A try out of Photosynth, a website that does this! You can move through the images with your stylus or your finger!
Check it out at Photosynth
I’ve always felt the worst thing you can do is think. When I’m making I need to dissociate myself from everything and act automatically if the work is to be any good. Clearly this is not axiomatic, there is too much evidence to the contrary in my drawers.
When I moved to Doncaster I had limited space to work and certainly no space for sculpture. I continued a habit of collecting ‘stuff’ as I walked my dogs, twigs, bits of detritus, feathers, etc., and kept a bag full of it in the garage. Periodically I would spend time joining these bits together. The model for this activity for me was David Smith’s residency in Italy at Voltri in 1962.
Smith was invited to make two sculptures for the Festival of Two Worlds in Spoleto, and given the choice of five abandoned welding factories around Genoa. He chose one in the small town of Voltri. Inspired by the wealth of material available he made 27 sculptures in 30 days. The Wall Street Journal has a good article here.
Finding an array of parts, wheels, girders, tools and so on, Smith just built. I can imagine the energy generated by the sheer joy of combining these objects.
I adopted this approach when I discovered it because that kind of energy can only work when decisions become intuitive. I find that I work best when I have progressed beyond careful consideration into try and fail, try and fail, try and accept. I won’t say succeed.
Since then I have had a working practice, that I’m still tied to, that means I can work for an hour or so each day before I have to stop. The next day I need to be able to pick up the traces quickly, contemplation is not an option when time is limited. So I built small sculptures at a rapid rate, developing the ideas quickly, each responding to whatever I pulled out of the bag, and began to notice connections rather than engineering them. The ‘dogwalks’ maquettes, never to be realised as sculpture, are my effort at generating this kind of energy
A painting I’ve been working on since 2009, one of those that got away. There is a value in continuing in the face of failure perhaps, even if only for the freedom you get when you step aside and do something else. Without this painting, perhaps this one
would not have been done. It’s very easy to get very frustrated with failures, and to batter something into submission, but the end result is usually horribly prosaic when it’s overworked. Without wishing to get carried away with myself I find I think of the film ‘A Bigger Splash’ and the production of a painting after, and partly as a result of, the destruction of another. I don’t do the destruction thing myself, I’ve got plan chests full of old work, rolled up canvasses, and an incredible range of opportunities to look back in embarrassment.