My stall table will be tiled with business cards and their gradual dissemination will form both a visual and conceptual dimension to the work. The cards are screen printed with a design of two paperclips standing side by side, anthropomorphising office ephemera; the paperclips characterize my attachment to the punter. The receipts for exchange of contact details will be detailed in a carbon duplicate book. One copy of the receipt will go to the punter and the other will remain in the book. This book will form the final, ongoing art work.
My practice is concerned with the position I occupy as an emerging artist/ curator/administrator. I work in a context of gradual crisis in arts education and a mire of questions around professionalisation. Young artists today can spend their time usefully googling other artists, writing funding applications and milling around private views networking. After spending a lot of my time on aforementioned activities, and not a lot of time making work, the obvious move was to have these activities form my art practice. Another inevitable and time consuming activity is working as an administrator for a temp agency. For years I have compartmentalised my practice as an artist and my job as an administrator. However, I have come to question what expertise I possess, and how administration includes the use of skills not least separate from my art practice.
I am more proficient at taking minutes than screen printing because of the division of my time based upon economic need. In this work my relatively poor technical art fabrication skills are employed to promote a seemingly non-existent art practice which has become series of clerical tasks, haplessly learned keeping my bank balance afloat. The realms of art and business are unavoidably blurred.
When considering what to produce for the Art Car Boot Fair I found myself asking what skills do I possess and what do I hope to gain from my participation in this work? My proposal responds to the overall theme of the Car Boot Sale; the exchange/ relationship between artist and punter whilst using my skills to shamelessly promote myself and gain exposure as the market requires me to.
My practice is concerned with the position I occupy as an emerging artist/ curator/administrator. I work in a context of gradual crisis in arts education and a mire of questions around professionalisation. Young artists today can spend their time usefully googling other artists, writing funding applications and milling around private views networking. After spending a lot of my time on aforementioned activities, and not a lot of time making work, the obvious move was to have these activities form my art practice. Another inevitable and time consuming activity is working as an administrator for a temp agency. For years I have compartmentalised my practice as an artist and my job as an administrator. However, I have come to question what expertise I possess, and how administration includes the use of skills not least separate from my art practice.
I am more proficient at taking minutes than screen printing because of the division of my time based upon economic need. In this work my relatively poor technical art fabrication skills are employed to promote a seemingly non-existent art practice which has become series of clerical tasks, haplessly learned keeping my bank balance afloat. The realms of art and business are unavoidably blurred.
When considering what to produce for the Art Car Boot Fair I found myself asking what skills do I possess and what do I hope to gain from my participation in this work? My proposal responds to the overall theme of the Car Boot Sale; the exchange/ relationship between artist and punter whilst using my skills to shamelessly promote myself and gain exposure as the market requires me to.
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