So, I have taken to this residency. 
With its defined time period, bequeathed as a virtual boundary, it has become not only as a state of mind, but also a physical reality.

The studio[1] is a familiar and productive place and after a summer break I have been approaching the space as if it were temporary location. I’ve been looking differently, working differently. Six months of experimentation, and release from personal expectation. Permission to follow the tangential line, to embrace the studio freedom one already possesses but that is unknowingly kept at length, sometimes perhaps in deference to the ongoing practice.

For the last couple of years I have been working on canvas and good drawing paper, for the residency I am primarily working on surfaces that have been found or donated and that exist within the building. I have selected a section of wall in the corridor that runs behind our main door, passed my room,[2] on the way to the shared spaces. I have literally rubbed shoulders with this wall for three years. Now it has become a space. A drawing space.


[1] Angelika Studios, High Wycombe, an artist led space with individual studio spaces for six artists and a shared project space.

[2] I share a room with artist Gill Gregory.http://www.gillgegory.com 

Taking hold of rhythm that is close. Resonance. 

To see through it. My scale; shared scale. Measure.

So through the rhythm, position and fix a point of view, both forward and back.

I have been drawing in books, on paper and on maps.

Starting on the grid, sometimes ending with the grid. Meshed.

I have been writing, and deleting. Remove.

In the studio thinking about Paris. Walking.

My summer thoughts and practice have floated freely, just out of reach. Retrieve.

Studio reading  - Art and Phenomenology, edited by Joseph Parry.

‘…she does not simply look for a pattern, much less the pattern, but rather for “ a certain way of patterning the world,” that she recognises as such, and in recognising it, simultaneously recognises that her ability to recognise a pattern originates in the structures of her own being in the world.’ *

*Art and Phenomenology, edited by Joseph D. Parry. Routledge, 2011, Page 172.