Courtauld Artist at Work: Jessica Akerman

Our Artists at Work exhibition in the Drawings Gallery is in full swing. We thought it would be a fantastic opportunity to shed some light on the artists among our colleagues at The Courtauld. Here we have Jessica Akerman, Event Producer for the Research Forum discussing her practices.

 

Could you tell us about your practice – what media you work in, what subject matter you focus on, what inspires you?

My work draws on social history, landscape and I work in a variety of media; it depends on the project. My work is inspired by social history – ongoing themes include military architecture, gentrification and women’s working lives. I’m particularly interested in exploring these in relation to British landscape and culture.

I’ve been working with accessories in the last couple of years. Throughout 2018, I’m creating a suffrage patch each month, celebrating different aspects of the suffrage movement. I’ve also just finished as one of 100 female Lead Artists on Processions 2018, making a banner for the Cardiff procession, a live activist artwork. My banner (and accompanying cardboard armour) was inspired by dazzle ships and the homemade armour of suffragettes. And I’ve been using leather offcuts to make foil-embossed jewellery inspired by surveillance and Early Warning System architecture.

Tell us about your working environment(s).

I’m currently working mostly in my home studio in Bristol (where I’ve recently moved). It’s useful being able to carry on working at home in the evenings, and also to be able to make more of a mess than I did when I shared my studio space (on Ridley Road in Dalston)! I’m making small objects at the moment so don’t need masses of space. I send off my suffrage patch digital designs to my embroiderers, Lacemarket Embroidery in Nottingham, and they make them up, send them back, and I trim them. It’s great working with craftspeople who are enthusiastic about the project, and understand the nuances of working on artist projects as well as with commercial clients. (They work for Paul Smith, Grayson Perry and others.)

 

Do you work anywhere other than, or in addition to, a studio – and if so, where?

I’ve just finished working with Made in Roath, a community art organisation, in their shop front studio in Cardiff. Here we made the banner for Processions 2018. It was nice working just off a local high street and have curious people walk past and pop in to see what all our geometric, fluorescent fabrics were about. I use J.T. Bachelor’s and Little Workshop in Hackney for embossing and punching leather. I’m currently programming the Engage conference which is on art, health and wellbeing, and will be at The Whitworth in Manchester in November, so I have occasional meetings there with their inspiring engagement team.

How does your working environment affect your art (if at all)?

When I was studying sculpture at Chelsea I did lots of wood turning, and sometimes made larger structures, because I had lots of space and access to workshops. Since then I’ve worked in smaller studios and at times from home, when my children were very small. That, and having limited funds inevitably made my work less ambitious in scale, but not in concept! I have collaborated with other artists a lot in the last few years, including with filmmaker Abbe Leigh Fletcher and folk singer Frankie Armstrong. Making live, filmed or performance pieces is partially a response to constrained studio space.

Are there any particular tools or objects you feel particularly passionate about and/or are central to your work?

I have a real love of craft processes and materials, and like to use my basic knowledge to experiment with them. My materials work as tools to drive my ideas. Sustainable and waste materials, like leather offcuts, cork, wood veneers and fluorescent papers keep popping up in different guises, such as in cuir bouilli (boiled leather) and marquetry. I’m saving up for my own hot foil embossing machine.

How do you deal with creative block?

I tend to have the opposite problem – too many ideas and too little time! I know from experience that if I’m not working on anything in particular, it’s probably because I’m about to embark on a period of intensely juggling lots of projects at once. Inactivity or feeling stuck tends to right itself. There are always peaks and troughs with the creative process.

Discover more of Jessica’s work:

www.jessicaakerman.com

Instagram: @jessicaakerman 

 

Artists at Work
The Drawings Gallery
Until 15 July 2018  

Courtauld Artist at Work: Christine Maria La Carbonara

Our Artists at Work exhibition in the Drawings Gallery is in full swing. We thought it would be a fantastic opportunity to shed some light on the artists among our colleagues at The Courtauld. Here we have Christine Maria La Carbonara, Retail Digital / E commerce Manager for The Courtauld Shop discussing her practices.

Could you tell us about your practice – what media you work in, what subject matter you focus on, what inspires you?

I work with different mediums. Oil painting is my primary method of expression. I also experiment with photography and painting with acrylics on various surfaces: including terracotta and wood. I am inspired by the trivial, the banalities that I only imagine many people interpret as the quotidian. Life excites me. I love documenting everything. Adding form, whether figurative or abstract, to a sensation or to  encapsulate a remarkable moment in time. The latter of course which holds meaning to me. I only hope that others will see or feel what I try to convey through my works.

Tell us about your working environment(s).

I do not have a studio.  The world around me is my studio. 

Do you work anywhere other than, or in addition to, a studio – and if so, where?

I have worked across three countries. Sometimes with an easel, sometimes painting a canvas that I’m simply embracing physically.

How does your working environment affect your art (if at all)?

I would love to have a dedicated space to create works of art. However, I find it challenging and exploratory creating a space for creation.

Are there any particular tools or objects you feel particularly passionate about and/or are central to your work?

Colour!! I need colour for my works.

How do you deal with creative block?

Creative block is something that happens, in my opinion, when we’ve platuead emotionally, psychologically, sentimentally. Take a trip! Approach a stranger for a random conversation. You’ll find inspiration once more.

Discover more of Christine’s work:

Instagram: @solarskyify

Facebook: /solarskyify

Twitter: /solarskyify

Artists at Work
The Drawings Gallery
Until 15 July 2018 

Courtauld Artists At Work: Vicky Falconer

Our Artists at Work exhibition in the Drawings Gallery is in full swing. We thought it would be a fantastic opportunity to shed some light on the artists among our colleagues at The Courtauld. Here we have Vicky Falconer, Assistant Librarian, serials and e-resources at The Courtauld discussing her practices.

My practice is mixed media but almost always involves a lens-based element to it, as well as a strong engagement with space and architecture – and in particular a longstanding interest in the relationship between interior and exterior.

Since leaving art school I have only ever had studios for brief periods. I’ve worked from home for the last eight years, with the exception of using facilities for specialist processes I can’t do at home. I co-opt parts of my living space to use for whatever I need. But my domestic environment has also become an essential part of the work itself. At the moment I am working on a series of photographic works which I started last year – Inhale/Exhale – made in my living room and back garden. The inspiration for these was some beautiful double exposure photographs by Constantin Brâncuși, as well as a text that I had been reading, Through Vegetal Being, by Luce Irigaray and Michael Marder. There were some ideas in this text that felt really vivid for me: the necessity of breath, which immersion in plant life facilitates, and the capacity for that immersion to dissolve the usual boundaries between interior and exterior.

I can’t imagine having a studio now. So many artists these days have practices which are don’t require it. Perhaps this accounts partly for what seems to be have been a resurgence of interest in the domestic within contemporary art? In terms of ‘creative block’, like most other artists I have a number of commitments outside of my practice. Lack of time for creative practice is both a hardship and blessing in this sense! I go and do something else and by the time I have the opportunity to turn my attentions to my work again, some kind of direction, clarity or purpose has returned. In terms of objects or tools that are special to me, I have a few things which I’ve collected which sometimes make their way into works. I use both analogue and digital techniques, but the Inhale/Exhale works are made on an old Pentax SLR camera – which was actually my 21st birthday gift! It is lovely to think that I am still using it. I am a very un-technical artist in some ways, though. Just as I co-opt rooms in my house to use for what I need, I co-opt materials or processes to make the images or works that I have in mind.  I often put images through a number of transformative processes – scanning, digital recapture, etc. – and it is likely that these current works will be worked on in the same way, with the means of their production very much informed by whichever space they will be presented in eventually.

 

Discover more of Vicky ‘s work:

www.vickyfalconer.co.uk

 

Artists at Work
The Drawings Gallery
Until 15 July 2018

Courtauld Artists At Work: Nadine Mahoney

With the opening of Artists at Work in our Drawings Gallery we thought it would be a fantastic opportunity to shed some light on the artists among our colleagues at The Courtauld. Here we have Nadine Mahoney, Artist Educator in our Public Programmes team discussing her practices.

 

Could you tell us about your practice – what media you work in, what subject matter you focus on, what inspires you?

My practice is very process driven. I love the stuff of paint, and made my own paints from oils to watercolour and acrylic, on a range of supports from aluminium to canvas and panel. I am interested in identity, perception and the human condition. Working between abstraction and figuration, the history of portraiture is a big source of inspiration from lockets, to old masters, death masks and instagram selfies.

Tell us about your working environment(s).

My studio is like a second home. I have a collection of pigments in various old jars, piles of drawings, rows of unfinished paintings. I work on many paintings at once, so tend to have works in progress on the floor, the walls and my table. It’s an organised chaos.

Do you work anywhere other than, or in addition to, a studio – and if so, where?

I need my studio. When I became a mother I hoped I could work on the kitchen table but I just couldn’t paint or draw that way. It made me realise just how sacred the studio is to my practice.

How does your working environment affect your art (if at all)?

Environment and routine are important. I am a creature of habit, so need to have a regular workspace. I am currently working in a studio in Brooklyn New York, and it took me at about 4 months to get the studio working properly.

Are there any particular tools or objects you feel particularly passionate about and/or are central to your work?

I make my own paint, from watercolours to oils. This process is central to my practice. It started of as a way to have high quality materials inexpensively but now I can’t imagine making the work I do without it. My collection of pigments in glass jars are essential. Making the paint in the mornings offers a type of meditation, it helps me switch into studio mode.

How do you deal with creative block?

My practice is anchored through an obsessive curiosity of materials, so I’ve never really had creative block; there is always something I want to experiment with. Also, I work on multiple paintings, so if I get stuck, I’ll just move onto another one. That doesn’t mean all paintings are a success!

Discover more of Nadine’s work:

www.nadinemahoney.com

Instagram: nadine_mahoney

Artists at Work
The Drawings Gallery
Until 15 July 2018

 

Courtauld Artists At Work: Grace A Williams

With the opening of Artists at Work in our Drawings Gallery we thought it would be a fantastic opportunity to shed some light on the artists among our colleagues at The Courtauld. Here we have Grace A Williams, Research Forum Digital Project Officer in our Research Forum discussing her practices.

Could you tell us about your practice – what media you work in, what subject matter you focus on, what inspires you?

I’m an interdisciplinary artist with a focus on photography and installation. I often work with archival and found material to explore feminist power dynamics in the history of magic, mythology and the occult. I have collaborated with some of the world’s leading specialist collections to uncover hidden or maligned female histories, including the psychic mediums photographically documented manifesting Ectoplasm in the T G Hamilton collection at The University of Manitoba, Canada and the legacy of Sally Ryan within the Jacob Epstein Archive at The New Art Gallery Walsall.

Tell us about your working environment(s). Do you work anywhere other than, or in addition to, a studio – and if so, where?

My working environment greatly varies depending upon the project. I had a studio in Birmingham before moving to London and now I work from temporary studios for larger projects. I often work on site-specific projects, so in the next few months my studio will be a preserved 1920s National Trust Property!

How does your working environment affect your art (if at all)?

I enjoy the flexibility of working in different environments but having a permanent studio is something that long term I would like to establish. My husband is an architect and together we’d like to have a space that can be functional for both our practices.

Are there any particular tools or objects you feel particularly passionate about and/or are central to your work?

I couldn’t live without my laptop, working with lens based and digital media means I’m constantly running Adobe suite. In total contrast to this I also collect early analogue technology from the history of photography and film. I have just purchased a number of traditional magic lantern projectors that will feature in my next solo show at The New Art Gallery Walsall in August. I’m fascinated by early approaches to creating spectral images and I’ve had a long term project that explores the Nipkow disc as the basis of television broadcasting.

 

How do you deal with creative block?

I tend to work on several projects at the same time which keeps me inspired and motivated. If I ever feel a little slumped, going to the cinema, walking and sleeping help – surprisingly I have solved several major project worries at night.

 

Discover more of Grace’s work:

Grace A Williams: Intermission
The New Art Gallery Walsall, 10 August — 11 November 2018

www.grace-a-williams.com

Twitter: @GraceANagle

Artists at Work
The Drawings Gallery
Until 15 July 2018