Monday, 20 July 2009

Dear Brian...

Dear Brian...; 2009; postcard, concrete, stamps to the value of £4.45, ink... currently in limbo in the Royal Mail sorting office.

please come home postcard..

Update: The postcard came back (21.7.09)


artquest1 said...

Hi Lisa,
I continue to enjoy your highly personal yet eclectic approach to your art (gee, do you think the "academy" might have problems with some of your pieces?).
In several weeks, I'd like to do a post on my ArtQuest blog about some of the unique approaches to art that the web allows, and I'd like to reference your blog along with several others.
If you are OK with that, please drop me an e-mail with your permission.
Keep up the good work, Bob

Lisa Brown said...

Hi Bob,

I'm definitely really happy for you to reference my blog.. that would be wonderful, and thanks for asking.

Can't wait to read it!

Yes... the "academy"... my college right? Yes, I do worry about how some of my work will be received...but so far it's been alright... but we are coming to the end... and the end might be a different story.

Is it the difference between some of the work that you are asking about?.. ie, too eclectic you think?


artquest1 said...

No not your University, but more of a reference to the late 19th Century Fauves, Impressionists etc. While the academy was busily defining what art is, and perhaps more troubling, what it isn't, those roguish iconoclasts were lustily doing what they felt they should do, and if a definition was necessary, well then let someone define it later (once the artists had moved on to something else). I feel much of this is a "cart/horse" type conundrum. As soon as definition precedes production, innovation, daring and exploration go sailing out of the window. The only thing an artist, any artist, achieves by "following the instruction manual" is safety and perhaps a bit of marketability (you know, most of the galleries and the art patrons subscribe to those manuals also).
If I were describing your work to someone else, I don't know what I'd call it, but I certainly would urge them to have a look, and make of it what they will.
I guess, what I feel it boils down to is "The Body of Work". For some artists, there are many over-riding similarities and consistencies in what they do, while others seems to try a variety of ideas and approaches. For the young, emerging artist especially, I feel the later will certainly open more pathway to explore. Perhaps for the older person, with a market to consider, and rent payments to meet, one should occasionally take the safer path, but always remember, the daring road will probably lead to more exciting destinations.
Ok, enough nattering. Have a good weekend. Bob

Lisa Brown said...

Hi Bob..

yes, I see what you mean.

I suppose I see the similarities and consistenicies in my work to be down to the concept, which is based on dual relationships, repetition and doubling, and infinity and the unknown contained in what I do know, which is the domestic and the artworld.

I think this isn't always obvious though and do jump from piece to piece and use different materials and skills to make things, so worry that sometimes it does look like I've hashed a load of different pieces of art together in a haphazard fashion..

But it also keeps my options open and I don't feel too trapped. Or in theory I shouldn't anyway.

I suppose that is one of the advantages of having an eclectic art practice, you are less likely to be defined as something so don't get trapped.. like, as you say the older artist who has to pay out a lot more money than I do to survive, so they end up churning out what they know they can sell.

I on the other hand have sold one drawing in my life as an artist- about 7 years ago I sold a drawing for £30.. it's quite liberating really.