Can-do / Must-do : Lost in a Sea of Artist Opportunities
Continuing to pursue my practice post-University was a consistent challenge. I found it harder to define my work since leaving. One of the biggest challenges, is making work without a certain or foreseeable, ‘practical purpose’.
Boundaries and deadlines have always been something I have enjoyed. After University they are often self-set. Rigorous self discipline is necessary to ever consider a work finished. Starting making a work when the question ‘what is it for?’ is forever looming is even harder.
Something that has provided structure for me is applying for artist opportunities. They are something to work towards. I can pin-point a deadline and strive to make the most of the application guidelines. The process has been both a positive and negative force on my work.
Applying for several opportunities on a weekly basis was a plan of action for me through January. Determined to be a part of some new and exciting exhibitions, I scanned the criteria of each show. I the then, began adapting my practice to fit the opportunity
I can see the underlying problem here. The process of making a work with a particular opportunity in mind is a bit of a balancing act. I faced the question: ‘how much do you let the opportunity sculpt and impact upon your outcome?’
On the one hand, abiding by the external criteria set by the opportunity pushed me to challenge my work. It made me think about how my practice could adapt to be suitable for various open calls.
I usually produce PDF files and site-specific installation. I thought it would be an insightful challenge to apply for an open call I found that was looking for wall-work . ‘I have nothing to lose!’ I told myself.
I began looking at what I had begun thus far, and began considering the root concerns of my works. What is it that motivates them? What are they trying to do / provoke? How can these concerns translate into a new medium? I went on to make an original wall-work, scaled to less than 60 x 60cm, as the criteria stated.
My application was successful and I dropped my work off. It the first time I’d made a piece for an open call. The exhibition was externally curated. The process of dropping off my work and hoping for the best was a new one for me but a positive one. It was difficult to give up control of my work. I know it will be something that will happen again. I find it a challenging, thought-provoking experience. It was valuable seeing how someone else understood and placed my work.
The problems I did have with the experience came when I saw my work within the exhibition. Bending my work to fit the opportunity felt like it had backfired. I didn’t see myself in the work once exhibited. The works concept felt lost. I felt my own work did not reflect my practice. As an early career artist, I felt anxious about how work I showed defined me and can affect potential future opportunities.
Lost in a sea of applications, I can reflect upon the work I made over January. Although arguably being one of the most productive months of making, the work I made felt lost and without a strong foundation. Making a work for something is not necessarily a negative thing. It gave a purpose I was so longing for. But it is integral to not lose sight of why you are making work in the first place. It sounds obvious, I know, but it was so easy to lose my sense practice when applying for several opportunities simultaneously.
Learning from this experience, I have let the criteria of an opportunity bend my work, where as I would suggest I should let my work bend the criteria.
I will still apply for opportunities that challenge my practice and push me out of my comfort zone. I’ll also remember to maintain the fundamental paradigms of my practice.
Since January, I have learnt I’m not going to like every exhibition I’m involved in. And also to be more selective when applying for opportunities. Such deadlines create a motivated, challenging and regulated work environment. It is ok, though, to let some pass me by to focus on what is integral to my works and practice.
This work has a