an artists talk discussing the psychology of buildings which I am already looking forward to.

I have also been planning and interviewed for drawing workshops at the Tower of London and found out today I got the job!

As for painting, I am now back to the actuality of it. I am as always slightly daunted by what has I have made before. Back into the cycle of questioning, exploring, doubting and persevering.

Tomorrow if you are coming to the Summer Art Party you will be able to find me, see johnjones.co.uk for more details. I shall be the lady doused in Lavender oil and hopefully not breathing into a bag. Come say hello

choice blog on A-N

2009-07-30T09:54:00.001Z

This month Matt Roberts from Matt Roberts Arts and Salon08 and 09 selected my blog on artist's talking, A-N.

Pretty exciting !

http://www.a-n.co.uk/artists_talking/article/536689
Matt Roberts on Rosalind Davis
A relative novice to the Blogosphere Rosalind Davis' Blog illustrates an artist tentatively using the medium as a tool for self-critique, laying out her feelings about her work as it develops. Beyond the life of this project her blog exists as a living portfolio, as we, the reader are offered a window into the ideas that lay behind each piece as she juggles the pressures of life, work, and artistic ambition.

Rosalind's posts become more frequent as the process becomes more natural to her, and we gain an insight into how her work has been shaped by the community around her, as well as learning of her 'aristocratic' legacy, and adept climbing skills. Overall we see a picture of a talented and committed artist, making difficult practice-based and career decisions, whilst trying to remain financially stable, and a functioning person.

A narrative I'm sure we can all empathise with.

Projection Exhibition Information

2009-07-20T16:27:00.000Z

I am delighted to invite you to:
Projection Rosalind Davis

Exhibition from 6th July - 21st August
Open to the public Monday – Friday from 9am – 6pm

We are delighted to announce Rosalind Davis as our next artist to exhibit in Projection, a space for solo shows which aims to increase the exposure of mainly unseen artists as an aspect of their professional development.

Rosalind Davis is a mixed media painter and graduate from the RCA, creating melancholy dystopian landscapes that explore human experience and identity.

Davis fuses painting, collage and embroidery onto printed floral fabrics, selected for their historical, cultural and symbolic representations. This complex relation between mediums is integral to the piece emphasising the fragility of the spaces depicted and the disconcerting juxtaposition between aesthetics and meaning.

http://www.johnjones.co.uk/
4 Morris Place, N4 3JG
020 7281 5439

Interim

2009-07-13T23:37:00.000Z

I have not left yet! No no, here a little longer......I have been working away at one last painting in the last week before the show opens. There were also a book of drawings to organise and now.....The paintings have been hung and there is the undeniable fear and exhiliration of the Exhibition!
you may be pleased to hear, I am restored to good health, have broken only a few more glasses and am considering tackling my tax return (joy)

I am also seeking new inspiration and have been cycling around poplar and silvertown, very bleak in places. I saw 5 burnt out pubs in a mile! I am also off to Gravesend and Margate over the next week. Exciting! I used to spend weekends at Dreamland in Margate with my dad and I am interested to see how it has changed, soak up the atmosphere. Seaside towns are intriguing, a mix of kitsch and seediness.

Also with the big art party at John Jones to gear up to on the 31st July I am doing all that I can to promote the show and am constantly thrilled by the great help of John Jones crew in all of this and the marvellous marketing ladies ! Self promotion can be a terrible bane but a necessary evil. In some ways it can be quite a joy if people respond to you,an exhibition is a great reason to get in touch with peole and tell them what you are working on. At other times it feels like you must as well be chucking a piece of paper out of the window for all the good it is doing you....! I shall let you know how it all goes.....

Finishing Touches

2009-07-01T11:55:00.000Z

The delivery van from John Jones is coming tomorrow and I am putting the last few details into the paintings.
I feel I have learnt a lot in these 2 months about my painting. I have found a new confidence, a freedom....the paintings have gotten less earnest. Less concerned with realistic representation and I am enjoying it all immensely. I am still unsure of my big well hall road piece and it may not be right still, but those decisions can come next week during installation and discussion of the pieces I shall show.
I have been using square scarves in these new pieces which allow for a new composition to occur within the works and to consider the composition in different ways and I shall continue to work on these scarves in the future.
Physically and mentally I am exhausted. I have felt under the weather on and off for the last month really. My head and eyes ache and my throat is sore. I think I will be in bed on Wednesday recuperating.... Painting is a very physical effort and you are also pouring yourself into it mentally. Challenging your opinions on it, reviewing the pieces, considering when to stop the paint and where to start again.
Emotionally though I allow myself to feel a bir proud of the progress I have made and where I have been less successful in them there are lessons to be learnt.
I am excited and eager to get onto the next one. To discover more. To keep goingThe delivery van from John Jones is coming tomorrow and I am putting the last few details into the paintings.
I feel I have learnt a lot in these 2 months about my painting. I have found a new confidence, a freedom....the paintings have gotten less earnest. Less concerned with realistic representation and I am enjoying it all immensely. I am still unsure of my big well hall road piece and it may not be right still, but those decisions can come next week during installation and discussion of the pieces I shall show.
I have been using square scarves in these new pieces which allow for a new composition to occur within the works and to consider the composition in different ways and I shall continue to work on these scarves in the future. The interference between the floral patterns is interesting.

The florals produce a dichotomy with the rural and idyllic versus the tensions of the urban cityscape.

Physically and mentally I am exhausted. I have felt under the weather on and off for the last month really. My head and eyes ache and my throat is sore. I think I will be in bed on Wednesday recuperating.... Painting is a very physical effort and you are also pouring yourself into it mentally. Challenging your opinions on it, reviewing the pieces, considering when to stop the paint and where to start again.
Emotionally though I allow myself to feel a bit proud of the progress I have made and where I have been less successful in them there are lessons to be learnt.
I am excited and eager to get onto the next one. To discover more. To keep going

Buildings and Identity

2009-07-01T11:50:00.000Z

Buildings have powerful connotations. Notions of identity are strongly linked with building; the places where we are bound.
They are refuges, sanctuary, prisons, cells, palaces. They can be cultural and social signifiers.

Buildings can often be relegated to the background but can also contain all ones private thoughts, memories and emotions:
Within them we live out our lives. Evolving, destroying, living, dying. We love there and lose there.

They aid the construction of our individual identity whilst forming the foundations of society’s common identity.

Ever increasingly buildings are ephemeral and transient objects in our environment. I document these buildings. Fascinated by them. They make my heart sort of stutter, the huge housing estates and the seemingly lack of humanity. How utopia slides so quickly into dystopia. Yet somewhere in these places there are signs of light. A garden on a balcony...attempts of beauty and reform. You have to find something beautiful there so you can live, it may have just been the tree blossoming outside your window…

These places can feel like ghost towns even when they may still full of people. Lonely and sad. Their melancholy I understand. The pathos is a jagged kind of beauty.

Embroidery

2009-06-22T10:23:00.001Z

Preparing for the exhibition at John Jones and for others I constantly examine and consider my practise. A question (that crops up is why I use embroidery within my works. I studied Mixed Media Textiles at The RCA and managed to get taught by the Professor Graham Crowley of the painting department as well which helped me immensely with my progress and development as an artist. Since then I have met with a number of interesting artists and art professionals who have educated me as well along the way.

So, the Reasons I use embroidery;

Embroidery creates intimacy but it is an isolated pursuit. The spaces I paint combine both these elements, lonely places, yet communal. Isolated from other communities, possibly abandoned.

The structures, the lines, the intricacy and meticulousness of the stitching are a contrast to the restless and agitated places depicted and the expressiveness of the paint.
The alluring qualities or the embroidery threads are used to emphasise the fragility of the spaces depicted.
To challenge conventional use of embroidery as a decorative and safe medium by placing it within paintings which depict unconventional beauty and bleak spaces.
To create complex, multilayered surfaces and combine techniques
It is used to reflect the organic subject matter as it is organic subject matter
opportunity to find new freedoms and expressions in painting
The printed floral farics I use in my works are historically and culturally conscious and symbolic.

So, for me to use embroidery is pretty integral to the works.

A former tutor once wrote this for an exhibition of mine and I thought it was marvellous and articulated a lot of my feelings, for Textiles is a realm in which there is a lot of cute and decorative things and not taken very seriously. My work is concept driven and quite firmly art, whilst craft based in terms of painting and the embroidery in the sense that it is skilled.

‘Textiles are usually associated with decoration, pattern and colour, a soft, warm, feminine material. They are also an undervalued, underappreciated and misunderstood medium. The work of Rosalind Davis challenges the preconceptions that accompany the word, Textiles. Davis subverts the medium and presents us with an ominous, threatening world exposing us to post apocalyptic painted landscapes. The only evidence of human existence is rendered through her use of embroidery. It’s a dark and dirty tactile world that you will be glad not to inhabit. Textiles can be powerful stuff. ’
Freddie Robins Artist and Tutor in Constructed Textiles at the Royal College of Art, London

Art School Scum

2009-06-22T09:08:00.002Z

So I have decided to start making another painting in between finishing two off. Why not?!. I just keep thinking that I want a great choice of work to pick from for my show at JJ. That I like to err on the side of caution of having too much work than not enough and I feel I am really developing and learning so much in the last few paintings that I don’t want to interrupt the flow.
Besides I am only going slightly mad already and if I sit unoccupied for too long I may just fall into a daze of tiredness so better to keep on the adrenaline rollercoaster.

I went to Graham Crowley’s book launch at City and Guilds on Friday. A beautiful book. The Principal there Tony carter gave a lovely speech about Graham which reflected and struck a note with the artists there how difficult it is for artists to keep body and soul together. The unreasonableness of trying to make art and make money, to keep your integrity and higher ideals as well as surviving.
It’s a struggle

I work part-time in order to allow me to make my work. But I dislike my droning job. Quite a lot. I would prefer to teach part-time art or textiles more but those kind of jobs are few and far between. I have done this particular job throughout my BA, MA and since.
It gives me some security and means I can buy paint and survive. The boring job is the sacrifice I am willing to make so that I can try and make a career in art and it is also only 2 days a week, the rest of the 5 I am painting and happy.

On another note, the brilliant Vented Spleen has published online his very witty ‘ Art School Scum’ graphic comic. The comic illustrates the people you find at Art Schools ( and the art world actually) , this is one of my favourites and very recognisable….not in me I hasten to add…..!
‘ The Self Obsessed Neurotic’
‘ Under the misguided impression that their lives are so much more interesting than anyone else’s, their work will , more often than not, focus on
1.The Artist’s sex life
2.A-boring-to-anyone-other-than-the-artist obsession/fetish of theirs
3. Their childhood.
It is pointless trying to instigate conversation with the self-obsessed neurotic about anything other than themselves as it is a futile gesture. ’

You can see the whole comic on Ventedspleen.com

2009-06-22T09:08:00.001Z

Have I said how I am running out of time? This week has been torn with appointments I have to keep, and other non-painting work to do- specifically teaching today. Teaching teachers actually, great fun! ( see right for one of my student's pieces)

It is the last couple of weeks I have before delivery of works. I am trying to keep hold of my anxiety, aware that again next week my days are fragmented into other duties and responsibilities. At some point I also need to speak to Ben, my LSP and see how his life is!
I cant do all nighters to finish, my body and mind not ablel to cope. Usually I finish way before the deadline and think why do I worry, but I do!
I also am in desparate need of a studio, I have paintings building up around me as I whirl between them, stitching , letting others dry, painting again.
Ben eyes the living room where my studio is in the corner, usually a little more self contained, he laughs it away but I am finding it hard to cope with the mess myself. I prefer neatness than an avalanche of paper and paints and embroidery everywhere,
on that note I have to go!

Socially Engaged...?

2009-06-15T10:45:00.001Z

I identified with so many aspects of another blog by Emily Speed on how artists can actually get paid to make art. Whether it is feasible to be able to exhibit or take part in shows when there is considerable cost in time and money to yourself.
I believe in exhibiting even if it is unpaid- it is ,99% of the time it is unpaid- the and the preparation is meaningful. You can contemplate the work, its effect on others, complete a body of work.
It would also seem there is a lot of truth in that you can only get paid for 'projects'. The end result though may not be something you really wanted to do, perhaps a dilution, even with its own rewards. Its a tough balance
I recently went to a workshop on socially engaged practise to see if I could get some tips on this broad subject. I had not realised what ' Socially engaged' practise means until speaking to Artquest who were very helpful and shed light on this subject for me and that my own work carried elements of this; focussing on buildings within communities and the psychology of the society around it.
However, it is a very very complicated area.........! So, as I say , I have gone to a few conferences/workshops to figure this out a bit.....

At many my heart sinks very low , a room of professional funder finders. A whole other genre of artists who understand forms and how to get funding and all sorts of things. Amazing! But I also remember examples of dismal 'public or socially engaged' artworks being chuntered out under this title and funding going to this. In many aspects these ' public' works do not fit under the category of art- and many artists, ( even the ones at these conferences,) argue that there needs to be a new definition of such things

As a painter, it is not seen that your work can be socially engaged on its own, but I know that painting can be. It is interactive, conceptual, it touches people, it makes them wonder, it transports people. Much more so than some ' socially engaged work' which amounts to yet another mosaic for example or work that is actually excluding rather than inclusive because it is over conceptual and hard for non-artists to understand or engage with on any level.
Often these works can be an aesthetic disappointment to boot.

I have begun to try and expand my practise so I can be viable for projects, to interact with participants in an interesting way, getting narratives that actually end up informing my pieces as well. it has helped a bit with proposals as curators also seem to want interactive video /sound.
maybe one day in the far future if I have a hundred years to fill out a grant with the arts council I may even get funding to further my research.....?!But, it has been an interesting journey so far and I have only just begun.

Indecision

2009-06-15T10:07:00.000Z

I am having doubts about the Well Hall Road painting I dont know if the size has defeated me- for me smaller, finer works better perhaps....or whether the building is too undetailed. Sometimes a painting just does not work and it is pretty hard to take, devastating in fact, you want it all to work. In ervything there is a lesson and I am not giving up on this one yet.
I can understand how people get furious and rip up their work but I just could not do that.....

I cant see where to fix it or if I am just too close to it to see whether it is any good. I shall leave it for a week and then have another look. And get opinions.......maybe I am being overly critical.
These oils are amazing! I have gone back and started painting over an older painting. it looks miles better already It is somehow easier to go back and be experimental after a few months not looking at something.

You learn so much in each painting. The difficult thing is not going back and re-painting everything! better to move forward....

I am sometimes asked how I can bear to sell my paintings. people have such romantic notions of artists, I guess with good reason. However being an artist is a job like others.

You have to progress, make a living, move up the ladder and part of that is selling. It is also something that makes me proud. I want other people to own my paintings to be moved by them..To be engaged with them. Professional painters do not paint for themselves alone, art is greater than that.

Panic!

2009-06-04T14:55:00.001Z

I recently found out the dates of my show at John Jones, to set up on the 6th.
This news is met by a mild stress attack which leads me into clumsy mode. I break a glass, try and put a t-shirt in the bin rather than washing machine and locked myself out of my flat. Wonderful! Luckily for me there is scaffolding outside my flat so I climb up onto it and scramble through a window in our living room, luckily I happened to have my driving license to prove I actually lived there to the bemused scaffolders! To boot I am getting a cold or flu and it makes productivity minus 50% Damn!

Slightly unfortunately I am away in Florence, next week with my father and LSP, booked before I knew my dates!thankfully the opening at John Jones isnt going to be until the end of July where there will be a big summer party. So, I have plenty of time to organise myself and sort my invites out. phew!

A note about my father, he is an artist himself and rather eccentric. He has been married 6 times and could have been a Lord. His maternal grandfather was Sir Norman Stewart who was ready to bestow his title on my father. My father’s father , ( through envy we believe,) told him ‘ A man does not inherit a title he earns it.’ A saying he himself could not live up to. So, there, up in smoke was a parallel life when I could have been a rich artist living somewhere marvellous rather than growing up on a council estate in Brockley! Perhaps I would never have found how social housing and community buildings are so compelling and full of pathos.

I have finished 8,000 Souls Part II and feel rather elated. Well Hall road and a new piece of the Kidbrooke Estate are going well. Oils are getting everywhere, seeping through my apron. I am constantly wiping off incriminating splodges on the computer before LSP returns. I may never go back to acrylics. I love the tones you build up in oils, the subtlety of the colour, its softness and shine. I cant understand people who get technicians to paint their paintings.
The idea is not enough. Being part of the making is so important. To put yourself in it – it is part of a physical expression. For us it is total peace.’Dominique Gonzalez
Also I have given up on the idea that I won’t use embroidery. I feel bereft without it. Paint on its own is not enough, but again there I can be more experimental and random. I will challenge myself with it.

Speaking of which do go and see the excellent and exciting Michael Raedecker at The Camden Art Centre- on until 28th June.

Well Hall road

2009-05-29T10:07:00.000Z

So, I am in the middle of about 3 or 4 paintings. I like to work on them in Tandem. I have, as mentioned moved into oils. I realise they are my obsessions, I drift off to them when I am not with them, staring and scrutinising. worrying.Like love I guess with hopefully a fair amount of joy thrown in!
Ayeslbury estate part II ( pictured) is the second in a survival series examining the Ayelsbury estate, one of the more notorious in South east london, described as Hell's Waiting room and soon to be demolished. I recently went to the Courbusier exhibition, he, who was a pioneer of the type of social housing that inspired the Ayeslbury and subsequent housing estates. A dream of utopia and making buildings that reach up to heaven fell into dsytopia with neglect, crime and segregation of social classes, creating a ghetto.
I am trying to be freer with paint, not so literal, loosening my technique. My work can balance in style between realism and naivety, overperfection....lets muck it up a bit was a suggestion from MA. so I am trying. Using oils helps as it means I am already unbalanced from my normal practise.
Also, I generally use embroidery in parts of my work, its fragility and seductive nature enhances the juxtaposition between manmade and organic, the neglected or desolate buildings and the meticulous nature of the stitching.But, I am trying without it, to see what that shall mean to mywork, what I could do differently. In contrast I am working on a small piece that is almost entirely stitched.

Odeon, Well hall Road is large, very large for me- twice the size that I usually paint. It is in Eltham, a dilapidated art deco cinema opposite where Stephen Lawrence was murdered ( I have painted the Stephen Lawrence centre in the past) Two good reasons to paint it as a place of social commentary and history.

Another reason came by surprise; a facebook page set up petitioning against a proposal for the cinema being turned into an Islamic centre, a xenophobic, rascist rant of a page ......a very dismal page and evidence of a section of society that seems unchanged by the tragic case of Stephen Lawrence.

I uploaded work in progress photos and used photoshop to try out a few ideas. Using the heavily patterned background I cannot always try out ideas directly onto the fabric and was surprised at how effectively I could use photoshop to play with composition. Of course I use a sketchpad too, but this was pretty fun. both attached.

Somewhere near the beginning

2009-05-29T10:05:00.000Z

I am going to be showing in the Projection Space at John JOnes this summer and decided this would present a great opportunity to start a blog.

I am a painter, I am based in London. I graduated from the Royal College of Art in 2005. I have exhibited quite a bit since graduating and it has been quite an education. I show with galleries as well as with independent curators and projects.
I think I would like to do a PHD but not sure if I am academic enough. I like to teach- I want to do more. A workaholic, I never have enough time for all that I want to achieve.
I am passionate about my work and of art.

This is the quote that coherently explains my feelings about my work.

‘Painting is a language through which painters discover their subjects and also both lose and find themselves.It is as much an act of recovery as it is one of discovering the unknown As words frequently tell the writer what to write , the substance of a painting dictates where nuance lies and where meaning might be found. If painting is a mirror it cannot avoid reflecting the one who made it. Paint can be dirty and sorrowful. These places are scenes of loneliness and desperation but also of hope and redemption.’’ Adrian Searle, Peter Doig Catalogue

So lets begin somewhere in the middle of this. In 2008 I was selected through open submission for Salon 08 which is where I first caught the eye of Kate Jones, ( from John Jones, the eminent framers and supporters of contemporary art ) one of the Judges of the prize. An artist friend of mine Paul Benjamins then introduced me to her whilst I was showing at the London Art Fair with Contemporary Art Projects. The rest is history etc. The Jones family many of whom are involved in the John Jones business are some of the loveliest people I have met in the art world. genuinely passionate about art and artists, Professional and pretty darn cool.
I am looking forward to it. It's a great motivator to have a deadline and the opportunity to show works to a new audience. I am in the middle of making works for it and am also making some changes n my work- With encouragement from a fellow artist Matthew Atkinson ( http://www.matthewatkinson.co.uk/) and also from my long suffering partner (LSP as he will be known in the future) I am unravelling exciting things. Oils, after a sabbatical of 10 years ( I use acrylic) - oh , the joy of that! The way it glides and the depth of the colour!

I am exploring and experimenting and it is scary! letting go of some things and making leaps – or so it feels to me-rather than baby steps. Perhaps you will not see anything too brave… I hope you will as it is my desire to keep pushing.

So dear reader I will take you on my journey as I agonise and obsess over these changes and talk about previous experiences in the art world, the highs and lows of being an artist and my own occasional rants and philosophies....