Tuesday 30 December 2014

Review of the year

I think now is a good time to review my first year exhibiting my work.  I had planned to doing exhibitions for a number of years however did not find I had the focus and time until the beginning of 2013.  In order to even contemplate exhibitions there needs to be a body of work, and there needs to be a confidence in the work that is produced and that takes times and effort.  I was first introduced to the idea of exhibiting my work by a relative in 2010.  I had just recovered from sciatica (the sort that stops you walking and you have to take medication that makes you hallucinate) and now felt ready and able to return to my art.  I'd never thought about exhibiting my work, I'd only done that for GCSE, A level and Art Foundation year.  This year I have had work accepted into 4 exhibitions and have another in the pipeline for the beginning of 2015.  It's more than I expected.  It's been a cathartic experience but sometimes challenging (not artistically but mentally).  I have focussed on past events in my life as well as themes of nature, escapism and in earlier works nature reclaiming areas that were once industrialised.  I have so many more ideas and the need to continue to develop the themes that I have already started.

Apotropaic Trees, A3 pen drawing and gouche.

So, the second year of art exhibitions beckons.  It will be interesting to see where it goes!

Friday 19 December 2014

In front of the chain link fence (a personal viewpoint about bullying)

For those who know me, I have been talking recently about chain link fences and the significant role they have unfortunately played in my childhood.  I'll discuss the chain link fence separately in my next post and explain the story behind it.



In front of the chain link fence, pen drawing and gouache, A3 (2014)
In this work the chain link fence is a symbol for the bullying that I've encountered throughout my life.  I'm not one of life's victims or a martyr.  I have too much self respect to start a pity party, however facts are as they are, throughout my life bullying has unfortunately played its despicable part. 

What is bullying?  It is using a person's weakness (or perceived weakness) against them in order for the bully to feel better about themselves.  In my case it has usually hinged on my quiet/shy personality.  As a kid, this shyness meant other kids felt they could name call, punch and hit, spit or do any other type of nastiness because they felt a quiet kid wouldn't tell anyone and wouldn't fight back.  At first this was true but as I got older I did learn to fight back with devastating results for the bully I'm glad to say.  Still, one cannot physically fight back with adult bullies when one is an adult.  It's a different game altogether from childhood bullying.  Adult bullies (and there are an awful lot of them out there) still use your weakness against you so that they can feel better about themselves.  They nick pick, fault find (you can never do anything right), gossip nastily behind your back, start slander campaigns against you, try to character assassinate you as a person to anyone daft enough to listen to their vitriol and in certain cases say nasty things directly at your face.  I've had all of the above.  If you fight back against them they either learn their lesson and stop the bullying or in the case of adult bullies that I've encountered, they play the victim and make you out to be a terrible person for pointing out their nasty behaviour to them.  These bullies are particularly crafty because they need an audience thus the 'poor me' act is played out to the eager onlookers, lots of lies are told about you and their behaviour (they put themselves across a good people, saints, while you are the devil incarnate).  This is where the character assassination happens.  In order to 'win', they must make sure that their audience knows just how rubbish you are as a person, even how 'mad' and psychologically unstable you are for daring to confront their crappy behaviour.  I'm sure all of you reading this knows of child and adult bullies that resemble the bullies that I have described.

What is my opinion about bullies?  They exploit a perceived weakness because in reality it is they that are weak.  They have fragile egos that need to exploit the perceived vulnerabilities of others.  Quite pathetic as far as I can see.  Yes, some bullies were bullied, but that isn't an excuse, I've been bullied everywhere I go and that hasn't turned me into a sad bully.

The chain link fence isn't shown clearly in this piece although it is actually there behind the distorted leaf and branches.  I think it's right that the branches and leaf are somewhat distorted, it sums up my thoughts about bullies as people.  Also, the way I've drawn this is in a chain link style so its essence is carried though.  As a symbol, a chain link fence is there to separate one area from another, to keep some things in and some things out.  It is also used around prisons.  To me, the chain link fence is like a prison when you are caught in the sights of the bully.  You can't escape their nastiness and you are forced to either take a beating (physically, verbally or via character assassination) or you fight back.  Either way, you are put in a situation you would like to escape but cannot.

Saturday 6 December 2014

Painting titled '1979'

This is my latest painting based on the 'Girl' series of work that I have focussed on since October 2013.  This work is titled '1979' for the obvious reason that the story behind it took place in 1979.
1979, oil painting on board, 110cmx110cm
My mum's partner at that time used to come over to our house at drive out to the Pennine hills or where ever, usually on the motorway.  He was a trainee dentist and had a couple of cars, one a red MG and the other a yellow Spitfire.  Both cars had soft tops that could be taken off.  This guy loved doing that even in the winter.  I hated it.  Driving down the motorway at 80mph (or more) with me in the in back clinging onto the chair in front.  I was sure I was going to be sucked out of the car, there were no seat belts in the back (no cars did in those days) and the sides of the car were really low.  This was the situation each time we went out anywhere until the one occasion when he came over to take us out to Chester Zoo in the summer of 1979.  He had hired a 'proper' car with a permanent roof (I think the other cars were being repaired).  It was an immense relief seeing that car.  I knew that I would get to see the zoo rather than get sucked out of the car.  I have been told that my drawings and I suppose my paintings are scary.  Maybe that childhood memory is coming through.  I have also been told that my work is very tense due to the detail.  When you have tense memories that inspire the work you do, then the work will turn out tense.  It's part of the explanation maybe for why I don't currently do any artwork that is relaxing. 

Sunday 30 November 2014

From Here and There: Drawings from the UK

The exhibition From Here and There: Drawings from the UK is now being shown in Swansea.  My name is 4 rows from the bottom.

http://www.elysiumgallery.com/



Girl 3, A1 charcoal drawing
 
 
 
Tree Patterns, A4 charcoal drawing
 
 

Wednesday 12 November 2014

Short clip showing Tree Patterns

I drew tree patterns in March 2014.  It has been exhibited in Colorado and is later to be exhibited at the end of November 2014 in Swansea.  I photographed this work for a few days before giving up (I wish I had continued) and the pictures have been created as a GIF.  It allows the viewer another perspective on the artwork and its development rather than seeing just the final piece.  Obviously, the last part of the GIF leaps on to the finished product because I stopped taking daily pictures.  I'll make sure that my next artwork is photographed daily so that I can GIF that fully.












Saturday 1 November 2014

Apotropaic Trees

Apotropaic Trees, pen drawing and gouache, A3

This picture is a continuation of my thoughts about trees.  I mentioned in an earlier post that trees represent escape, safety or protection from life and people.  I often include trees in my work because they have always been a part of the escape from difficult situations that happen in life.  Many walks in the woods have given that peace and quiet needed.  It has been commented that the trees (and other objects) that I draw or paint are disturbing or frightening.  Maybe they need to be. 

This is why I call this work apotropaic.  I first encountered this word during the third year of my BA hons Classical Studies.  I studied Ancient Greek Art and Architecture for two years and part of this course involved researching and presenting my findings on a specific aspect of art or architecture including a slideshow.  The project given to me was to research the 6th/5th century BC Temple E at Selinus in Italy.  The sanctuary that surrounded the temple (and the others there as well) was surrounded with small figures of monsters placed in order to keep evil out and the sacred areas.  Churches and cathedrals have continued this tradition in the use of gargoyles.

To return to my trees, they represent a safe place and retreat from life's bad people/events or the things that are overwhelming.  Just like the monsters at Silenus, my trees are keeping the bad stuff out.   

 

Friday 17 October 2014

Woodland Escape

Woods and trees feature a lot in my art.  My Old Railway drawings are abstract trees and represent escape, which at the time was from a lot of things going on in my life (including getting away from art college for a few hours).  While trees mean escape and safety to me, culturally in Northern Europe, trees, woods and forests have been symbols of fear (think of Red Riding Hood/Handsel and Gretel/highway robberies).   My most recent drawing is inspired by one of my favourite places, Beeston castle and woods.  The first time I came here was two weeks before I started teaching in 2002.  I could not relax and felt very anxious about starting my new job (with good reason).  My visit to these woods provided a short respite from the otherwise permanent state of anxiety that I was living 24 hours a day.

Charcoal and coloured pencil drawing (A4), October 2014

Friday 10 October 2014

Girl 4 Painting









I've completed my first painting for my 'Girl' project titled 'Girl 4'.  The painting follows similar themes built up in the drawings that I have produced.  There is a focus on detail and the eye.  I need detail in my pieces because that is what I focus on in art and in life.  What others don't see or notice is what I notice the most.  Every line is important although most people won't notice everything in the pictures.

There is so much still to do for this project with lots of ideas constantly coming into my head about what this project means and how to explain it to the viewer.  It has and is a very personal project which makes explaining the meaning behind the pictures particularly difficult.  I will be starting a new painting next week and continuing with this project.  Hopefully as I work I will be able to put into words what my pictures are saying so that the observer can understand them better.












Girl 4, oil painting on board (110x110cm)
 
 
 
 
 
 
 
 
 

Tuesday 16 September 2014

Girl 1

I have worked on my latest 'Girl' picture since March of this year.  It's taken longer to be completed than I anticipated partly due to my work commitments throughout May, June and July and partly because this picture has needed so much time.  I suppose this work is a lot more obsessive than my other works (not that they aren't obsessive).  It has given me much thinking time while working on Girl 1 and lots of ideas for my next work, which at last will be a painting (based on the same theme).


Thursday 4 September 2014

Warrington Comtemporary Arts Festival 2014

My work 'Girl' has been accepted in the open art exhibition for the Warrington Arts Festival 2014.  I'm very pleased to have this piece of work accepted.  An excerpt from my artist statement for the two works that are part of the exhibition in Colorado, USA explains some of my thoughts while I work:

Her work has reflected upon themes of frustration, sadness or even indifference.  If it is indifference, it is the indifference of people.  People in their own worlds, mobile phones, today’s news forgotten tomorrow.   A source of inspiration has come from exploring a disused old railway (now Metrolink) in West Didsbury, Manchester, and its return to a previous natural state with trees and ponds thriving next to a past industrial area.  This interest in the forgotten things in life has lead to a current interest in her own past as a bystander and observer of people and about her own sense of powerlessness. 

I'm glad that my work is 'getting out there' and that I am able to express my thoughts visually.

Girl (A1 charcoal drawing)
 
The Warrington Arts Festival will be taking place from 3rd October - 1st November 2014.
 
 


Tuesday 2 September 2014

Further studies for my 'Girl' project, 2013 - present

This project has been on going for almost a year.  The work I have produced has developed into the current series of charcoal/pen drawings.  The main focus, especially at the beginning of this project was the eyes. 

Early work from 'Girl'
 
Girl 2
 
Bystander 3, A5 Charcoal and Coloured Pencil Drawing
Bystander 4, A5 Charcoal Drawing
Bystander 5, A5 Charcoal and Coloured Pencil Drawing
Bystander 6, A5 Pen Drawing
 
Focus is still around the eyes however I am slowly introducing more colour into my work. 
 
 
 
 

Thursday 28 August 2014

Latest exhibition

It has been some time since I last posted due to holidays and work commitments but now I have some time again. I have recently had two of my works accepted for the 'From Here & There' exhibition that takes place in Colorado, USA and later moves to Swansea, Wales.  I'm obviously excited by this because my work is now 'international' and a brings more feedback from others.  Hopefully this will help with connections to other artists and people (which is an aspect of the art world and which I discussed in a previous article about autistic artists).  The two works selected are:

Tree Patterns
 
Girl 3
 
I should be able to add a new work Girl 4 soon.  I have worked on this piece since March however I have not been able to finish this work due to my very heavy workload since May.


Tuesday 20 May 2014

Autistic Artists And The Art Business


Girl 4, 110cmx110cm oil painting on board (2014)
I've been thinking about this one for a while and is a topic which is particularly concerning for me as an artist trying to get my work out there and seen.  I am not diagnosed as autistic officially although I do have a great deal of trouble dealing with social situations and meeting new people (quite terrifying and exhausting).  My daughter has high functioning autism and a lot of her behaviour is similar to mine, so maybe I'm a high functioning autistic person, maybe not, maybe I'm just crap as talking the talk and being around new people.  The problem however is that in the art world there is an expectation that you socialise, you attend art previews, you get to know people, you network and approach galleries and people in the business in order to sell yourself.  What if you don't have those skills due to autism?  Is the art business missing out of a huge chunk of untapped creativity because that creativity isn't good at marketing itself? This is a question that a lot of shy or introverted people have to deal with, but what about the autistic artist?  If I'm at a social gathering with lots of new people I find that I have to go for a 'time out' walk or sit in a quiet corner after an hour (sometimes earlier).  Sensory overload I suppose.  The art helps because it 'gets it out' as I like to say.  It provides hours and hours of focus alone where I can think and become lost in the action of making my picture.  It would be nice if others appreciate my work but if they don't, fine it's for me primarily anyway.  This leads me to another question or problem with the autistic artist making it in the art business.  Often artists receive commissions or alter the style of work that they submit to an open exhibition or prize so that they appeal to the judges' taste.  The autistic artist has no concept of pleasing the tastes of another, the art is about what is in their mind and expressing it.  That isn't to say that artists who are not autistic don't produce art that comes as a true expression of themselves (that is what art is about), it's that some artists know how to please the audience.

Another difficulty for the aspiring autistic artist is that they often have a favourite tool to express what is in their mind (although other artists have favourite tools they do seem to mix in other media).  My favourite tool is charcoal pencil.  I realise that I will have to expand on that so I'll stretch it to some paintings later this year, however I'm not massively experimental in terms of materials and techniques used such as fabrics, printing etc.  Many well known artists seem to have quite a wide repertoire of techniques which I would feel overwhelmed by if I were to incorporate it suddenly in my work.  It makes my head spin thinking about it.  I attended art college for a year and for the most part hated it because the pressure was on to play around with various media.  That isn't to say it is wrong, of course not, art college is about experimentation.  I could probably manage an introduction to printing, learn everything about it, spend hours with it and perfect it and then move on to another technique (but leave the printing out).  Lots of techniques introduced in a short space of time is very worrying for myself.  I love working out of my comfort zone (that's where you learn) but I can't handle lots of new materials being introduced in a short period of time and being expected to work with them.  I'm unsure if this is an autistic artist problem or not but I do notice that many autistic artists out there seem to have a favourite form of expression that persists more with their work than I see with other artists. 

I think that maybe the expectation of the art business for artists is sometimes very difficult for those with any form of autism (or learning disability).  The expectation of networking, socialising, presenting art to galleries, pleasing the audience with commissions may seem easy or even fun to many aspiring artists (or for introverted people they can learn skills to overcome their problems), however the autistic artist will struggle with the 'small talk' needed in networking, they will struggle with gauging what people are looking for and they will be oblivious in many instances of art fashions.  Are these good or bad things?  Maybe bad if you are autistic and trying to make a career in the art business however very good for producing original art (but you might have to accept that you won't get much notice off the public).  There is a significant area of art that has identified the difficulties that I have highlighted above.  This is outsider art.  Some dislike the term, however it is for ease of simplicity a way of describing the many artists who have a need or necessity to make their art outside the mainstream art business.  Some artists have profound learning disabilities, some have mental illness, some just don't like the mainstream art world, some just want to create their art individually without influence from what is fashionable or what is popular.

For those of you that wish to find out more about outsider art see http://rawvision.com/what-outsider-art or http://en.wikipedia.org/wiki/Outsider_art

To summarise, the mainstream art world is a scary and difficult place for an aspiring autistic artist.  There are many barriers although there are some projects for young adults who wish to get their art seen however this excludes adults over the age of 25.  What about them?   


UPDATE


I have found an interesting link about autistic artists http://axnscollective.org/update-autism-art-affecting-perception-seminar/.  It is an interview with Simon Baron-Cohen (well known expert on autism) and the autistic artist Jon Adams.  It gives an overview of the differences in the brains of autistic people and discusses the difference in their artwork, in particular their attention to detail.




Thursday 10 April 2014

Wonders of Winter Art Competition

 http://www.saatchiart.com/janesproston

I've been busy with my latest project 'Girl' for the past few weeks.  In between working on my latest A1 charcoal drawing, I have had my sights set on a couple of competitions in an attempt to get some of my work 'out there'. 

One competition I have recently entered is the Jackson's Art Supplies/Strathmore Wonders of Winter Competition.  This online gallery is a shortlist of 100 entries based of the theme of winter.  The entries are a mixture of representational and abstract work.  My entry is called 'Tree Patterns'.

To vote for one of the shortlisted entries, visit https://www.facebook.com/#!/JacksonsArt/app_176099349267687

Friday 14 March 2014

Art Work 2013

http://www.saatchiart.com/janesproston

During September 2013 I took a short break from my various projects to do some 'easier on the mind' art work.  Sometimes it's good to take a break from the mentally demanding work and just draw objects for their own sake.  This time was spent thinking and planning for the 'Girl' project that I am currently working on. 

Flowers, A4 charcoal drawing

Not something I normally do but then I don't believe in hard and fast rules when it comes to subject matter and art.  There's no specific meaning in this drawing other than mental time out and thinking time.  

Broken glass, A3 charcoal drawing

This was the second of my 'time out' pieces.  I've always liked the texture/patterns that glass produces especially when it is observed closely. 

Wednesday 12 March 2014

Art Work 1993/2012

http://www.saatchiart.com/janesproston

During 2012 my work continued from the earlier theme of neglected places.  I spent quite a lot of time not just at the old railway in West Didisbury but also looking at the many abandoned and derelict houses in the area.  The area has changed a lot since 1993 when I was visiting the ruins of the area.  I didn't just photo the houses, in one in particular we spent many nights in during the course of 1993/4.  150 Palatine Road has lots of memories for me, I liked the risk we were taking being there (it was trespassing I suppose), it was falling down and yet we spent nights in it!  It was spooky, but that just added to its interest. 

150 Palatine Road, black and white photo
The house was pulled down in the summer of 1994.  Quite a few of us had been visiting this place for well over a year before it met its demise.  To me it was an escape from difficult times, pressure, personal issues.  Here, was a place that had once been so grand and now so dilapidated.  The first time we went at the beginning of 1993, we were shouted at by a tramp who had been living there on the top floor.  He soon left when we started to visit more often.  We must have disturbed his peace!
Dining room window, November 1993

Dining room window, summer 1993
Living room, summer 1993
One night spent here was so cold we thought (foolishly) that we could still light a fire in the remains of the fireplace.  Mistake.  The smoke filled the room and we had to abandon the place that night.  
 
Top floor (2nd floor), autumn 1993
We actually walked around this floor even with the rain falling on our heads due to the lack of a roof.  I think the danger element may have been an added attraction to us at the time.

The stables, autumn 1993
Another point of interest was how much there was of this building.  It seemed to go on and on.  

150 Palatine Road, A1 charcoal drawing, 2012
This is my work based on the experiences that we had at 150 Palatine Road.  I hope to return to this theme in later works.  



 



 


Sunday 9 March 2014

Art Work 2014

http://www.saatchiart.com/janesproston

My most recent art work which I completed at the beginning of March. 




Girl 3, A2 Charcoal drawing

This the latest in an ongoing project that I have been concentrating on since November 2013.  It is a personal comment about being an onlooker at various aspects in my life as well as in other lives.  There are lots of aspects that I'm trying to bring out in these pieces, which I will try to explain in later posts.  


Girl, A1 Charcoal drawing

The inspiration for this work is the past, growing up and watching the people around me.

Bystander 1, A3 Charcoal drawing

As the title suggests, this picture is focusing on the position that I have found myself in many aspects of life.  I suppose that this is a position that many people find themselves in for better or worse.  Sometimes being the bystander is the best place to be, sometimes it makes a person over looked or insignificant, it all depends on the circumstances. 

Friday 7 March 2014

A level Art Work

http://www.saatchiart.com/janesproston

A very small sample of my work as it was nearly 20 years ago at my A level exhibition.  I will update tomorrow with my latest piece.

 

Monday 3 March 2014

Artwork 2011

http://www.saatchiart.com/janesproston
The theme of the old railway continues with these A1 size charcoal drawings.

Old railway 2, February 2011

This drawing tries to bring out the contrast in light/dark.  Compared with Old railway 1, I was beginning to see much more detail and present this in my work.  

Old railway 3, March 2011

Shapes, contrast of light/dark were used here.  I often find that if an object is looked at closely enough and studied properly, it is made up of lots of shapes.  

Old railway 4, April 2011

I felt at the time that my drawing technique was starting to develop towards the style that I now have in my work.  I rarely know how a piece of work will turn out, which is the 'fun' part of the process.  If a work was planned too much it would lose much of its freedom and spontaneity.

 Old railway 4 at the Sale Waterside Open Exhibition 2014

Friday 28 February 2014

Art Work January 2010

http://www.saatchiart.com/janesproston
Here is an example of some work that I produced in January 2010.

Old Railway 1 2010
This is a work based on some photographs that I developed in January 1994 during my art foundation year.  I spent a lot of time down the then old railway in West Didsbury taking pictures and 'escaping'.  I found the combination of neglect, what remained of the station and the trees to be fascinating.  The station is now redeveloped into the new Tram network.

Photograph, Old Railway, January 1994
This one of the photos I took and developed in January 1994.  It is not a clear picture, it is over exposed, mainly when it was enlarged when I developed it.  I wanted to create an old fashioned look, to capture how the area would have been captured on camera in its heyday.  
The theme of the old railway, trees, forgotten things, escape have continued since 2010 with further works based on my photographs and feelings from 1994. 

Tuesday 25 February 2014

Information

http://www.saatchiart.com/janesproston

Drawing has always been my favourite artistic medium.  I have sometimes struggled with my conflicting interests, Ancient Greece and Art and the direction that they have taken me.  I did an art foundation course, started at Salford College and then continued at South Trafford college in 1993/4.  I did not feel ready to pursue an art career at this stage, however I produced a series of photographs of derelict buildings and other structures around the West Didsbury area of South Manchester.  I have always had a fascination with decaying buildings, unused places and their history.  I find that a derelict building or abandoned area to be a perfect place to use my imagination.  I spent a lot of time in the area of the disused old railway (now   I also noticed that when such places have been discarded, often people on the fringes of society or even outside society move in to make it their place.  Drug taking, homelessness, rebellious teenagers, alcoholics and glue sniffers used these forgotten places for their own purposes.  This is probably why my drawings are often charcoal and quite dark.  I also did not feel I had a clear direction at this time in my life, so my interest in abandoned places was a type of refuge for me, as it was for other people who are at a crossroads in their life.  Many ancient societies believe that in order for a person to progress to adulthood, they must step outside the normal pursuits of society.  This is my mini version of ‘stepping outside’ thus to move on.  
Metrolink) at West Didsbury and found the return to a previous natural state with trees and ponds thriving next to a past industrial era to be a source of inspiration.

I pursued a degree in Classical Civilisation and an MA in Ancient World Studies.  The past and what is learnt from it has always been important to me.  I spent 8 years teaching Religion, Philosophy and Classics before finally leaving teaching in 2009.  I had been gradually spending more time working on drawing, however in 2009 I felt ready to return back to the beginning with my drawing.  I do not believe that I could do this without the 20 years of life experience accrued since my art foundation studies.  I have recently had my work accepted into an open exhibition and hope to continue to show my work in the future.
I still have an interest in the forgotten things in life however my particular interest is in my own past as a bystander and observer of people and about powerlessness.  An inscription from the Oracle at Delphi (shrine of the god Apollo) reads ‘Know thyself’.  I think that I am trying to accomplish this in my work.