transatlantic - studio moves: the interview

As some of you know, LA based artist Carol Es and I both moved into larger studio spaces recently and in an ‘e’ conversation, Carol had the brilliant idea for us to interview each other about the move and about studio practice in general. Always happy to blather on about myself, I of course said, 'Hey, Yea!'

As the questions and answers unfolded, we were both quite amazed at the similarities that emerged from this one event. It has to be said, though, her space is much cleaner than mine - at least in the pictures ;)

Carol posted her separate questions for me on her blog, so be sure to read both interviews.

Also worth mentioning here is that Carol just had her limited edition book, I-Self snapped up by the Getty. How bloody cool is that?

Ok so grab a cuppa and have a read:

KD: Do you think having studio space in an established space makes any difference to how your art practice is perceived?

CE: I can only guess, as I'm not so good with realizing how I am perceived, but I hope that it shows that I am serious about my career. It is an investment into ourselves to assure we are making the most honest and focused work without distraction and I think that is a commitment in itself, don't you?

It's also nice to be at an organization that is accommodating to the arts. Since it a competitive process to receive a studio at Angels Gate Cultural Center it legitimizes my practice as the center is also backing me as an artist. What about the place where your studio is?

Carol in her new space

KD: It’s much the same in that the space is well respected in contemporary art practice. Over time, Studio Voltaire has become a sought-after space in SW London and there is a waiting list for studio space so I feel really fortunate that I got in in the first place. When I got the original space I moved in literally right after art school and I felt as though it gave me permission to call myself an artist because I had a place to ‘go to work.’

And I agree with you on the idea of legitimizing one’s practice. I think it does make a difference, for emerging artists especially, to have a studio full stop, and all the better to be a part of something that is respected.

KD: Open studios aside, are there benefits, in terms of making connections with other artists or galleries?

CE: I think so. I trade studio visits with artists all the time, and that has been most beneficial, especially because I am so much better one on one in a setting like that. It is so important to network with other artists, but it's hardly possibly to do that at art shows (I hate crowds). It's also great to offer potential collectors and curators the studio visit and give them the option to see the work in real life rather than from tiny little slides they never project, or on the web where details are lost. What about you? And tell me about how your open studios work.

KD: In terms of networking within the studios, it’s something that has built up over time, mostly from open studios, when most are there and have that opportunity to get to know each other and see each others’ work. I’ve built some great relationships and gotten a hell of a lot of good advice, which is great. That aside, I like the autonomy of having my own space where I can just go in, shut the door and get to work, which is what most of us do. There are opportunities to connect and share information and ideas, but it’s really up to the individual how involved and available they want to be. So it’s the best of both, I guess.

On open studios - In the past we’ve had open studios about twice a year, which were somewhat frustrating experiences, until the most recent one, in December. We were a part of an Arts Council funded ‘art trail’ called Arts Unwrapped, which made such a difference. There was more publicity (because of A/C funding) and a lot of people came. It made the effort worthwhile and it was great getting feedback on my work from total strangers.

KD: What's the most difficult part about unpacking and settling?

CE: Deciding where everything will go is hard for me, I'm not the greatest with the decision making process. I had to decide permanently where the heaviest stuff went (I have a 300 pound cutting table that can't really be moved after it's assembled), and once that is placed, it deciphers where everything else is going to go, so that pushed on my nerves a bit. Also, wanting to get everything put away so I could settle back into working (I have shows coming up) was also stressful. I'm impatient and like to get everything done in a day and when I can't I become a basket case, so I am usually a basket case. How about you? Did you have a hard time at all?

KD: I didn’t actually, because I have fantasized about this space for so many months! At one point I was literally dreaming about it. I got everything moved in on a Saturday and the following Monday I spent the whole day putting stuff away. I’m still in a settling in period though, where I move stuff about and think, ‘hmmm, that probably should go over there…’ but it just comes about in the working process, what you use most and so on. I have some really high shelving, and that took some thought as to what to put up there, as it’s a pain to get it all down. I was very methodical and labeled my boxes and there is one that says ‘everything else’ - god knows what’s in there!

KD: Do you have internet access in your studio?

CE: No, thank the lord. That's like having heroin available in my studio.

KD: LOL! Great analogy! I don’t have it either, though that will change eventually. It would actually make my life a lot easier if I did have internet there because I use it a lot for research. Being able to get stuff done at ‘work’ instead of when I come home would be hugely helpful and my partner would really like that. He gets annoyed when I sit there with my laptop tapping away in the evenings. I don’t surf ‘to surf’ so much these days, as I don’t have the time, but it’s true that it can be a real time-suck, as well as a diversionary tactic. But I do look forward to having that flexibility and choice.

Another view of Carol's space - phwoar...!

KD: What facilities, if any, are available (crits, workshops, equipment, the use of gallery space, etc.) and how do they work?

CE: There are a lot of great resources and programs at Angels Gate. There is a main building with 2 galleries, a small solo artist's space and a larger gallery for group exhibits. They are not specifically for the studio artists though. You have to send a proposal and slides like anyone else in the world and it is decided by a separate exhibitions committee to assure quality shows, but they have hosted group shows that included the studio artists by outside curators as well.

There are also many classes, in fact most studios are adjacent to classrooms. In my building there are more performance-oriented classes going on: dance, karate, yoga, etc. In other buildings there might be classes for ceramics, painting, drawing, etc. One building has printmaking facilities and there is a master printer there doing workshops, or you can rent the facilities on an hourly basis really cheap for the studio artists, and maybe 10 bucks (not sure of the fee exactly) an hour for anyone else.

There is also a program that places artists in public classrooms at the schools around the harbor area, usually K through 6, and that is a great opportunity to get your feet wet in teaching art to kids. How about your place?

KD: Studio Voltaire is much the same in that it has a gallery space and project space and chooses the shows by an exhibitions sub committee. Like Angels Gate, proposals have to be submitted and the committee is very selective. The gallery has gotten some good press for recent shows, which is great, as it raises the profile and again goes to that ‘respectability’ thing. They also rent out the gallery and project space for various events to raise income, but that’s separate from the shows.

We don’t have any facilities in terms of printmaking and such but the project space can be used, for instance, if one needs a larger space to photograph work, etc. There is also an education programme that does community and school projects, in addition to gallery workshops and talks held in conjunction with shows.

As with your space, there’s a yearly members’ show. It used to be all inclusive but has evolved into a selective exhibition in which outside curators choose the work and curate the show. The curators change yearly, and it’s a real gamble as to whether one gets in (so far I haven’t, but I live in hope!) The frustrating part is that the members’ show is open to external as well as internal (studio occupants) members, which means that each year we get a lot of people that become external members in order to apply for the show. It’s a double edged sword – personally I don’t think it’s necessarily reflective of what goes on in the actual studios, but it’s beneficial because it’s a way to raise the profile of the space (by having a good show) as well as raise income. And it has to be said, it’s much better to be in a show that is curated properly and where your work is chosen, than in something that is just a free-for-all, where there is no meaning.

KD: Does your studio have heat (or do you even need it in LA?!)

CE: No, I wish. I use the space heater for sure, and most everyone has one. I use it in the summer too if you can believe it. It gets amazingly cold and foggy (we even have rain occasionally) and we'd all die without them, well maybe not die as much as complain heavily.

Do tell me about London weather now, how cold does it get in the winter and year round?

KD: I am amazed that southern California gets that cold – though fog will do it. Coming from the SF Bay Area originally, I know that very well. Funnily enough, it doesn’t rain here nearly as much as everyone thinks, but there is that damp cold that hangs in the air and chills to the bone. It’s been in the 30’s lately and sometimes that means really motivating myself to get out of my warm house and just go to work! Once I’m there I turn on the space heaters, which helps, but it never gets really warm. We do have heat in the ‘back bay’ where I am, and though it’s not great, it does take the chill out of the air. In the Front bay there is none at all, which is dire. Everyone hates it. Everyone has space heaters, and as you know, having concrete floors doesn’t help. Sometimes my feet go totally numb. Most of us have heavy plastic tarps over our spaces to keep some heat in which helps. I’m thinking of getting some cheap carpet to throw down as well but something I can roll up easily enough for when I need the plain floor.

If I won the lottery I’d buy the building outright and make a stipulation that it had to remain an artist space - we are leasing and that’s always scary, what with developers sniffing around looking at prime real estate in London. And then the first thing I’d do is get the heating sorted out!

Now - go read Carol's blog for the REST of the story...