SYP Exercise 1.2: Ten key moments

I make a list and reread the instructions to find I have a bit too self-centred. The instruction asks for ten key moment in your field, I take ten key moments for where I am currently at. I don’t revise the list. I will remain a little idiosyncratic too as I am not sure how much I want to explicate, but here in chronological order ten key moments for having arrived at the artistic practice that is currently mine and with which I want to move forward:

  • Joan Eardley’s painting of Glasgow and Catterline, c2005
  • James Turrell’s exhibition in Wolfsburg 2010
  • Anna Barribal’s rubbings at the Fruitmarket, also c2010
  • I talk about the trickster and the banality of drawing grass as part of my Coaching and Facilitation training outside Berlin in 2013
  • I organise myself a residency in my mother’s childhood home and call it House, 2015
  • I make a video of balancing and falling on my bed as part of DI&C, 2016
  • I acquire my Bronica and travel to rural Aberdeenshire to photograph ferns with wide aperture, 2016
  • The event I do with Amelia and Liam at Market Gallery on Blow up my Town, 2017
  • I remake the gap between two institutional filing cabinets, 2017
  • I exit the corridor and find Other Green as part of Drawing 2, 2018
  • I talk about House, violence, memory and walking-with at a Walking Arts Conference in Northern Greece in 2019
  • I stumble across Laura Mark’s the Haptic and the Erotic while concluding the dissertation for For Cover, 2021.

For all the work post 2015 there are my earlier online blogs to trace the works in the respective modules — DI&C, Drawing 2 and then for the final two this current blog.

I reread the exercise’s instruction and it invites me to present this more engagingly than the above. I won’t at this point.

I present an equal mix of encounters with artistic and contextual work and then my own work and how different projects, approaches presented novel insights, allowed for a shift. The latter are in equal part private, personal, and some come from making work public.

I had not done such a list before and greatly enjoyed it. It was surprisingly easy: the moments, shifts and markers remain clear. I end up with slightly more than ten but am confident of the shifts they mark: of confidence, a new technique, a new position or recognition. They intimately concern my concerns and practice: I can see these as entirely my work, and the earlier three artistic influence kind of prepare the ground on which I move, there have been many other shows, art works and artists since but I think these early ones were significant in a way that some of my own projects then embodied similar shifts, new insights and understanding.

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