Hi Judy

The best parts of my day were when my eight-year-old explained what transfiguration means and receiving your enthusiastic response. In reply to your questions … this is where I am at:

I am putting something together to submit for a show for Taranaki artists at Pukeariki called Homework. Now a few rings pendants and objects, a bit of a still life going on. Have a few days yet and find out if I can take part in March.

Here are some other bits and pieces experiments from the last couple of weeks, and a few pieces still unresolved, I am usually working on a lot of different things at a time, maybe we could talk about these bits as a starting point.

I am also doing some prep for the WOMAD (have you been?) Kidzone badge making workshop 18-19th march.  Lots of cutting up cardboard and collecting materials and thinking of ways to incorporate this with a new body of work not sure if I will continue making response pieces, posters would like to discuss this further.

During the masterclass, we had to create an exhibition around a piece of jewellery made by another hand-shaker Caroline Thomas. It was a ring made from brass and hair and looked like bullet shell and when I wore it my little finger stuck out like I was drinking from a dainty English tea cup. Seemed to me to have a very colonial feel. I thought of an account from a European soldier witnessing people from Parihaka digging up the roadside and planting wheat in protest of land confiscation…” they looked like and immense swarm of bees or an army of locusts moving with a steady and uninterrupted movement across the face of the earth.”

I set myself a brief to make an exhibit which could express my concept without having to describe a narrative as I often feel I need to. I placed the ring on a military tent peg and used cigarette papers (I wanted to have a huge mound of them) and thought I would have been good in an enclosed glass case so I could circulate a stream of air to blow them around.  In the end I presented it in a darkened room and called it swarm and gave no other information to see what the reaction would be.

The team said it was shamanistic, like a totem, unsettling like something bad was going to happen, like a missile. Aggressive and tense. Ominous, scary, a large figure threatening a small figure.

This exercise was a great challenge and a good example of the sort of things Tanel Veenre had us working on made me ask all sorts of new questions like… who am I making for? Does it translate well?  How can I capture attention in a large space when presenting such small work?  Questions…… on and on and on.

The whole week put me in a spin I met some really amazing people. I am still processing all the information and getting used to this full-time starving artist thing

Some ideas for first skype

  • What I’m reading Lives of the Artists Lives Of the Architects by Hans Ulrich Obrist, also old new scientist magazines from the 90s great articles about the impossibility of video phones.. and Colour by Victoria Findlay
  • Incorporating more drawing into my work
  • Make better work, clarify what to keep and what to let go
  • Be Braver, Improve public speaking
  • Work for bread and butter/exhibition work.
  • Start an Instagram account in prep for the blog
  • How to deal with internet info overload.
  • Practice, Process………..

While I was in wellington I was able to spend a week staying with my younger brother and his family. It was the longest time I have spent with him in 17 years so much fun!!  Here is a picture,

My sister Sarah, brother William and me

So looking forward to talking with you in person

Cheers Jen

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