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The Athole House Studio
Self-Isolation Artist Residency
30th March 2020 - 7th November 2021
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Over my career I have taken part in many artist residencies in various parts of the world; I have even organised and run a residency program myself. 2020 has brought new challenges to us all, I however intend to treat these challenges as opportunities. With this in mind today, the first day of my self-isolation having arrived back from my studio in the Untied States last night, I I launch my new blog which will become an integral part of this website as I redesign is over the coming weeks.

Artist Residencies give artists the space and perhaps more importantly the time to make new work; I intend to treat my time in self-isolation in the same way that I would if I were on an artist residency in another studio in another part of the world. Athole House Studio maybe one of my home studios but for me it is a work space, and lets face it, we all now have the time.

The Self-Isolation Residency 30th April 2020: Day 32

4/30/2020

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Exploring Sculpture No.3: 'Spirituality Levels', found objects, 2009, Antony Clarkson

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Something a little different for this evening, my first foray into kinetic sculpture. This was afield that I had been considering experimenting with for a long time, I loved the idea of giving a piece of sculpture life and during this experiment phase of my career I was able to start to apply the principle to actual works. The first of these works was 'Spirituality Levels', quite a playful name for a playful piece. Like most of my experiments into this piece if is a hybrid essentially based around a clock mechanism. I will at this point state that I am not an engineer, I am an artist. To give a sculpture life I must take the beating heart from one entity to bring my 'creation' to life; very Frankensteinian! I don't have the know-how create an energy source from scratch. So what I started thinking about creating some thing of this nature I was naturally drawn towards clock mechanism.

Actually the starting process for this was just a little reversed of this in that I found the clocks that I would use in several kinetic sculpture experiments in pound shops, I immediately realised that they had potential, although what that potential would turn of to be I didn't realise at the time. during one of my many visits to the pound shops during this period; when you find a goldmine like these shops used to be to tend to keep going back for more, I also found some laser spirit levels for the same price. These also caught my imagination and found their way onto my work bench at the same time as one of the clocks. The ensuing surgery also included 'donor; parts for a biro, a wire coat-hanger  and a drawing pins.

The final piece not only has a semblance of life itself it also appears to be something  that could be use to monitor life. The barrel of the biro comes a rotating prism powered by the clock mechanism through which the laser light from the spirit levels is refracted across the wall above where the piece is secured with the drawing pins. The light creates an ever changing pattern on the wall as the scratches and flaws on the prism rotate within in, also picking out as it does all imperfections and blemishes of the wall surface. The final result as it ticks by is something reminiscent of an ECG or an ultrasound machine.  A semblance of life or a sensor of life.
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The Self-Isolation Residency 29th April 2020: Day 31

4/29/2020

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'Desiderata' (things desired) Self portrait, oil paint on board, 2020, Antony Clarkson.

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I'm approaching tonight's post as though the painting is finished, indeed it more or less is, perhaps? I have altered just a few small areas since I last posted an image of it; that's actually the main reason for posting this as it is a much more accurate image of the painting than I've been able to post recently as much of the oil is now drying so there is less sheen on the surface .

There is one area that I am thinking I could be slightly more precise in, not in the way that it is painted, but in the information contained within the detail.  I'm not going say exactly what I'm referring to, but I will give an example of the kind of precision  that I mean.  If yo know what you are looking at and looking for there is something in that painting to tell you exactly what my favorite movie is. Again, I'm not going to disclose anymore than that. But because I have included this level of detail in some areas I do wonder if I should try to include more information in other areas. It is a fine balancing act, I want the information to be included and not just in a general way, in a very specific way. The kind of more traditional portrait that this takes as its starting point would usually just have included general details, books to show that the sitter could read for instance, but for this 21st century twist on the idea I'd like to take it further.  I'd like to be able to pass as much information through the painting as possible but at the same time I don't want it to end up feeling like some kind of frantic Where's Wally illustration.

However there is something else that should be born in mind in regards to this, jus because the painting appears to be nearing completion does not for one minute mean that the project necessarily is. The Residency certainly is far from ending yet. Not that the two things are totally connected; the residency will last for as long as I am here and as long as we are all in self isolation. And I do intend that the work made during this time should relate to that. That being said the self portrait idea is just the first phase of the residency and this painting could well be just the first phase of the self portrait project.
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The Self-Isolation Residency 28th April 2020: Day 30

4/28/2020

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Exploring Installation No. 3: 'Floor Plan', Finnish Academy of Fine Art, Helsinki, 2010, Antony Clarkson

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I'm really enjoying the opportunity to revisit some of my older works with you in between updates on my new for for the Self Isolation Residency. For many of you this will be the first time that you have 'seen' many of these works at all, for me it is an interesting time to reflect on these works whilst I am on enforced lockdown. I would have to say that it's quite rare as a working artist to be able to afford the time to review older pieces in this way so with your indulgence I will make the most of the chance to do this.

Tonight I am presenting you with 'Floor Plan'  created especially to be a part of a group  exhibition called 'Manu' at the Finnish Academy of Fine Art's Gallery in Helsinki, Finland.  I was delighted to have my work selected to be part of this exhibition, although it came with its own inbuilt set of problems or opportunities as I prefer to think of them. At this time I was really just starting to cut my teeth, as it were, in the field of installation so to be not only invited to exhibit work as part of this exhibition at such a significant gallery, giving my work its first international experience, but to be also asked to create a new installation to range throughout all of the galleries spaces was a great honour.

As I had now formulated my operating system for how to approach a new installation commission I obviously was intending to apply it to this piece. My approach to an installation, as I've mentioned before, is to start a 'conversation' with the space, to really get to know it so that I can assess what it needs to make people think about the space itself rather than just passing through it. Unfortunately, as I at first thought, this would be impossible on this occasion as there was no way for me to go and spend the type of extended period of time in Helsinki that this conversation would normally require.  However I needed as much information about the space as I could possibly glean and so I started an in depth conversation with the exhibition curator, Petri Hytönen, and asked him to be my 'senses' in his daily engagement with the space. I also asked him to send me any photos and documentation about the the space to help me to get this sense of it that I was looking for.  I was very fortunate that one of the documents that arrived via email was a copy of a floor plan of the whole gallery complete with notes and all the galleries dimensions; see below.
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This simple document was the thing that really allowed me to connect with the space. I have a very good spatial mind, I can visualise and engage with a 3 dimensional space within my head which allows to me 'see' and 'walk' through the space as if I am physically in it. This floor plan was the thing that really allowed me to start to see the gallery as a real place and build up an intimacy with.

But on this occasion the floor plan became more fore me, I became intrigued by the document itself, how this 2 dimensional piece of A4 paper represented the 3 dimensional space of the gallery.  I also liked the way that it had traveled to me and I wanted to take it back encapsulated in the work that I intended to present within the gallery.  This ideas of transit from Finland to the UK and then back to Finland became central to thinking, it also connected to some drawings/sculptures that I was working on at this period, with the intention of showing in this exhibition ( I will talk more about these in a future blog post).

 As I worked through these notions I came to the conclusion that what I really wanted to do was to take back to Finland the flat A4 floor plan which I had been sent to me and to recreate it full size on the actual 2 dimensional floor of the gallery itself.  This process was both simple and complicated, the idea was simple, to hand cut to scale all of the text, arrows and details form the original document is a simple idea, the process in precise and painstaking and in the end took all of the time available to me to complete it. This preparation process was only phase one of the installation, phase two was the actual 'installation' which involved me going to Helsinki in the February of 2010 in 10 foot snow drifts to spend a week on my hands and knees affixing the piece; but to this day this is one of my favorite pieces and it is one  has gone on to influence other pieces later in my career, so I wouldn't have missed a moment of it!
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The Self-Isolation Residency 27th April 2020: Day 29

4/27/2020

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So is it finished I hear you ask and the answer is I don't quite know.

Once again most of my day has been spent trying to get the final tweaks completed on the self portrait, but as with all the paintings that I do I now need to give myself some distance from it but at the same time I need to live with it for a couple of days. I have certainly included all the elements that I originally had in mind to tell my story, I have thought of a couple more things that could be included for context, but I also wonder if I might be overdoing it if I put them in. It could well be complete without their inclusion.

This once again comes back to the point that I made recently about spending time reflecting upon a piece before I decide whether it is finished or not. Putting this out here today makes me feel a little exposed. Normally I wouldn't let anyone see a piece of my work if I wasn't sure if it was finished, so this is quite a challenge that I have set myself to allow a piece that I am still a little unsure of it's status to be seen in public, even over social media. I have a very strong reserve about not letting a piece of work be exhibited until I am 100% certain that it is completed. The only time I have done anything that feels like this before was when I was at university studying for my Masters Degree when we were encouraged to put new and experimental work through a process refereed to as 'testing-time'. This involved deliberately exhibiting new work to, albeit a small, selected audience of observers to act as a catalyst for discussion and once again reflection on the work. It's probably from working with such processes that I learned to be so 'considerate' to my work. As I have said, this kind of thing can leave an artist feeling quite exposed and I suspect for some artists, who are less sure of their work that I am, vulnerable.

As a final note for tonight I would like to mention another area concerned with completing a piece of art work, that of titling it. This piece is of course already titled, 'Desiderata'; I have spent a lot of time whilst I have been working on the project thinking about the title, but more than that, thinking about the project as a whole. This in a way is the thing that I would like point out. The title of an art work is a part of the art work, it is something that evolves along with the artwork, it is not a mantle that is hung around it's neck on the pieces completion because the artist can't think of anything else to call the piece. Doing that is almost as bad a 'labeling', I won't glorify such work by saying 'titling,' a piece of work 'untitled'. If you ever see a piece of art in an exhibition labeled untitled it actually means 'unfinished' or even worse, 'incomplete'. And no artwork should ever find its way into the public domain if it is unfinished. If an artist has the  given the correct thought and consideration creating a piece of artwork, the title will have been part of that process of consideration. It might be a simple title, something that has been there all along, as in the name of the view in a landscape, that is a quite acceptable title for something as simple as a landscape painting. but don't be fooled my the by the mystique of the untitled, if doesn't mean mystery, it means sloppiness or even worse laziness.
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The Self-Isolation Residency 26th April 2020: Day 28

4/26/2020

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Exploring Sculpture No.2: 'Engine', found objects, 2009,
Antony Clarkson

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I know you may have been expecting to see the final version of my self portrait today, it had even crossed my mid that you might. I've worked on it quite a bit today but actually by saying that I mean that I have done some painting but also an awful lot of refection on the piece. As I stated yesterday it is so close to completion and I really don't want to over work it, so I would rather step back a little today rather than rush things to to make sure that I work to complete everything that is necessary and don't do any work on anything that is already complete and unnecessary.  With that out of the way I have decided to return to my series of sculpture retrospectives today.

And so  today I'm moving onto my second sculpture built from objects found in my new studio in 2009. On this occasion I did have to modify some of the objects as in I cut the wood and cut away the spokes from the bicycle wheel, but the wood, the elastic bands the bicycle wheel and the screws etc were all in the studio when I moved into it.  In lots of ways I was very fortunate to have just built 'Still' from found objects as it gave to me a very strong direction concept wise of 'Engine' and also set my brain working in the right way to recognise the potential for the materials available to me.  'Engine' has a very similar heritage to 'Still' it that they are; (A) both made from found materials from the same location and (B) they are both based on (pseudo) scientific or at least almost useless scientific ideas or principles.   The idea behind engine was born out of a documentary that I had seen on TV at sometime in my youth (in actuality this should be a (C) factor of connection between the two pieces as I'm pretty sure that I also saw the idea for 'Still' I'm a similar TV show) which demonstrated the thermodynamics of a simple rubber bamd heat engine. The model that I saw on TV probably in the late 1970s -80s, which was solar powered, used very light weight rubber bands and cardboard to make a, vaguely, working example, something similar can be seen here.  My concept was similar to that of 'Still' and was to make a (non) working (at this stage there was still the faint chance that it may have worked but that really didn't matter) sculptural representation of the process. Which means that I would use the scientific principles working or not to create their own aesthetic.

Needless to say 'Engine' did not work as an engine, but it did work as a sculpture, it's probable that if it had worked as an engine it would have been less successful as a sculpture. There are also other connection between 'Still' and 'Engine': they are both in theory solar powered and therefore on the fridges of both perpetual-motion and the eco-power debates. But they are also on the fringes of kinetic sculpture which is another interest of mind. Actually there is another more personal connection for me in that they won me my first arts award and projected me towards my first international exhibition at the Finish Academy of Fine Art in Helsinki and to my first international installation piece there.


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The Self-Isolation Residency 25th April 2020: Day 27

4/25/2020

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'Cauliflower soup'.

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So close and yet so far!

Yes it's nearly finished but there are just a few details that I need to either tighten up or add. Finishing a painting can be the most difficult thing for many artists, knowing exactly when a painting is finished and to leave it alone as opposed to keep tinkering with it indefinitely. Most of the time I don't suffer from this particular problem, I like to think that I am somewhat on the sparing side when it comes to painting and that I can judge just how much a painting needs and what would be too much. If anything I like to understate things.

I have always been able to make this kind of judgement of a painting, but I have wondered if to some extent it is connected to the way that I make sculpture and installation pieces. For me, especially in these kinds of 3D works, I tend to set myself very strict limitations as to what materials I use. I will not use anything 'extra' to the nature of the piece if it can be at all avoided. For me the limited range of materials that I use in a piece of work are very similar to the limited range of colours that I use in a painting; I want for every part of a piece that I create to say something important about the idea behind it, I certainly don't want for the finished piece to be weighed down by excess and unneeded baggage. At this point I am very tempted to insert an image of a  piece of my sculpture to illustrate my point, but I would prefer to save those kinds of things for my series of sculpture posts. So lets use an analogy here instead.

I know a chef who told me about making cauliflower soup. Whilst in the kitchen preparing it he was questioned about how much bacon, garlic and various other ingredients he intended to add as the kitchen juniors felt he hadn't got many ingredients that they themselves would have included in such a soup. He answered that he didn't intend to use any of the ingredients that they suggested. When the soup was ready all in the kitchen tasted it and remarked on how good it was; 'you can really taste the cauliflower' remarked the original junior. 'Exactly' replied my friend.

So yes, please feel free to think of my work as cauliflower soup, I'd take it as a great compliment!
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The Self-Isolation Residency 24th April 2020: Day 26

4/24/2020

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Exploring Installation No. 2: 'The Fifth Column', The Triangle, 2009, Antony Clarkson

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 I hope that you will indulge me as I return to my series of retrospective posts about my installation work? Most of today has been spent working very heavily on my self portrait and although this means that the painting is now nearly complete it also means that its is very glossy with oil, particularly the darker areas which does in fairness encompass most of the painting, making it virtually impossible to photograph. So instead I'm going to be introducing you to the second of my true installation pieces: 'The Fifth Column'. 

In 2009  I exhibited in and curated a group exhibited at The Triangle in Manchester entitled 'Where the garment gapes'. The title is a quote from Roland Barthes work 'The Pleasure of the Text' which postulates that the most erotic of glimpses is that which just tantalises, as we hoped to do with this exhibition. For me this was another seminal exhibition experience, one of the ones that helped to form my installation style. As with 'Tension' I began this piece by visiting the space on numerous occasions to start my conversation with it. During one of these visits I became fascinated by two columns that where part of the architectural space or so I at first thought. One closer examination of the  columns I realised that they were in fact modern additions to the structure of the space, probably put in the space to conceal ugly I beams of something of that nature and were otherwise, although very large completely hollow. It was this 'hollowness', this artifice that intrigued me  and set me on the direction for the piece I would later create especially for this space. Once again I can't state strongly enough how important this idea of my pieces being 'situation-specific' is, as you will see the piece that I went onto create for this space only has relevance to this space, if it were to be exhibited elsewhere it would be totally meaningless. In this space the piece that I intended to create would talk about both our trust and unquestioning acceptance of the everyday; how we don't 'question our teaspoons' (Perec), nearly enough.
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Having been captured by the artifice of the two existing columns I decided to take the game one stage further. I resolved that I really wanted to challenge the observers blind devotion to a space by showing them just how untrustworthy that space could actually be. To this end I had a third column fabricated to the exact dimensions or the other two in polystyrene. The only difference was that my column was 1cm shorter than the existing columns so if you looked very carefully you would realise that it didn't quite make contact with the ceiling, thus proving its functionlessness.  When people entered the space they would take it at face value, they would be looking at the art nit the architecture and so would pass my piece by which in many ways was what I wanted from it. i even went so far as to re-title the piece for the exhibition catalogue where is was other identified as a certain cubic quantity of polystyrene.

I must say that this was one of the most satisfying pieces I ever created and it actually had one more trick up its sleeve. Everyday I went to the exhibition before it opened and repositioned the column in a different place in the space thus increasing the observers feelings of the uncanny; I happily use that surrealist term in reference to this piece. I was gratified to have it proved to me that this worked when a old Professor of mine, who knew about the piece, walked into the space one day, right past the column and then proceeded to ask me where it was?
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The Self-Isolation Residency 23rd April 2020: Day 25

4/23/2020

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So I'm starting off with another detail again tonight, another grouping of objects that I feel say a lot about me.  Although this area isn't entirely finished I think that its close enough to explore most of the details. Of course the principle item included in this area is the palette and its to that which I intend to focus most of my attention in today's post. 

As I have mentioned previously the word 'palette' can have two different although related meanings to a painter. The first is obviously the physical object onto which the paint is squeezed from the tube and then mixed. But the second meaning of the word palette is the more interesting, it denotes the selection of colours that a painter will choose to include in a particular painting.  By including my palette(s) in this painting I am intending to tell the observer more details about myself; to begin with it tells the observer that I'm a painter and to the greater extent it also tells them that I am not a watercolourist, the paint appears to be too viscus to be watercolour and generally speaking it's the wrong type of palette for watercolours. These could possibly acrylics but I've supplied some more information which is what the self portrait is all about and that means the process is working. Whenever you are reading a portrait of this type there are very few absolutes, much of what is included will rely upon interpretation, just as it should.

But I'm actually giving much more information away when the second meaning of the word palette is applied. For those knowledgeable enough, and with a keen eye. it should be possible to tell exactly which colours I've used in this painting as the colours representing on the palette are the exact and unmixed colours used to paint the painting and so to a degree we have the idea of a painting within a painting here. I admit that I have used shadows and highlights to give the globules of paint form, but the actual main body of the colour is straight from the tube and unadulterated. I wouldn't however suggest that the colour reproduction in the photograph is good enough to evaluate the actual hues from, but you are welcome to try.
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The Self-Isolation Residency 22nd April 2020: Day 24

4/22/2020

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Exploring Sculpture No.1: 'Still', found objects, 2009, Antony Clarkson

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Due to the popularity of the post about 'Tension', my first installation which I posted two days ago, I have decided that I would begin a similar series devoted to some of my sculpture also to be interspersed between the posts about my ongoing project. As with the installation series, as I am now calling it, I will begin with my first piece of 'professional' sculpture; 'Still'.

I  say professional sculpture as I had made several more naive attempts at sculpture previously, but Still, which began an ongoing series of pieces, marks a seed change in my approach to sculpture. Previously I tended to work in much more traditional materials, clay, plaster or wood, Still marks my first foray into working with found objects.  This new approach was prompted by my moving into a new studio space at this time, one which was littered with the debris left behind by its previous occupant. At this time I was already consciously  considering making some new work in a different field with the intention of expanding my practice and while I thought about and research this I began to work my way through  the object that I found in the space, with the initial idea of disposing of them. However one of the first things that I came across was the small blue cup which forms the centre piece of Still. It's rather battered and chipped but I found that it had great charm and decided that I would like to do something with it, although at this time I had no idea exactly what. One thing that it did do immediately for me was to make me look at the accumulated detritus with a different eye, were there other treasures to be found? Most people would say no is the answer to that question, but I guess it takes a particular type of mind and imagination to see past that initial prejudice, perhaps that one of the things that makes arts different? Two of the next items that I found where a bag of sand, the way you do, and some sheets of clear polythene, not very special in their own right but they were enough to get me thinking properly.  It may seem obtuse to you but the combination of clear plastic sheets, sand and a cup made me think of the principle of a 'solar still'. For those of you not familiar with the usage and mechanism of a solar still I will outline it briefly but for more details please follow the link here.
 
A solar still is a device used to collect and purify water water, it can be used as a survival device to collect water in drier areas, deserts, with very basic materials. The two main things that you would need to build a solar still are a transparent plastic sheet and a cup to collect the water; a hole is dug in the ground or sand the cup is placed in the centre of this hole. The plastic is then stretched across the hole and held down at the edges by stones while another stone is placed in the middle of the plastic directly about the cup, just heavy enough to make the plastic deform into a shallow conical shape. The principle is that the sun heats the ground and what moisture is in it evaporates until in hits the plastic where it condenses, this condensation runs down the conical shape of the plastic and drips into the cup. As you can tell this is a slow process!

But nonetheless an interesting process, I realised that as I went through the found materials that I had I could create something that was a form of model for this principle, not something that would actually collect water but something inspired by the idea. As I played with the materials I'd found the form that a natural esthetic as it evolved into the one in the image above. I was also please that the piece was constructed entirely form found materials which both coincided with the 'survival' aspect of the device and with it as a 'machine' having a zero carbon footprint and a recycling aspect to it.  Although it is now 11 years since I made Still I continue to find it appealing as a piece in its own right and also as a piece that start a new way of thinking for me. I now find myself being drawn back to this way of thinking by my present lockdown situation and wondering what the accumulated paraphernalia of my studio and home here have to offer in a similar way?
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The Self-Isolation Residency 21st April 2020: Day 23

4/21/2020

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Tonight I'm returning to my self portrait after another 2 days work on it. As I said I'm very much working on the finer details now, not necessarily something I always do, but in this painting it seems to be appropriate. I often painting in a very 'impressionistic' style, I like to make the paint work for me and I love the energy that I can impart into a painting executed in that way. However as I hope to demonstrate with the detail at the top of the painting, detail and style are really just a matter of scale and why all painting is really impressionism.

Styles of painting, or '-isms' as they are sometimes known, appeal to different parts of the audience in different ways. Some people will always favour an ultra-real, photo-realistic style of painting, this is usually because that part of the audience mistakes what painting is really about. They tend to think that high detail is a sign of high art, generally they couldn't be more wrong. If you want to own or look at an image that looks like a photograph here's a novel idea, own or look at the original photograph that the painting was based on. Photography is a perfectly good art medium and one that should be allowed to stand on its own two feet and not be copied by painters who should know better. Another part of the audience with be attracted to what we think of as an impressionistic style of painting; what we generally mean by this today is a much looser usage of paint, the artist doesn't try to achieve high detail, they literally just wants to give an 'impression' of the way light falls onto a subject or even just an idea of the image they have in mind. The term Impressionism was actually coined as an insult by the critic Louis Leroy after he viewed Monet's painting 'Impression, Sunrise'. Leroy though of the work as nothing more than a sketch executed by an unskilled 'amateur'.

I would have to say that having studied art for the last 40 years (I know, I don't look that old but I started very young!) I have come to the realisation for having looked at thousands of paintings in hundreds of galleries around the world that really all painting is impressionism. There is a recognised method of viewing paintings, especially if you are viewing them in an art gallery, and if you approach paintings in this way you will quickly come to understand what I mean. If you enter an art gallery to view a painting don't approach it immediately, when you first see the painting in question stop to look at it from a distance, 12 feet away is supposed to be the ideal distance. Study the painting from here, get an 'impression' of what is going on and what it is all about. When you think you know how the painting works walk up to in and get as close as you can, in this case the ideal distance is 12 inches away. Not study the painting from here, this time not the over all impression of the piece but the individual brush stroke that make up the piece, when you do this for the first time the chances are you will be quite shocked at exactly what painters get away with. What you thought at a distance was intricately painted details turns out  daubs and smudges, but just the right daubs and smudges.

And so to my to images tonight, yes, technically I've posted them the wrong way around, but as you've all seen the whole painting several times already I thought I'd lead with the detail. So the image at the top of the post is my 12 inches away if you like, look at how the bottle,  glass and plate are really just these daubs and smudges I've talked about and then look at how they work in the 12 feet away version below to give the desired 'impression',
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