Wednesday, 5 November 2014


Reflecting on Spill – considering the position of creativity in society.
The edge is recognised, acknowledged, subsumed, mopped up and assimilated by a kind of Borg-like-conventionalism within a capitalist paradigm that atomises individuality then reconstructs and regurgitates it as a commodity for the individual.  The main-stream is veracious in its overwhelming consumption of the ‘other’. Initially spurning what it does not understand, then consuming but never acknowledging or validating the deep roots that initiated the creative thinking that underpinned its watered-down presence in our everyday. This is repeatedly the case – be it the role of the arts in the gentrification of derelict and disregarded areas of the city or the alternative death celebrations that have arisen, initially created by a generation questioning coming to terms with early death. This lack of recognition and respect is on-going thanks to ignorance and fear. Thoughts collated from the last 35 years whilst sitting within a like-minded group of people waiting.
The MA Book Art students have an exhibition for three weeks in the library at Camberwell of altered books – the results of a short set project. The crit yesterday focused on discussing the creative strategies the students had employed to develop work from the books they had been given, finding and developing texts or alternative narratives embedded within the initial books. How much to leave, remove, alter, add or possibly use the book as a starting point to other work. Onto the Polar Institute in Cambridge where I gave a paper for SHARE on the work I have undertaken with The Costume and Textile Study Centre at Norwich Castle.  All went well – myself and Ruth were a wonderfully unscripted double act – it’s all about trust - in the other parties involved, knowing what you do and finally believing in and understanding your role.
Managed to see The Polar Muse at the Polar Institute Museum. It’s a number of texts specially commissioned as responses to objects from the collection. The textual interventions were vinyl cut onto the glass of the cases that hold the collection – it was an interesting experience to see the objects through a veil of words. They also have the wonderful Caroline Wright working in residence there de-constructing de-accessioned objects – powerful stuff.

The current show at the Whitechapel is most excellent – the work by Richard Tuttle explores his use of textiles; everything from single threads that protrude from the wall and play with the real and imagined, cut canvas sheets through to complicated constructed pieces. The current children’s commission by Fraser Muggeridge: Mimeographica Alphabetica - work using stencils and old technology of the rotastat machine – the Proustian rush! (I can still smell the chemicals) is very playful and explores an interesting intersecting place between Graphics, Typography and Fine Art practice.