Speaking with Anita Haywood

When I was in my late teens one of my best-friends started using heroin. When expressing my concern to her she told me that it was her body and she could do what she likes with it. In my naïve teenage way I empathised with what she was saying. Navigating ones way into adulthood we are faced with questions about who we are, how to/whether to assimilate with societal restrictions and ideas of what is normal. Many of us spend our whole lives struggling to feel in control and for some, like my friend, even the most self-destructive actions can lead to a feeling of gaining a choice about ones own destiny.

It didn't take long before we realised that she was addicted, the control she thought she had was false. She had in fact, just traded one form of control for another. I felt an intense powerlessness as I watched someone I love submit to something like a slow motion suicide, with seemingly little action that I could take to change it.

Anita Haywood is currently exhibiting her show, The Illusion of Control at Heathcote Museum & Gallery. Please don't misunderstand my introduction, it is not about drug abuse but it does deal with that experience of spiralling loss of control and the methods that we try to put into place to gain some. It also spurs us into reflecting on situations in our own life and our perception of control. My story is just one and I have no doubt you'll have your own.

In her statement about The Illusion of Control, Anita says,

“We strive throughout our lives. It is the Human Condition. Racing against time, battling with opponents over various dilemmas, coping with the stresses and strains of everyday life, as if we are in 'free fall'.

We like to believe that we have control over our lives. But have we? No matter what controls we think we have established, events develop out of our jurisdiction. Even in death, nothing is guaranteed.”

The Illusion of Control will run until the 3rd July 2011 at Heathcote Museum & Gallery. Anita will be giving an artist talk at 1.00pm, Saturday, 4th June and she will be artist in residence at the gallery on Saturdays 11th, 18th and 25th June, where she will be available to discuss her work.

Anita has also kindly agreed to do a Q & A about her art practice with me for June Speaking with.

Ignition, Anita Haywood, burn photograph.

Can you tell us a little about your background, where you grew up?

I was born in England, but as my Father was in the RAF, we lived in several countries while I grew up, usually 'hotspots' - Germany, Cyprus, Northern Ireland, Wales and Aden. When I married, I lived and worked in Iran and very briefly in India, all as a teacher.

What kind of work you do you make?

I did my degree in conceptual sculpture & finished my BA Hons in 2008 in Scotland. I specialised in filming groups that I planned & directed in 'communication scenarios', either as Interventions or Performance. Sometimes I set up 'mis-communication' theatrical sets for Audience Participation Art, and exhibited work in Aberdeen & Edinburgh as Sound Sculpture.

What drives you to do what you do?

That's more difficult to answer! I suppose I've always liked 'creating' something that stimulates me - from chopping up clothes as a child & refiguring them to wear. I tend not to like cooking that is consumed so fast, but making something that lasts longer & I can evidence. Answers to 'Why We War' interests me.

Did you grow up in a creative environment?

No, except that my mother was a great seamstress. She was the cook & never let me in her kitchen!

Running Past Perth, Anita Haywood, Infrared photograph & light box

You've emigrated from England relatively recently, what do you like about Perth? And how do you think living in Perth has influenced your work?

The people are very friendly. It's extremely clean & warm [maybe a tad too warm in the summer] But especially the art & the gallery openings are such fun. Fremantle Festival was the best, but I love all the performances by dancers & actors. The Writers Festival is brilliant. All hugely stimulating even down to filming at the Agricultural Show! I think about identities.

What are some of your favourite materials to work with?

Probably the camera(s) I have digital, camcorder, film & medium format, & have set up a darkroom in my bathroom [very exciting & obsessive to develop] I probably like the control of directing people too….

Any medium you would like to explore that you haven’t done yet?

I'm just starting with paint, so there's tons to learn. I want to make more small figures in mixed media that will mirror my film ideas.

Universal language, Anita Haywood, Oil on canvas.

Who are some of your creative influences?

Bill Viola of course. Rebecca Horn, Annette Messager, Shirin Neshat, Mona Hatoum, Johanna Billing, Anselm Kiefer.

Where can people find out more about your work?

My website www.anitahaywood.com shows my audience participation, collaborations & interventions. Or they can email me on anitahaywood@gmail.com & have a chat.

I like Surprises

Pink & Grey, paper collage and oil.

You might remember a few days ago I told you that I had entered a work into the City of Melville Art Awards? Well, I won an award for my mixed media painting, Pink & Grey! You can still view it at the Melville Civic Centre, up until this coming Saturday, along with many other works of art by Western Australian artists.

Here is the City of Melville media release - Judges select striking art award winners

Speaking with Jessica McCallum

It's Speaking with time again and for the month of May I caught up with all round talented lady Jessica McCallum via email.

Bohemia

Hi Jessica, what you are working on at the moment?

I'm working on an exhibition, opening, hopefully, at the end of this year and, possibly, in the State Theatre Centre of WA, Studio Underground. The theme is creepy clowns, buxom burlesque beauties, fetish, fear and fascination...complete with feathers. A little bit circus and a little bit carnival.

I'm doing a series of watercolour/ink/gouache portraits at the moment, inspired by my evening Dr Sketchy’s Anti-Art School classes. Once I move to bigger quarters, I'll start working on some larger spray-paint/acrylic graffiti slash comic book style paintings. I've got this idea for some mixed media pieces tentatively called ‘Stains’ using tea & coffee, salt & silk (if they work).

Also I'm hoping to finish some fascinators (just in time for the races) which I was going to display on a slightly freaky, but not offensive, sculptural installation. I wanted to explore a slightly darker, sometimes creepy, definitely sexy, but always fun side of theatrics in this exhibition. That and I’ve always wanted to run away to the circus.

Sounds exciting!
We met when we were working front of house at a theatre together and I think, from memory you studied at the Western Australian Academy of Performing Arts (WAAPA)?

Yes, we met at His Majesty's Theatre, which, oddly enough I applied to work for when I was a WAAPA student... & didn't get :). Too young I guess, straight out of high school. Or too goth. Studied scenery, props design and construction for a couple of years at WAAPA. Lots of carpentry and welding, and unfortunately for me, too little designing.

Went on to use my scene painting for the more practical purpose of painting murals for businesses and also in people's houses for a while. I'd like to get back into staging though, it was fun. The interactivity is cool, doing stage design, knowing that someone is going to utilise and interpret whatever you've created. I guess that's why I'd like to get back into sculpture and why I studied product design at one point. I find people's reactions to things they can actually use interesting.

From the Red Umbrella Series

I'm interested in how performance and theatre has influenced your work. In your exhibition, Raincheck you had small watercolour drawings that for me acted as a storyboard for the larger scale 'feature' works. Even your process of having people 'play a part' in photographic reference material seems akin to performance, rather than just the artist's model posing. Is that a correct observation?

I've done a bit of film stuff too, which yeah, I guess kind of explains my storyboard style. A picture might paint a thousand words but throw in a couple more and you've just got so much more to say. I like to kind of write a story by either photographing or filming my friends, then I'll edit that down to several frames which capture, the introduction, conflict and resolution, in a few different moods and expressions. I choose my favourite moments, those which really encapsulate my friend as I see them. Then I just pick a favourite shot, or two or three... like a 'best of', to paint.

I ask my friends to pose, but it's the moments that happen in between I tend to choose to immortalise. The one's they've suddenly burst out laughing in, or a coy, shy look to the camera to check if you're still filming, a spur of the moment 'what about if I do this?'. So yeah, I guess my process is very filmic, even a little voyeuristic but then I paint them how I see them anyway and in a kind of fantastical, 'what if' background too. I'm no landscape artist and painting fruit just doesn't do it for me. Neither do torsos and bits of bodies, too clinical. I like faces, animated faces. Maybe moments in mixed media is a fairly accurate description of my portraits.

Jude

It is interesting what you say about directing your friends into poses then capturing them in the moments they are at their most natural. I think it is the balance between the staged and the spontaneous that attracts me to your work. It is a good metaphor for the way relationships between people often are, a precarious balance of the identity we want others to see with our private inner desires and insecurities. Is it important that the identity of the person you paint is recognisable to others? and how do you choose who to paint?

I know what you mean by 'what we want others to see'. Most people show a particular side of themselves to the world. I guess it's that vulnerability, I'm compelled to paint. Good or bad, the traits that make that person them are what makes them beautiful. So why not share those with other people that may not see them the same way I do.

As for how I choose who to paint, those people I've become closer to recently because they have all that untapped vulnerability. Probably because I know the person but have only just glimpsed their inner-selves, I don't know them well enough to be privy to their secrets. A desire to know more about them through focusing on the contours of their face, drives me.

Did you always want to be an artist? or did that come later in life?

Not sure about always wanting to be an artist, think I wanted be a lawyer or a cop when I was a kid. I've always been creative though and drawn to beautiful things. By beautiful I mean both natural and man-made. I grew up on a farm when I was very young and near the beach as a teenager, so the environment and nature are important to me.

Symmetry and pattern also fascinate me. I rarely paint portraits face on because I like imperfection and there's this compulsion to balance the features. I've seen a documentary before that studied the asymmetry of nature, while we are made up of a series of patterns we are imperfect, unbalanced and I like to reflect that in what I paint. A computer program can replicate and produce pattern, nothing creative about that, it takes human intervention to make the beautiful mistakes.

Splash

What is your earliest creative memory?

Earliest creative memory. Not sure, I used to sit out in the backyard with my brother and draw a lot. Mum would give us a pile of butcher's paper and coloured pencils, we'd happily sit at the picnic table scribbling. Dad was a biologist and he would tell me all the botanical names of flowers, while Mum would walk with me in the garden and tell me their personalities, as though she was introducing me to friends. I'd make up little stories about their daily lives based on the shapes of their little faces and their individual attributes along with their terribly formal sounding names. I would address them and converse as though we were colleagues or co-conspirators. Pretty creative, and maybe a little nuts. Now you know way too much about me :)

I don't think that's nuts, I love that idea! It sounds like with the flowers you were already homing in on the stories faces can tell. It also sounds like your mum was quite a creative lady too? Can you name some artists/people who you've found most inspiring?

I guess my Mum, I would have to say, has inspired me the most. Since I was a little girl she's been involved in film and now writes screenplays, and dabbles in publishing the occasional poem. I always ask her to write some words for me to put next to my paintings when I exhibit and I've started putting together little postcards with a print and the poetry, just as something people can take home if they don't want to invest in an original.

Other influences are usually film orientated; I'm a bit of a Tim Burton fan, Eiko Ishioka, Art Director on the movie the Cell and the costumer for Cirque Du Soleil's Varekai, who started out as a graphic designer in Tokyo. I love all Cirque Du Soleil's stuff of course, and I'm developing an interest in street art and graphic novels.

Creepy Clown

Do you listen to anything when you are working? Is there a soundtrack to your work?

I always put my i-tunes on at home while I'm working. Usually I start a new themed playlist. At the moment it's anything burlesque, carnival or circus inspired, from Christina Aguilera's Candy Man to Eminem Welcome to the Eminem Show to Barbara Streisand's Send In The Clowns to Missy E's Get Your Freak On. It keeps me focused. Last exhibition I listened to Raindrops Keep Falling On My Head waaaay too many times.

Where can people find out more about your work?

I have a blog, I update occasionally, when I've got something to say, which qualifies as a website at the moment www.jessicamccallum.com. Working on the website side of things, I want something interactive otherwise it feels a bit like a one-way conversation, or worse a sales thing, ickky.

City of Melville Art Awards

I have entered one work into the mixed media category of the City of Melville Art Awards.

Apparently there are over 250 artists exhibiting so it should be worth a visit if you like to see a diverse range of artworks from painting to textiles, sculpture to photography.

Exhibition runs from 28 May - 4 June and is open daily from 9:30am - 4:30pm Monday - Friday; 1:00pm - 4:00pm Saturday and Sunday at the City of Melville Civic Centre, 10 Almondbury Road, Booragoon.

Wish me luck!

My new website!

After quite a bit of frustration and cursing at my computer screen I have a website that I'm pleased to invite you to visit.  It features a selection of my past and recent artworks so if you are interested in seeing stuff I've made (since this blog is more about works in progress than the completed works) please have a looky!

www.clairebushby.com

Also if you have any trouble viewing content, particularly the drop down menu, please do let me know. I've tried my best to make it compatable across browsers but there might still be something I've missed. Thanks friends : )

Red, White & Blue

Once the cooler months arrive I automatically feel the need to make soup and crochet. Hence, I haven't posted one of these in a while! This is a project I have been working on since 2009. I've been making all the squares from Jan Eaton's 200 Crochet Blocks in an attempt to learn crochet inside out - while also playing around with photographing them.

This is 4 of block #68 (Red, White & Blue) joined together.

View from a Window

 

I have been documenting the view from my studio window since the week I moved in (April 2010). It is just over a year now since then and I've got quite a collection of photographs! I love seeing the same view in so many different lights and I'm fortunate enough to have quite an interesting building to observe across the road. 

If you are interested in seeing all the images together I've set up a new tumblr blog just for this project - http://viewfromawindowproject.tumblr.com/

Paper Chain Update

Paul Moncrieff to Clare Dilworth, May 2010 (Chain 11).
Photograph courtesy of Clare Dilworth.

There is another wonderful collage on the Paper Chain. 

It is by Paul Moncrieff to Clare Dilworth.

Check it out at 

http://thepaperchain.tumblr.com

or

http://www.facebook.com/group.php?gid=365525800880

As evening draws in

Spot the differences

 

27.04.2011

04.04.2010