Following the success of the SVAF More Than project, we decided to do it again: "More more than". The focus this time was: 'what it means to be finished' and I was sent 2 unfinished original prints by Chérie Lubbock in return for some uneditioned print experiments from my collection.
23 March - 6 April
Curated by Amanda Lynch in association with Correspondence Collective and Clayhill Arts
Initially drawn with explosive mark-making techniques on large sheets of paper, the cutting and folding process creates unexpected compositions, glimpses of textured surfaces that draw you in. As the piece grows it becomes a sculptural entity with endless possibilities for display.
The Sketchbook Project has been on my radar for many years and I was lucky to see a selection of books at the Other Art Fair in London. If you have been following me for a while you will realise that I am keen to continue to develop my drawing. Sometimes this takes me on a little sideloop but it always adds to my knowledge and experience.
Not quite a postcard!
In 2019 I joined a Kickstarter Campaign to support the creation of a mini 3D press through the Open Press Project. Long story short, it finally arrived in October and I had a wonderful day in the studio printing a pile of mini bees from etching plates made years ago. Perfect timing to join in with the November edition of #oneofmanypostcard - an initiative organised by John Pedder on Instagram.
In lieu of two postponed residencies this summer I gave myself permission to play with the graphite and created some artist books. This is a short video of the first.
Graphite is such a tactile material which needs to be seen to be fully appreciated. There are subtle nuances of colour and texture. The surface can be burnished to an almost mirror shine or applied gently as silk, a soft smoky sheen. Hidden marks create layers, a history, and trick the eye with connections to real objects, ancient landscapes or city skylines. Replicating the ripples of a tossed stone, the jagged edge of broken glass, trees whispering in the forest - listen : follow with your eyes and you will hear sounds and feel my world.
Imagine, six days at the edge of the land with permission to immerse yourself completely in art. No phone, no internet, just the vast Atlantic ocean outside your window.
This is the promise that comes with a residency at Brisons Veor, a studio set up to enable professional artists to spend a focused period of time developing their work. Its purpose is to provide accommodation and work-space to selected practitioners in need of assistance and who are making a significant contribution in the creative arts sector. Located on the westernmost edge of Cornwall (Cape Cornwall), Brisons Veor provides a dedicated live-work space for self-funded residencies of between one to four weeks.
In mid-April I travelled to Brisons Veor for a week with Leila Godden.
Amongst the Thorns
Graphite and pastel on bristol board
Andrena varians, aka The Blackthorn Mining Bee
For the second round of FiftyBees I was allocated Andrena varians, aka the Blackthorn Mining Bee. There are substantial areas of blackthorn on the South Downs and a lovely walk between Lewes and Ringmer where they are often found by bee specialists. But this is January and I really need to find inspiration more locally.
Research taught me how to tell the difference between Blackthorn and Hawthorn. In spring the Blackthorn flowers earliest and before the leaves emerge, Hawthorn is later at the same time as the leaves. So a long walk around muddy footpaths and I found a Blackthorn bush (only to return home and find we had planted one amongst our Hawthorn hedge!)
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