When the Coronavirus pandemic lockdown came into place I was still working in the art gallery where we had the exhibition of Naum Gabo, Russian constructivist; “...the first extensive presentation of Naum Gabo's sculptures, paintings, drawings and architectural designs to be held in the UK for over 30 years. The exhibition marks the centenary of the Realistic Manifesto 1920, a set of pioneering artistic principles launched in Moscow by Gabo and his brother Antoine Pevsner. The statement declared that authentically modern art should engage with and reflect the modern age. ” - Tate St Ives During our time in quarantine, my colleague, Alice, decided to put together a film of the museum staff reading the realistic manifesto translated from Russian to English, not only marking 100 years since it was written but also how relevant it is today. The manifesto was originally written by Gabo and his brother Antoine Pevsner. I took part; it has been a joy and a privilege to be able to collaborate. It was really sad that the exhibition was missed by many and on my last day I found this written in the exhibition catalogue, I shared this to my Instagram: "Art should attend us everywhere that life flows and acts...at the bench, at the table, at work, at rest, at play; on working days and holidays, at home and on the road...in order that the flame to live should not extinguish in mankind" Naum Gabo, from Constructions for real life exhibition catalogue 2020 You can find out more about Naum Gabo here. References https://www.tate.org.uk/whats-on/tate-st-ives/exhibition/naum-gabo https://www.moma.org/collection/works/173291 text for gabo pic 1 …Naum Gabo Head No.2 1916, enlarged version 1964. The Work of Naum Gabo © Nina & Graham Williams / Tate. Photo: Kirstin Prisk.
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Happy New Year and happy new decade! I thought I would do a roundup of 2019 and what is instore for 2020 post. I don’t generally do resolutions as such but last year one of my goals was to be more active with my creativity. I didn’t have a clear set plan of what I was going to do or a timescale which sounds really rubbish, in fact I was very vague because my art has to fit around my job and family. I felt if I was too rigid and things didn’t go to plan I would feel too defeated. However I had some great successes last year and a few low lights but that’s to be expected, as they say; a smooth sea never made a skilled sailor. I think it’s important to acknowledge what didn’t work rather than erase those bits and paint a ‘perfect picture’ for the world. I wrote about it here in my post 'How to deal with rejection as a creative practitioner'. In 2019 I was lucky to have 5 exhibitions in Cornwall;
When I went back to college I remember being nervous and telling myself several times I wasn’t good enough so to have exhibited and sold my work at Tate St Ives and Tate Modern were definite career highlights and experiences in 2019. The paintings I submitted for both Tate exhibitions were painted as part of a mentorship I did, one sold at the private view and the other about a week later! ‘From Trevalgon with Lanyon’ shown at Tate St Ives I had to take my artwork to London so I spent a few days there and also enjoyed the Olafur Eliasson exhibition, a few days is never enough though. I love London as it just opens my mind to more artists and I always come home with lots of new ideas. In February, many months before the exhibition at Tate Modern I went to see the Don McCullin photography exhibition at Tate Britain. This exhibition will be at Tate Liverpool 5th February – 6th May 2020. I know Cornwall has so many artists and galleries but it’s nice to get away from seascape themed artwork and look at different perspectives. So what’s the plan for 2020? I made a list a few days ago;
Are you stuck with your creative work? Do you need to finish a piece or tie up loose ends and want to try something new? Try these tips with visual examples. Feel free to print this list and use them as prompts to help, I have also made this information into an infographic at the bottom of the page.
‘It all works out in the end, you just got to deal with the rejection every now and again’ This is something I have had to tell myself several times. Nobody likes rejection but you have to put yourself out there otherwise you will think about the ‘what if…’ With such easy access to what people are doing now through social media it’s easy to look through someone’s Instagram or Facebook page and think that other people are doing better but you have to remember it’s only the highlight reel; not everybody talks about the not so great stuff. I’m guilty of that too because if something goes well for me I want to shout about it because I feel good and there’s nothing wrong with that. There has been several times when I’ve said to myself or my friends: ‘I’m a rubbish artist’ ‘Nobody would want to buy this’ ‘Why am I wasting my time?’ ‘Maybe I should focus on having a ‘proper’ job’ I haven’t discussed these feelings on my creative social media account or about any of the rejections I have had as creative practioner. There have been a few I have experienced but not many people generally talk about it. I submitted photos and an artist statement to apply for an exhibition where a group of people rejected the whole proposal, no explanation of why and it hit me hard. I know several people on that judging panel and felt embarrassed. I had worked towards this for nearly a whole year and without the reason of why it wasn’t good enough I felt I couldn’t improve or progress, I wasn’t sure what to do other than cycle through those negative thoughts and feel stupid for putting all my eggs in one basket.. However later on I submitted two of the paintings for shows at Tate Modern London and Tate St Ives and they were successful! I had some amazing feedback, one sold at the private view and the other one sold the week it was on display. If I had let those negative feelings consume my thoughts I probably wouldn’t have tried to get in the Tate Gallery as that is a big step up from a small town independant venue. Only a couple of months after that I submitted a painting for an exhibition which wasn’t accepted. I felt a bit low but I did better to reason with myself; I had submitted one large painting rather than a couple of smaller ones where the gallery may have been able to squeeze one out of the two in, I took a risk which was better than not trying at all and wondering whether it would have been accepted. I sat at the bus stop with my large painting wrapped in a bin liner (not very professional but the reality is that I don’t have the funds for archival wrapping and a courier to take it for me). As I walked through the door feeling thankful that it had stopped raining long enough for me to get the painting home, my phone picked up the Wi-Fi and I received a message; a commission request! I went through quite a roller-coaster of emotions that day! I found a book at work in our Wellbeing box (so grateful for this) which really helped me and I recommend reading if you can get hold of it. The book is called Ways of Being by James Cahill, Advice for Artists by Artists and covers the early days being a student, getting their first shows, becoming successful, inspiration and lots more through short artist quotes. I do recall a few quotes that helped me and reminded me to just keep going with my art no matter what is going on in life and how busy I am, just do something creative every day. For me that can be just a quick sketch, discovering a new artist and making a note to look up more about them, supporting another artist by buying a print or book, visiting an exhibition, discovering images on Pinterest that sparks a new project…anything to just keep going. It helps to remember that:
If you need some more positivity, inspiration and reasons to keep on with your creative practice visit my Creative Help & Inspiration Pinterest board, save them to your phone, laptop, tablet or pin them to your own boards! Chasing numbers and social media burnout had been on my mind for a few days and it’s not the first time either. Years ago I had a creative blog for 3 years which I stopped writing. Originally it was called ‘Not Just a Mummy’ when I first started college and changed it to ‘Canvas and Thread’ when I started to establish myself as an artist. Then someone decided to use that as their website name without clearly doing any research. I didn’t have the time or energy for it anymore when I was in my last year at university and I felt it had run its course. I was so caught up in tracking the views and promoting and then my dissertation zapped all my time. I’ve have had so many different art accounts to promote my work I struggled to keep track of where I was and which I had updated. It was always about the numbers game, it wasn’t all that enjoyable when it started to become about the numbers and less about the engagement so I just cut my losses and deleted the blog which I do not regret doing. Although I am obviously blogging again now sometimes posts will be read when the subject matter is relevant to the right person at the right time and therefore I don’t beat myself up about the numbers at the end of the month. I now mostly use Instagram; it’s a brilliant way to share visual snapshots of my work and studio. I also like to be able to see what other artists are up to and what galleries are showing. Why the Burnout? I was following nearly 1500 people on Instagram but seeing the same 10 -15 accounts all the time. The algorithms were only showing the same few accounts based on my usual clicks, likes or views whether that was in my feed or the stories across the top so it was a bit like a vicious circle; I am only seeing the people who I interact with the most but who has time to view every single account so you don’t miss anything? I became fed up, it was the same on my personal account too and I stopped using it so much. This week I have cleaned up my Instagram social media and it is now working much better for me and I do not feel guilty for what I have done! Where had I gone wrong?
The benefit
What about other social media? I use Pinterest A LOT! As a visual person it just works for me, I have my boards of inspiration all sorted according to categories I want and I have my own work on there too. Anything not art related I keep private. I don’t see it as a social thing so much as I don’t look at the follower feed often or chat with anyone. However what I did find helpful was to follow individual boards over whole accounts unless you like every topic someone has created a board for, I found myself spending a lot of time unfollowing every board I that wasn’t my niche. Many people follow the odd 1 or 2 boards of mine rather than all of them and that is absolutley fine and Pinterest now promote ‘boards like yours’ which is helpful. Again it comes down to organising what you want to see. On Facebook I have an art page that has just over 500 fans, I share my blog posts there and a few images and promoting of exhibitions I’m in. I don’t rate Facebook very well as the statistics tell me that my reach can vary from 0 to less than 100 and they continuously try and get me to pay to reach more people. I can only assume they are purposefully not showing my posts so I pay which I refuse to do. Another artist I know did this and they found the unpaid reach was getting worse and got into a habit of having to pay every time when sharing. I am debating whether its worth keeping this account. I used to have a Twitter account with the first blog, I followed everything creative that was local to me but the feed moved so fast I missed a lot and my posts were missed by others. Different accounts work for different people and there may be platforms out there that are great and I haven’t discovered yet, maybe what works now won’t work in the future. Regularly reviewing what we want from them seems to be the way to go before we burn out trying to keep up with them all. This week Tate St Ives are hosting an exhibition showcasing the creative talents of its staff based on the theme environments. I am really pleased to have a painting on show! The exhibition also includes sculpture, jewellery, photography, painting, performance, film and more. The exhibition runs from 24 - 29 September 2019, Foyle Studio, Level 3. From Trevalgan with Lanyon by Stephanie Croydon My exhibition piece is mixed media on wood and was made during a mentoring session with artist Liz Hough. We went to a high point in St Ives to sketch; between rocks, fields and with the sea at the horizon. Nearby is a memorial plaque dedicated to St Ives born landscape artist; Peter Lanyon. Statement; 'The coast, woodland and the countryside are places I often use as inspiration to create, working outside directly in the landscape. Primitive places unoccupied by technology and consumerism; particularly up on the hills and in fields where the landscape still feels raw, still bearing traces of how our predecessors occupied and moved through the landscape'. 'I use these areas as a place for quiet contemplation, places where we can be still from the world. ‘From Trevalgan with Lanyon’ is taken from a larger body of work; Out West, and was created with the starting point of looking in more depth at the ancient Cornish landscape. Following Peter Lanyon’s map along the Penwith Coastline, I started from Trevalgan near Lanyon’s memorial plaque, information gathering directly taken from my surroundings'. 'Evolving from my previous work; looking at how the world touches us on an emotional level, working outside leads me to question our movement in the landscape at a time when it has become critical to question the future of our environment. How we move through the landscape every day; our footprint and the wider impact we are creating with consumerism, waste and the impact of climate change'. The private view was really busy and there were performances of music, poetry and other reading on the night. On Friday there will be another performance at 12.30pm by the wonderfully talented Alice Ellis-Bray which is not to be missed! The show has numbers next to each piece rather than text but there are sheets and a booklet available for visitors to find out which piece belongs to which artist, the booklet gives a short statement about each artist. The exhibition is family friendly and free with a paying ticket which will give you access to the rest of the galley. Modern Art and St Ives and Otobong Nkanga: From Where I Stand are the exhibits currently on show. Although this isnt a selling exhibition, there are no prices listed, I am happy for this piece to be displayed in a permanent home should a collector be interested. The exhibition is featured on the Tate website Whats On section HERE The instagram page for the exhibition which also features more artists can be found HERE I recently travelled to London from Cornwall to take my painting ‘towards Zennor’ to be exhibited at Tate Modern and spend a few days in the city. The exhibition was the Tate Staff Biennale by the Inside Job Collective and based around the theme of Movement showing work by collegues from all 4 Tate sites; St Ives, Liverpool, Tate Britain and Tate Modern. The exhibition was held on floor 5 of the Blavatnik building from 28th august – 3rd September 2019. The private view evening was really busy and although it wasn’t a selling exhibition my painting sold that evening and has now gone to its new home! In total 6,070 people visited the exhibition and was featured on the museum and heritage advisor website. The work varied from painting, sculpture, film, textiles, prints, photography and also workshops. I attended 2 of the workshops by my colleagues; Annabel who lead a cyanotype workshop and Sayra who lead a comic book making workshop. I interviewed Sayra recently in another blog post. There are more photographs on my instagram page. In the third Meet The Maker I had the chance to put forward some questions to Jade who is also a colleague who will be exhibiting in London with myself and Sayra Begum this month. CAN YOU GIVE ME A BRIEF OUTLINE OF YOUR CREATIVE PRACTICE? I mix and pour coloured resin (usually epoxy) to create layered paintings often on circular boards. I do consider myself a painter but also the process of creating my works is semi-sculptural as I work in layers with the resin. Casting resin in moulds and working with ink on paper are also part of my working practice so I guess a combination of all of those things really. WHAT WAS YOUR PATHWAY TO THIS; HOBBY, A WORKSHOP, EDUCATION, SOMETHING ELSE INSPIRING? I have always been creative since I can remember so art was always one of my favourite subjects in school and college. When I left college, I went on to do a foundation in Art and Design which I really enjoyed, and it really confirmed my decision to study Fine Art at Falmouth University. I graduated in 2017 and since then have worked at Tate St Ives and the Barbara Hepworth museum alongside my artistic practice. Being around amazing art daily and being able to research new artists all the time has definitely had a positive influence on my practice. IS THERE A STORY OR A THEME BEHIND THE BRAND/MAKER? My Dad is also an artist, so he and my Mum have always been very supportive and encouraging of my creativity. I was born in Cornwall and I have lived here all my life so naturally the sea and the landscape have always been a big inspiration. I think whilst I was at University, I combined this interest in the Cornish coastline with research into global warming. Particularly focusing on the worlds water systems and the changes they are undergoing as a result of dramatic climate change. CAN YOU TELL ME MORE ABOUT YOUR PROCESS FROM IDEA TO FINISHED PIECE AND DO YOU WORK FROM HOME, OUTSIDE OR A STUDIO? My initial inspiration is usually walking in the landscape or along coastal paths - I take a lot of photos and videos– especially of the sea and the Cornish coastline. When making a new work I often refer to these for inspiration and ideas. When I’m working with resin I usually work from my studio at home – I use various pigments which I mix with the resin. As the resin begins to cure as soon as Part A and B are mixed together I only have a limited time to work with it. I use a butane blowtorch to heat the resin as I tilt which helps me to manipulate the resin on the board – the heat also pops any air bubbles. Once I am happy with the first layer, I leave it to cure for about 24hrs before starting on the next one. Some of the layers (usually the background ones) are opaque colour and then some (usually the top or final layers) are mostly transparent with a few finer details. I find this layering process helps me achieve the depth in my work. Recently I have developed a series of small cast resin works called ‘Wave Studies’. This involves pouring resin into a round silicone mould and again using a blowtorch to pop any air bubbles. I then work into the wet resin with inks and pigments before leaving them to cure. I sometimes use this process as a way of trying out different colour combinations before starting on a larger piece too.
ARE THERE ANY ARTISTS/MAKERS YOU ADMIRE, WHAT IS YOUR INSPIRATION? I find Bernhard Edmaier’s work incredibly inspiring. He is a photographer who ‘combines his training as a geologist with an exquisite talent for capturing dreamy, seemingly abstract images of earth from above.’ He also highlights the effects of climate change on the environment in his work – which is really important. Since staring work at Tate St Ives, I have done lots of research into many of the St Ives modernists and I have found that Bryan Wynter’s work very inspiring. Learning more about how he captured the beautiful movement of water in his paintings in various ways is incredibly interesting. Olafur Eliasson is another artist I really admire – especially his works that draw attention to the important topic of climate change. His ‘Ice Watch’ works were particularly inspiring for me and along with other inspirations led me to make a series of ‘Readymade’ Ice works myself a few years ago. I am really looking forward to seeing his big retrospective at Tate Modern in a few weeks. INFLUENCES DO YOU HAVE ANY UPCOMING PLANS/EVENTS/NEW LINES/EXHIBITION/WORKSHOP? Currently I have a piece of work on show in the Penwith Gallery in St Ives as part of their summer exhibition. The next exhibition I’m taking part in will be the ‘Movement’ exhibition at Tate exchange at Tate Modern in London 27 Aug – 4 September. Following that – ‘Environments’ at Tate St Ives 24-29 September. I have been experimenting with a new colour palette with my resin works – inspired by rocks and minerals rather than the sea so I will be working more with more earthy tones and pigments alongside the bright blues and turquoises I usually use. It’s a little scary but really refreshing to try something a bit different and I’m looking forward to making more works with these colours. NEW WORK…. For my second post in the ‘Meet the Maker’ series I had the opportunity to put forward some questions to my colleague Sayra Begum who will also be at Tate Modern for the staff biennale 28th August to 3rd September. CAN YOU GIVE US AN INSIGHT INTO YOUR CREATIVE PRACTICE? I would class myself as an illustrator. Since graduating from Falmouth in 2016, I’ve been focusing on one project, Mongrel. I started writing Mongrel on my MA and it’s been the focus of my creative energy since. I have around 100 pages left to illustrate and I’m hopping it will be released in Spring 2020 by Knockabout Comics. WHAT WAS YOUR PATHWAY TO THIS; HOBBY, A WORKSHOP, EDUCATION, SOMETHING ELSE INSPIRING? I became really fascinated with graphic literature in my third year at Plymouth. I was comparing Islamic manuscripts with graphic novels, using the broad definition of Islamic art. The pages either had to be based on Islamic culture, set on Islamic land or have characters that belong to the Islamic world. For example I compared pages from Marjane Satrapi Persepolis to The Ta'rikh-i Alfi, (History of a thousand years). Both these pages communicate horrific scenes of violence but Satrapi’s story telling is from a personal perspective. The following year I became obsessed with women’s life writing in comic book form. I was interested in why so many women were turning to the medium to share such personal and honest stories when the medium has a long history of being male dominated. I researched the story telling devises the medium had to offer to creators and the drawbacks. And so inevitably I chose to share my own story in the graphic novel format, that’s Mongrel. I couldn’t help noticing in both lines of research how the purpose of sharing auto/ biographical stories had evolved from providing people with an exemplary life, how we should aspire to live such as the life of The Prophet and Jesus, to sharing frank stories of everyday life. Something that’s more relatable to make us feel less awful about ourselves by that someone else has been through the same or worse. The Modern obsession with impurity. INFLUENCES IS THERE A STORY OR A THEME BEHIND THE BRAND/MAKER? In my work I’m interested in exploring auto/biography with a focus on female and marginalised voices. I use personal narrative to provide a way in for the readers to experience a place, a way of life, a world which may not be familiar to them. CAN YOU TELL ME MORE ABOUT YOUR PROCESS FROM IDEA TO FINISHED PIECE AND DO YOU WORK FROM HOME, OUTSIDE OR A STUDIO? In my home I have a little studio room where I have my large drawing table and desk, amongst all my other arty possessions. I’m really grateful that I have my own space to get away and focus. My process starts in word doc. Not very exciting I know. I start writing the script, what each character is saying, directions for my future self when planning the layout and illustrations. At this point I’ll also be working from lots of scrap bits of paper when I’ve come up with ideas of what to include in the book. In the next stage, I’ll start creating thumbnails, using the thumbnails to decide the pacing of the story, the layout and very rough outline of what I want happening in the panels. I will then create a clearer draft, developing the initial layout and illustration in thumbnails. The drawing will become a lot clearer so other people can decipher what’s going on. Finally, it’s pencilling the illustration, darkening the outline, shading, scanning it into Photoshop to clean up then, dropping it into InDesign and placing the text. WHAT ADVICE WOULD YOU GIVE TO SOMEONE INTERESTED IN WORKING IN THIS DISCIPLINE/INDUSTRY? It takes a lot of hard work and persistence. You’ve probably already heard that a thousand times but it’s true. You will have to really love what you do to ride out the difficult journey and get to the publication point. ARE THERE ANY ARTISTS/MAKERS YOU ADMIRE, WHAT IS YOUR INSPIRATION? There are so many illustrators that I am influenced by … Marjane Satrapi, Craig Thompson, Lynda Barry, Dominque Goblet, Phoebe Gloeckner… And Persian Miniatures… TO FIND OUT MORE ABOUT SAYRA YOU CAN CLICK THROUGH THESE LINKS Website I have decided to run a meet the artist feature on my blog as I thought it would be a good idea to introduce how others found their pathway into the creative industry and what their niche is. I could just put this straight into my about section but to start the first post off I thought I would write briefly about my practice and my journey so you can see what to expect from future posts. If you would like to be a part of this drop me an email at [email protected]. My creative practice is mainly painting at the moment however I like to try different techniques and experiment particularly with textiles, printmaking, mixed media, sketching and fabric design. I work from a small studio from my home in Cornwall. My pathway into art started from a love of drawing as a child (I still have some of my childhood books with scribbles in) and art was my favourite subject at school. I did art at GCSE level with a predicted A grade but I never took my schoolwork seriously; too busy socialising, and I didn’t enjoy sixth form so I dropped out. I eventually came back to art much later when I started receiving commissions from family and friends and I was encouraged to see an art exhibition at the local college. I signed up to an access to HE course and I had to apply for University only 3 months into the course. I was really unsure about which degree to choose, I couldn’t decide between fine art or textiles and several people said I should do illustration, I was really confused. The degree I chose was Ba (Hons) Contemporary Creative Practice (now called Art & Design Practice) with Plymouth University. This degree is interdisciplinary; a combination of subjects which gave me the time I needed to start to define what my practice was and become more autonomous. At the end of my degree I went on to win a one year residency at Krowji studios where I focused more on painting and taking part in open studio events. My story or theme behind what I do is mainly landscape based. This exerpt is taken from a recent painting submission; 'The coast, woodland and the countryside are places I often use as inspiration to create, working outside directly in the landscape. Primitive places unoccupied by technology and consumerism; particularly up on the hills and in fields where the landscape still feels raw, still bearing traces of how our predecessors occupied and moved through the landscape. I use these areas as a place for quiet contemplation, places where we can be still from the world'. I grew up in South Yorkshire and my best childhood memories were playing in the garden and then going into the woods and other local nature places with friends. When I moved to Cornwall I was surrounded by a different sort of landscape plus the coast so I started to try and make connections as I put down new roots. I found a quote that stuck with me for a while; ‘to make visual how the world touches us’ by Merleau-Ponty, 1993. My last project ‘Out West’ looked further into this. I am inspired by other types of art such as street art, figurative, ceramics; if you follow my Pinterest account you will see it’s quite varied! The process from idea to finished piece starts with ‘information gathering’. This is mostly sketching outside but also collecting poems/words, being inspired by other artists/places, collecting images, visiting exhibitions, making notes. It can vary which keeps it interesting, then I’ll make a pile of all that I have collected and when I go through it I will pick bits that stand out and start experimenting with materials. The advice I would give to someone interested in working in this discipline/industry is to keep drawing, keep a notebook, sketchbook a file on your computer; whatever works for you and keep adding to this to develop your practice. Even if you don’t know what your practice is yet add to it regularly. I had to take a portfolio to my college interview so having a selection of sketches and paintings showed how I work but that there was potential for it to develop- it doesn’t need to be perfect. I also recommend following other artists through Instagram, it’s a great platform to be able to see other creative people and so many people use it as their ‘sketchbook’ as well as to sell their products. You can see my recent instagram images in the sidebar to the right. Even if college or university isn’t for you Instagram can really build your following and generate some commission work. Pinterest is good for finding different styles of work and ‘collecting’ and building boards as well as also sharing your ideas. Local libraries and book shops have lots of art books, if you prefer not to go down the digital or social media route. Attending exhibitions, reading creative magazines and articles and networking are all good for building up your knowledge and discovering opportunities. My inspiration is mostly landscape as I am surrounded by beautiful countryside and beaches but as I work in an art gallery and museum my introduction to other artists is increasing with each new exhibition. I also go to a lot of other local art exhibitions. I have started to look more into feminist and political art, buying books and researching online around this subject but I haven’t yet started to introduce this into much of my work. I have written a piece for a zine and I would like to be involved in doing more work like this. I think it’s important to go with what feels right; follow the path if it’s something that you are surrounded by or calls to you in some way. This year I have been involved in several exhibitions and I have a few yet to come which I am really excited about. So far this year I have exhibited at; The Sloop Inn; St Ives, Penwith Gallery; St Ives, Penlee House; Penzance University of Greenwich. This year I will be exhibiting at Tate Modern; London and Tate Gallery St Ives. I don’t have any big projects planned at the moment, just a few ideas I would like to finish off and I would like to reopen my Etsy shop to sell original small pieces to make room for new work in the studio. I am hoping to start writing more ‘How to’ posts on my blog but having some more in-depth tutorials that can be downloaded from Etsy as I don’t have the space to teach workshops from my home studio. My plan is to head up to London this month for my Tate exhibition and attend other shows whilst I am there for more information gathering. I am hoping that in the future I can exhibit outside of Cornwall more often and find work in a museum or gallery in London even if just a temporary placement for experience. |
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