A personal diary of ideas and internal discussions.
14 September 2008
Babysitting a solo exhibition I meet so many interesting people and have some great conversations: From growing fashion from Fungi and bateria (Google Donna Franklin), to being directed to (Robert Lang's talk on New Origami" on TED, a website dedicated to the best minds and ideas...check it out.
6 February 2008
Wow! It has been a looong time since I've found the time to write here.
Another example is that only yesterday I finally used a book voucher, given to me over four months ago, to finally buy a book!
While last year was busy, the first 1/4 of this year looks even more so. However, I'm enjoying the book From Nature to Form by Rene Binet. This continues on from my previous purchase Art Forms in Nature by Ernst Haeckel (1904 edition reproduced in 1998, 2004).
Binet was an architect and successful painter, and Haeckel was a biologist, an advocacy of evolution, developer of a classification system of organic forms and outstanding biological illustrator.
They corresponded regularly, sharing work, ideas and suggested avenues of exploration and research.
What interests me is how their combined work illustrates how a detailed study of nature, informed and was informed by Jugendstil, the German equivalent of Art Nouveau. Its most public expression was the 1900 Paris World Exposition entrance gates designed by Binet, which were clearly inspired/copies from Haeckel's drawings of the skeleton of the nassellarium.
Here in Western Australia, by a quirk of fate, the state Art Gallery has an impressive collection of Art Nouveau art and craft, which I have had opportunity to study at my leisure.
Australia is well know for its usual animals, the kangaroo, the koala bear, the emu, and so on. Perhaps less known, is that Western Australia has a huge number of unusual plants, particularly wildflowers. Southern Western Australia is now internationally recognised as a "megadiverse hotspot". In one small national park there are over 80 plant species, which occur nowhere else in the world. Not surprising a large number of international visitors visit here in Spring to see huge areas of wildflowers in a bewildering range of shapes and colours.
Even an inner-city dweller like myself daily see hundreds of types of these usual plants and flowers, growing in house gardens and in the park where the studio is located. A few years ago the local Town of Vincent begun to plant more native plants, rather than the traditional UK types of plants. This was because the natives are more suited in our dry, Mediterranean climate, and because of a cultural change as a result of European and Asian immigration and a growing national pride less based upon "the mother country".
Often I find myself collecting the blossom and seeds of Eucalyptus and Banksia trees and bushes as I walk to and from the studio. So while this is not a "sit and draw" study method, it must have slowly feed into my unusual ceramic paperclay work. Given that these plants have literally hundreds of heads in each flower or seed head, and that my farm and economics backgrounds predisposed me see society as a collection of parts, it is obvious, in retrospective, to see how these two streams (images and ideas) merged in my work.
So, after many years of being at a loss when asked to name my favourite artist or artistic influences, I suppose the above is now my answer...
Just back from visiting a new ceramic studio opening and inspired to do a little on-line research on social new work analysis ie
and social capital. See http://en.wikipedia.org/wiki/Social_capital.
How does this related to paperclay?
How does this relate to art?
I suppose I see knowledge as collectively created, held and preserved. And I'm interested in seeing my role in the growing "rippling pool" of paperclay knowledge.
off to put a link from my website to wikipedia's section pn paper fiber/fibre....
I am disappointed that the demands of making art, exhibiting, teaching and family have kept me away from the productive self-reflection that comes with writing this blog.
I was refining my artist statement, particularly the part that my art is an attempt to make sense of how the arts and crafts, and society are organised. The more I look outwards and travel, the more I see the same aspects of social organisation and human nature. I see the same things because the way I think and look does not significantly change.
Last night I attended one of the events that are part of a Muslim wedding (in Lahore, Pakistan) and begun reflecting on a Hindu wedding I attended in Madras in 1983, then begun to have a discussion about my own "Christian" wedding in Perth.
They all have spiritual, emotional, intellectual, social, sensual, financial and reproduction aspects.
From the simple building block of relationships we have with each other, families, neighbourhoods, organisations, and whole nations are built. What is amazing is the diversity of the nations that have been built on such simple (and such complex) things as my relationships with others.
Where does this leave art?
Art is part of life, an expression of my life, an expression of me.
And if those I hold close to me, those who I share time with, are truly important to me then my art must be influenced (and reflect) by these people and the quality of my relations with them.
I can’t separate in my mind the difference between and which is more important, the people, or the relationship. The tone, the colour, the texture and the structure of the relationship.
If someone I love is far away or even dies, do I cease to have a relationship with them? Do they change, if they are always in my heart?
How is the external relationship with the person connected to the relationship I have with the internalised person I have created as a result of our past interactions.
Think about how quickly you can summon up the answer to "what would my parents have said in this situation?" Similarly we can probably predict accurately how a brother, sister or spouse would do or say.
Earlier this year I attended a funeral and have since been wondering how these internised "models of other" actually influence our everyday relationships with others, and even the people themselves!
That's about as far as I have got...
It seems that it is only every couple of months that I get time to clarify my thoughts via this blog.
Currently on the road again between two interstate workshops and (again) staying with fellow artists. There is something special about staying with fellow artists with inspires them and me.
Perhaps it is because, so like many others, we are so time hungry, that it is only when you are under one roof that there is sufficient spare time to have the wide ranging and sharing discussions and arguments that are so beneficial.
I’m lucky that most of my peers that I have good friendships with are open about their art, their discoveries and their lives. There is no defensiveness about protecting their discoveries, their successes and failures.
I’m a firm believer that an open and positive attitude, with a generosity of spirit is essential qualities for a happy life. Funnily enough such an attitude attracts like-minded people, reinforcing and nurturing each other.
I am happy for others to disagree, but I believe that knowledge is a collective commodity. No person can know everything, and to understand the world better we must share our experiences and understandings. In shorthand form this is the idea “that reality is collectively negotiated”.
What has triggered this outpour of optimism?
As part of a process of improving my workshops I handout survey forms. After reading them and collecting contact details, I didn’t know what to do with the rest of the comments on them. So I recently copied them out and put them on the website at www.grahamhay.com.au/comments.html. 99.9 % of them are very positive, encouraging, with many mentioning that the workshop was inspiring.
Reading these encourages me to make them even better.
So now there is this loop:
I share my experiences, my knowledge with the workshop participants.
They, in turn, share their experiences and what they know.
Watching them and seeing how they work inspires me to try new ways of working.
So I have more to share and pass on to others in future workshops.
Consequently the pool of available paperclay information at each workshop become progressively bigger.
I have been very fortunate to be part of this process of building a pool of information via the 130+ workshops since 1993.
It’s like a progressive fully paid research and development in a new technology. The challenge is then to eventually make the process completely automatic…
While I have been back in Perth about three weeks it has taken this long to re-establish regular routines in the studio, office and family.
Since December I’ve traveled backwards and forwards across Australia a couple of times (around 12,000 km) and I have decided, as a result of the repeated Jetlag and disruptions to studio, office and family, to limit time out of Perth (overseas/interstate/intrastate) to two months a year. Fortunately the forthcoming workshops in Queensland are close together.
The recent decisions, and definition, by the Australian Tax Office of “What An Artist Is”, make interesting reading.
The National Association for the Visual Arts have called the ruling a case for our celebration as the "The ruling is not only of interest in Australia, but is being regarded as a benchmark internationally".
A distinction is OK between recreational and professional artists, and is very overdue.
Personally I find the distinction between “professional artists and those who are simply making art for their own enjoyment” worrying. Don’t “professional artists” do it also for enjoyment? I do.
For those interested, I found the examples of actual artists in “Taxation Ruling TR 2005/1” very informative and worth a look.
Moreover, it provided a good overview of what a professional artist does, according to NAVA and the Tax Office.
Let’s look at the headings:
There is a strong emphasis on Significant Commercial Purpose Or Character
(I would call it trying to “having art and (still) eating”
Intention of the taxpayer (not starving, losing roof over head and marriage)
Profit motive (ditto)
Repetition and regularity (my emphasis, does this mean my rolling out thousands of rods of clay and cutting thousands of pages of paper?)
Activities of the same kind and carried on in the manner characteristic of the relevant industry (does this cover experimental and new art forms like mine?)
Organisation in a businesslike manner and the use of system” (my emphasis-refer to “having art and eating” above).
Size or scale of activity (the previous bench mark of around $200,000 of art equipment and assets was a laugh!)
Not a hobby or recreation (but art is good for you!-what happens if Art is your hobby and occupation?)
The Tax Office goes on to mention things like:
Building peer recognition (I call it mutual fan clubs);
Public recognition as an artist (in the media, used as example by educators);
Meeting the criteria for grants, awards and professional opportunities
Appointment to a position dependent upon being an artist
Professional associations/union memberships
Reputation building activity (mutual fan clubs again)
Methods of application and time commitment to activity consistent with others in the relevant industry sector (does this cover lot’s of coffee or substance abuse?J);
Obtaining the advice or services of a professional agent (read Gallery), manager, legal or financial adviser.
Meanwhile, back to my rituals of rolling out the paperclay and article writing….
The last four weeks have been a blur, a short art teaching contract with a school, plus my studio classes, plus the stress making models and negotiating via email with 5 people for a possible commission for 80 sculptures for an interstate hotel.
On top of these activities I’m still trying to finish up work arising from the Hungarian Symposium: Thank you letters to sponsors and artists who lent me images, and burning over 20 CD’s of images and information. Next come three articles to write and a grant acquittal report.
Then Christmas Cards and the holiday break…
I've been thinking about the social aspects of art.
Not just the social structures themselves.
But the actual human traits that how they grow out from.
Last week I introduced 8 Singaporian potters to local West Australain potters and potters groups/businesses. This whole process started some 5 months ago when I was asked by Alvin to organise it for himself and fellow potters.
Anyway, I was thinking about it generally.
Both Eastern and Western people have the trait, of only really trusting people they know, or people who are recommended/introduced by people they know.
I have no difficulty meeting and working with people from other countries and culturals.
Perhaps because of my travles overseas, I know how hospitality really does make make me feel at home, and welcome?
Perhaps because I am a "new Australian"?
Perhaps because our friends and our child's friends are from all over the world?
Perhaps because I believe in people's good intentions (and the future), more than others?
Perhaps because I just enjoy creating my own and helping others create their own social and creative networks?
It's all about being creative in all of my life, and not just with the clay (or on the canvus).
I awake in the middle of this night.
The 19 people from 12 countries who shared in, and of themselves during the three weeks of the Hungarian symposium have had a lasting impact on me. It has been an intense experience of sharing our ways of life, lives, our souls through our art rituals and work, and eating and living together on site.
The hardest time for me was while my wife was flying to Budapest and our daughter was left "alone" in Perth.
Then we spent a week in ancient Budapest waking late, ringing our daughter in Perth (just before she went to bed), then walking the streets, driven by whim, retiring each day to a cool beer sitting in a cafe, in a park, watching the dogs and kids play, then a simple supper and bed.
Then back to work alone, an intense five days of presentations, workshops and meetings in a strange but friendly Singapore while struggling to overcome jetlag and lack of sleep.
Back to Perth for two days spending time catching up with my daughter before my wife flew in today from London.
Tomorrow I fly overnight to Melbourne for another repeat of the Singapore experience. After a week visiting artists and artists groups there I travel to Geelong for a weeklong workshop, then back to Perth.
I'm not looking forward to climbing back onto the plane tomorrow night. The separation again from wife and daughter is harder after such a short return.
Through all this I am struggling to keep physically and mentally healthy and try to keep an internal balance. Each workshop is a unique event in a strange place with completely new people, where I have to create materials, organise a new content and facilitate an experience for 8-80 people.
Why do I do this?
Through it all I'm trying to keep in my mind the different place, different time and cultural differences while I live in the present moment, yet keep in touch with my self, my family and friends. The time differences between my location and them, mixed up with continuous emails and phone calls planning other workshops in the near and far future, with people in other different locations and present times is making my mind soap!
I love it! The sense of juggling everything. Of lack of control, yet mastering just some things in the process. That it is all up to chance, trusting other people I don't even know.
I must be an adrenaline junky.
But also a sense that I am really living, that I throw myself out at life. I feel scared.....but also that it's OK.
11/11/04 6.02 AM
Having been awake since 1am due to jet lag and my usual restless mind. Finished sorting images for the first workshop in Singapore later today and need to sort my random thoughts since the Hungarian Symposium. On the flight down to Singapore I have begun to set out some thoughts for the three journal articles on the Symposium. But its has been the cultural experience here in Singapore that I need to sort out…
A vibrant community of potters and artists here who are keen not only to learn about paperclay (despite complaints that there is a very small ceramic community here, 80 came for the digital slide show last night) and to build links with ceramic communities in other countries. Perhaps as indicative of their isolation, only one person last night had made paperclay.
Some were aware of the Malaysian paperclay, but I suspect its’ cost makes it prohibitive as a ceramic medium. For the workshops, paperclay was imported by a local supplier from Australia, where they source most of their clays and equipment. Yet many draw inspiration and information from Chinese (Taiwan) ceramic journals, (and english language journal to a much lesser extent).
Yesterday I was told that they are influenced by western and eastern aesthetics, in much the way Australian potters are, but that their eastern influence is predominately Chinese, not Japanese.
Student work on display at the Kampong Glam Ceramic Club reflected these influences, with a strong emphasis on self expression and finding “one’s own voice”, very similar to what happens in Perth.
It’s confusing here, because where I live in Perth (inner city) most of the local business and restaurants within two blocks are Asian, so it doesn’t seem very different walking through the crowds on the streets. It’s been easy for me to communicate with the Singaporeans -a similar “can-do” attitude helps.
The big difference here is in the architecture, which is huge, predominately high-rise office and residential. Much higher density compared to Europe, and especially compared to Perth. This is the one big change since I really spent a week in Singapore over 20 years ago (a four hour tour two years ago doesn’t count). Eating out and shopping has virtually not changed. The same great variety and taste in the food halls (as I call them). Oh, and the places I stay (from 2nd floor backpacking “flop house” to 14 floor modern hotel room with broadband connection).
Funny how where you live influences your desires: Most Singaporeans I have spoken to love the idea of space that Australia offers, perhaps because they grew up in such a closely packed environment. While I grew up on a farm and really enjoy living inner-city were everything is a block away and there is such diversity (I once mapped where I have lived in Perth over 20 years and it’s a spiral inwards towards the centre). It reminds me of an Australian Potter who grew up in Sidney and can’t wait to get out of the city and retreat to her country property. I suspect its all in the mind-how we equate physical space with mental space or “room”. Must go eat…
16/8/04 4:37am Looking now at the resulting unfired work, I see two forearms and hands holding up a sphere, two legs walking below a belly. The “stringy-ness” of muscle and tendon, without skin, contrasting against the smooth, almost perfection of an ideal. The stability of two supports, yet the two supports are made of hundreds of rods/parts. Each rod or staff made by fibre coated with clay impregnated with fibre. Reinforcement covered in reinforcement.
A murky porcelain sphere held up by absolute pure porcelain limbs. Shades of crystal ball gazing? And what of the future? The world out there? What is real?
I was lying in bed and the title “what’s the game?” came to mind. A ball just caught, or about to be thrown?
And before all this the anxiety surrounding future workshops which may/may not happen, and behind that the constant financial worries. While enjoying this artistic utopia, protected by an administrative and physical wall from the worries of everyday life?
Surrounded by 30+ passionate ceramic artists from around the world, making, sharing and developing friendships. I’m not sure whom is more fortunate, the participating and paying artists exposed to the example of experts in a particular field, or the guest artists such as myself who can immediately see new ways or ideas that the others may have stumbled upon?
Yet despite this, the physical separation from loved and loving family, friends gives a sense of urgency, to justify the cost to oneself. The eternal artists dilemma, balancing art and love, between nurturing the self and others: Between the internal life and external life.
An ongoing discussion about the significance of this being the very first International Paperclay Symposium. The opportunity to pool almost all the knowledge and skills relating to one, new, emerging medium. Is it likely to be judged in the future as an important historical event? Performance anxiety contrasted with an almost overpowering feeling to show irreverence to this idea, irreverence towards artistic, knowledge and historical conventions.
Artistic irreverence coming from working with a new medium that allows new material and artistic freedoms. While there are new techniques to be learnt, it also deskills traditional techniques, enabling beginners an immediate degree of skill, usually only processed after many years.
Irreverence towards traditional knowledge storage and distribution systems, as a result of the new technologies. The technologies of communication (many participants found out about the symposium via searching the internet, direct email or e-newsletters) information storage and distribution (many presentations and informal information sharing were digital, via digital projector, notebook computer, replay on digital camera, and sharing of CD and Compact Flash cards). A quick search of computer indicates that I have 1300 jpg and 1000 tiff images of mine and others art works and techniques. Traditional knowledge is distributed via the slow paper editing and publishing cycle. How will the internet, and email circulation of text and image affect the distribution and building of paperclay knowledge?
Irreverence towards history, with the end of a singular narrative. Almost every country has it’s own history of how paperclay “started”. Each country appears likely to develop unique types of paperclay depending upon the source of cellulose paper used (or the quality of their newspaper or toilet paper!) and the percentage used in the clay.
Enough speculation for now……..
9/8/04 Yesterday a touring French choir treated us to a moving rendition of songs from Different European countries in different language. It take some getting used to five or six translations of the greeting, introduction to each song. What I found so refreshing was the appreciative clapping from the audience, which became a participative music event in itself with varying tempo and crescendos. Inspired I tried to quickly draw a sculptural idea before I forgot/went onto the next idea, in this case on my hand!
The interplay between the group and audience, the conductor and the choir, between the singers, and particularly between each singer and the pages of their sheet music interested me.
The holding up of open hands, palms upwards by the conductor. The folders holding the sheet music open as a valley. The imaginary musical notes lacing the folder from falling open, or burrowing in and out across the page like sewing. The same threads being a dry rod with rolled soft tips holding it all together, and whole imagery structures.
Paperclay threads, like movements of attention downwards towards the page and information in return streaming up from the pages towards the singers faces.
Rosette has the same passionate tone that I find myself talking with when I describe paperclay. The belief that its not just the material paperclay, rather it’s the artistic freedom of expression, that is the real message. The risk taking, revealing nature of true artistic work, and more importantly life. So it becomes a philosophical, spiritual journey, starting with paperclay and ending with something completely different.
It’s 8am on Sunday morning and I’ve just got back from an hours walk around the town/city and market of Kecskemet (about 80km south of Budapest) in Hungary. I’m here as a guest artist at the 27 year old International Ceramic Studio for the First International Paperclay Symposium, along with 19 other artists from 12 countries
Flew in yesterday morning and the jetlag hit this morning when I sprung awake at 4am, to spent a few hours replying to emails and doing the never-ending paperwork.
Yet despite this and a lingering cold, I am looking forward to the next three weeks of making paperclay art in this beautiful studio. The studio is a rabbit’s warren of restored peasant cottages and new buildings surrounding a number of sunny and shady courtyards. The style is white walls, light wood fittings and tiled roofs.
Kecskemet reminds me of Panevezys in Lithuania, an eastern European town of a similar size (+/- 100,000 people), with a worn but bustling town blending middle-ages architecture, dilapidated buses, with modern telecommunications and consumer goods.
The participants that have arrived so far, the Americans Rosette Gault and Jerry Bennett, and Frenchwoman Elisabeth LeRetif, all have that interested, open personality which seems to characterise educator/artists, particularly those who are prepared to learn/operate internationally.
Most of the studio spaces are open, clean, quiet and awaiting, let the art begin…..
There has been considerable debate about marketing and the development of a "brand" name by individual artists.
See www.fuel4arts.com for an exhastive list of papers and discussions.
There is a widely held belief by artists that the artwork should speak for itself. That marketing does not make great art, but great art will somehow create great media attention, and ultimately lead to social and financial reward.
This is true........ if enough people, or if cultural leaders see the work, so that word spreads.
However there is just so much art out there (at least 250 exhibitions a week in Perth, a city of a million people) that no one will come unless you invite and tempt them away from all the other exhibitions, and other recreational activites such as movies, theatre, concerts, or just a quiet time at home.
Consequently the minimum promotion any artist should aim for is to send a picture and press release to the local paper.
The other problem is that the newspaper receives dozens, if not hundreds of these each week and has only a few pages set aside for the Arts. The newspaper staff are like everyone today, suffering from too much information to read and too little time to do the work of writing.
Not surprising many artists write a draft article and send it to the newspaper, with the journalist simply editing and lodging it as copy.
As an artist I find myself, or if I'm lucky someone else, doing this work.
The result is that I am no longer inviting and promoting my exhibition, I'm now marketing my art.
But luckily there is a final reality check.
If the same people keep coming to my exhibitions, and keep buying my work, then I know its not just as result of marketing.
Its because of the art.
Because its expressive, unusal, interesting, and constantly changing and challenging.
I find the issue of art vs marketing simpler when discussing my paperclay and paper sculture workshops.
I know that most of the invitations to give workshops in Australia come from word-of-mouth, that is, people hear good things about me and then contact me.
Because of this I have become concious of my reputation as "Mr Paperclay" and have begun to build upon this.
But I should stress that my awareness has come after the fact, that it has been because people have passed on others comments to me or written flattering reviews.
While this is flattering, I also discount these a little because the processes I teach are novel, i.e. the attraction of the new.
To gain a better feel for what is happening I regularly survey participants, to see if their expectations were met, and to see how I can improve it.
So.... in both my art and workshops, I have found I was successful, after the fact!
And only once this became obvious, I then sought to do it better.
I suppose the bottom line has always been for me to eventually make a living from my art, so that I can keep on making art.
Because I just love making art.
A reoccurring discussion with art teachers, when I go into schools, is that they just have no energy, or creative energy left for creating studio work. After a full day teaching, particularly if they are doing it full time, there is no “spark” left for creating art.
Despite this, I know of at least one (Paul, in the Robertson Park Studio) who does combine both. But this may be the exception, that just proves the rule.
For myself, because I create and teach in the same studio space, the boundary is blurred.
The mundane studio work can be done while teaching, particularly so I don’t crowd students while they work.
However when the class size gets over four or five then I focus only on helping the students.
But perhaps more taxing on my time and energy is the administration of maintaining an interstate and international profile. The emails, correspondence, preparation of documents, slides and digital images, accounts and website consume a large part of my time.
Consequently I wonder if it is the teaching of large classes, plus the administration and politics of large organisations like schools that is more stressful, and therefore energy sapping?
25 students multiply by 5 classes per day, equals 125 people, plus other teachers and administration, equal a huge amount of social interaction. All these interactions can become individually and collectively stressful and tiring. Particularly when expectations are not being met and pressure is applied.
Compare this with my average day of may be four students and a couple of studio artists.
Moreover students and teachers “have” to come to school. Whereas my students and myself can exercise discretion.
However there is an positive relationship between stress and income. They have high stress levels and high income. I don’t (not these types anyway).
Makes you wonder….
This morning I was questioned about the recent record $140m +/- price set for an early Picasso painting.
It is hard to justify this price until comparing it to what peak football and basketball players are paid.
Just as in sport, there are layers of participation, from the play with balls and paint/paperclay of my 6 year old daughter and her friends, through to the thousands of teams/classes of children playing/painting/modeling. On top of that is the increasingly competitive higher grades or levels in the field and classroom. I know that for final year high school art students art is the one subject they have to spend the most time on. Similarly the top school sports teams train very hard and are very competitive.
After that there is local, university, state, national and international competitions, be it on the field or in the gallery.
As well as complete dedication, outstanding ability and chance all play a part in success. So that the best in both art and sport are truely the best (and maybe luckest).
They become symbols for the thousands of young players/artists and their coachers/teachers. Images and stories/articles/books are published about them, so that their reputation spreads. Recreational sportspeople and artists become fans who come to see them or their work.
The premium price or fees in arts and sports reflect not only these pyramids of social activity, but also reflect the cost of creating maintaining these artworks or sports people. For the Picasso painting there are conservational, housing, security and insurance costs which must be astronomical, given that the painting could never be replaced if damaged, stolen or not maintained. Similarly these artworks are often lent to international galleries for select exhibitions, therefore the artwork can produce an income stream. Just as a sports person may endourse a commercial product.
So in addition to their cultural value as symbols of creatively, orginality or physical ability and skill, art and sport icons have social and economic value.
>One of my biggest headaches is juggling timetables of different groups for paperclay and paper sculpture workshops in Perth, country, interstate and overseas. As their organisational timetables change then I have to go back to other groups to see how flexiable they are...consequently I spend hours each week writing email and phoning people. And I thought being an artist would be a quiet life in the studio making art with a major exhibition every couple of years! I don't know about other artists but I spend 1/3 my time in the studio, 1/3 in the office and 1/3 giving workshops/teaching in the studio... Not surprisingly a number of people have commented that I have good right & left (creative & logic respectively) brain development.
The myth of the "artist as hero"
or...."no one can make a living from art, but bugger it, I'll try".
after over a decade of struggle and the need to cover increasing art and home costs I wonder if it is actually possible without a "daytime" job. I'm reading a copy of the National Association for the Visual Arts latest survey of artist incomes etc, maybe it'll be more encouraging that the result of the last one which saw a big drop in incomes.
I'm very grateful for the other artists and students that have bought my artworks over the years-often just as a large bill comes in...
Inspired by two articles in a copy of Internet magazine (Fed 2004) read at the local library, I put this web log page together. Inspiration one was a band which uses it's website (ween.com ?) to freely distribute it's music because they thought the web might benefit them artisticly rather than financially(sic). Inspiration two was another article on "Blogging for revolution".
A visit to www.rebeccablood.net provided links to advise, which I have completely ignored :)