Following on from my previous blog, I’m going to discuss my second residency in Finland. This was at Saari, which offers two-month residencies for artists of all description, not just writers. I applied to work on a very new project, Vegetal Souls, a book which I hope will consist of poems, short essays and short fiction, all exploring what it might be like to be a plant.
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This year, for the first time in my life, I was awarded an international writing residency. Then, in quick succession, I was awarded another! My life is not usually so glamorous, but this double stroke of good luck meant I spent August at Varuna Writers’ House in the Blue Mountains of Australia, followed by September and October on the shores of the Baltic Sea in south-west Finland. I had a week in-between to do my laundry and get my head together!
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Joanna Whittle is a painter based in Sheffield. Joanna studied at Central St Martin’s and the Royal College of Art and her work has been included in the Royal Academy Summer Show (2019) and the John Moores Painting Prize (2018). She recently won (jointly) the Harley Gallery Open Prize and the Contemporary British Painting Prose (both 2019). Her work is exhibited widely and is held in many collections. Joanna was recently awarded one of five career development bursaries granted by the Freelands Foundation in conjunction with Site Gallery in Sheffield.
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Food has always played a role in art. From the Renaissance artist Giuseppe Arcimboldo’s witty portraits composed of fruits and vegetables and the beautiful still life paintings of the Dutch Golden Age, through to Wayne Thiebaud’s iconic painted pies and cakes in the pop art era, artists have used food to express their pleasures and preoccupations.
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At HE6, students on the painting degree are required to consider what the public or wider relevance of their work is and how they might explore and develop that through some form of presentation – usually an exhibition. They are also asked to consider the importance of their peers in terms of their degree but also in sustaining a practice post graduation. Here, new painting tutor Keith Ashcroft describes an exhibition he curated recently. He details how he arrived at the curatorial premise and how setting up the exhibition allowed for a development and further chance to investigate the shared theme of representation through twofoldedness.
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The broad and experimental character of the drawing degree is supported of course by the curriculum, and a big part of that is the lovely new drawing degree unit called ‘a personal approach to drawing’ (DR5PAD), so I am delighted to have a chance to have a conversation with one of its authors, Simon Manfield, about his practice.
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As there is a strong emphasis on reflective practice in our learning logs, this workshop will be of interest to students on any course. Participants are asked to bring a couple of examples of their own work to aid discussion. Notebooks, pens and handouts will be provided on the day.
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If you are looking for ways to present your work digitally online there are many ways in which you can achieve this. Some of these are fairly simple and require no special software, whilst others might require more skill and access to various software programmes
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And when someone in the future asks you to talk about sustaining your practice, you are OBVIOUSLY going to say YES, not just because you have anxiety issues about letting people down… but because you have made so much damn work you have no space in your house anymore: that is ‘sustained as hell!’
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