Reflective Statement

This year I have experienced the varying degrees that a post-studio context can be implemented. The year began with the Offsite Project, which encouraged us to make work in response to an area in Brighton, mine being the Police Station. Making work outside the ‘comfort’ of the studio forces you to consider your place within the world exterior to being an artist, this being significant while developing my piece ‘Look Again’ which explored my privilege as a white women doing many of the things a Police campaign cautioned would deem me suspicious. The L5 exhibition took place in the Huxley building, which was instrumental in exploring my practice when decisions were largely made for us, this impacting how I have gone on to create work, especially during the Covid-19 lock down. Being told certain exhibition spaces, themes and pieces were not an option led me to consider more deeply the conceptualisation of my pieces, changing the physicality of my collaborative work while maintaining its contextual integrity, as can be seen in ‘Still Life’. This experience juxtaposed with the L5 Option Module ‘Critical Spatial Practice in Public’, which gave a specific locational brief but liberated me to fully develop a personal response. I initially thought that this Architecture module would limit my practice, but the reason I include it in my reflection is that it produced my most prevalent work so far, ‘A Line Made by Women’, the most significant piece in its influence in my practice to date, which has been selected to be shown in the exhibition ‘LOADED’. The Fine Art Placement project has had the most obstacles to overcome, beginning with Union strikes and ending with a global pandemic. The post-studio situations I was adapting to encouraged me to consider the mediums that I used, it not being enough for me to make a piece with the subject area of current events, but the physicality of the artwork itself addressing these events. This led to my research into creating a community that exists online during this period. The ‘Working Class Community’ is post-studio in that it works to unite artists and non-artists with an identity outside of their subject area, with references to the Artist’s Placement Group in using my identity as an artist to influence non-art situations, and it’s existence within the virtual realm. This had an influence on the subject area of my essay, in exploring Relational Aesthetics influence over my performance practice, in creating social connections with people while not relying on a physical object to do so, referencing Bourriaud’s belief that “once the performance is over, all that remains is documentation that should not be confused with the work itself.” Now, at the conclusion of L5, my practice is centred around myself as the object of my art, as a progression from trying to devoid myself of physical art objects in a battle against commodification to realising my position as a commodity within many of my life’s contexts, and addressing this within my work. I have remarked that my studio space now exists in my mind, my thought processes being my medium executed by means of my body. The post- studio year has taught me that my most valuable resource is my own mind and body.