Thought I'd share a few photos of my studio space. I'm very nosy - and think most creative people are - I absolutely love looking into other people's spaces, so wanted to offer mine up in the hope other's would share theirs with me. The studio I rent is in the S1 complex in Sheffield - it's open plan, split into 3 main 'rooms', and I'm in the backroom, which has a lovely community feel and a gorgeous skylight. It is the coldest room though, so the winters are challenging...
I find having a studio really important to my practice - I'm not very structured about being there for a certain amount of time everyday religiously, but it definitely gives a sense of discipline and boundary to a working day. Generally I'm more relaxed about doing textiles and research at home and use the studio as a drawing space, but I move all the textiles in there as soon as they're finished. For me, it's important that both sides of my practice remain in conversation, even when they're effectively in 'storage'.
Have a nosy at a few more photos - including my horrendous under desk 'storage' piles...
And here's how I protect drawings that aren't framed yet... A highly sophisticated system.
Things are finally opening back up in England and we've all had a few weeks to get used to being back out and about/going to work on public transport/meeting up with people again etc. At The Hepworth Wakefield, we currently have the largest ever Hepworth retrospective, which spreads across all 10 galleries. Alongside this, the curators have placed 3 female artists whose art speaks to Hepworth's, or whose practice has been inspired by her career (Bridget Riley, Tacita Dean and Veronica Ryan).
Ryan's work is a collection of cast objects and crochet - on the face of it, it's a quiet and polite offering, but having spent a lot of time with the installation over the past few weeks, I've really enjoyed investing in the work. It's multi layered and evokes personal memory for the artist, whilst also speaking to the woman as maker, craft and labour, alongside natural order and growth. The wall work of black cast magnolias, tied with very subtle coloured thread has an almost animalistic quality, and the white magnolias hidden in the clay vessel on the opposite wall, suggests (to me) a veiled sexual reference.