A Few Seconds Of Bravery

Woodland Study IV - The Drawing I Have Submitted For The RA Summer Exhibition 2018

Every year I try and visit the Summer Exhibition at the Royal Academy in London. It's my favourite annual activity, one where I get to see a wide variety of contemporary art made by lesser known artists and Royal Academicians too. Drawings, prints and works in monochrome catch my attention first, I tend to gravitate towards smaller pieces. I pay special attention to my artistic heroes whose work is generally present; dainty monoprints by Tracey Emin, majestic monochromatic volcano inspired work by Emma Stibbon and swirling coastal landscapes by Norman Ackroyd. I scribble notes in pencil down the margins of the 'list of works' booklet each visitor is given, every time I see a work I enjoy particularly by an artist I don't know I doodle a little star to research later. 

While wandering around the galleries I can't help but covet a little space on the walls for my own. The idea of a tiny piece of my creativity occupying space in a gallery that has hundreds of years worth of history, where J.M.W Turner and John Constable themselves have exhibited fills me with a sense of joy. Every year I visit and every year I dream, however, I have never applied to be part of the exhibition, until now. Last Monday after just finishing a small drawing that I was pleased with and after much deliberation and internal dialogue I decided to submit. What has held me back in previous years? Well, a million voices in my head saying "submitting would be a waste of time, you'll never be selected" or "there are so many better artists out there, why on earth would they choose you". Those voices can be cruel, they can constantly tell you on repeat just why you aren't good enough and why you should not even bother. This year I decided not to listen, to at least not listen long enough to prepare my work for submission, take out my debit card to pay the fee and click the button. That was it, a few seconds of bravery was all that was needed. It was done. 

I decided to share that I'd submitted on social media. I did wonder if I was simply setting myself up for embarrassment. If I made a big fuss of submitting and then didn't get chosen I might look a fool. Or, I might encourage other artists in some self doubt to be brave and submit their work too. Telling people, in my view turned out to be the right thing to do, though it did give me nervous butterflies to do it. I tweeted my news during #HandmadeHour; a weekly twitter chat to a community that have become online friends and confidantes and the response I got was overwhelming. From well wishes to reassurance and most importantly artists telling me that they had been deliberating but were now going to have a go as well. It become my most engaged with tweet after over 5 years on the platform and encouraged me that by being brave I have given myself a chance and perhaps inspired others too. 

Submitting my work was a nervous ordeal and telling people about it was even more nerve-racking. In the week that has passed I've already forgotten about the £35 submission fee and how scary pressing 'submit' was. Now I can't believe I haven't had a go sooner. If my work isn't chosen then it's no big deal, I can try again another year. Of all the artists that were chosen last year for example, I wonder how many were accepted on their first try? Maybe they had been trying for years before being accepted. I found a quote in an article on the Royal Academy website which reassured me;

“I believe self belief and courage are very important aspects of realising your own work and taking it somewhere such as the Royal Academy. Never doubt yourself and take the risk to apply.”

— Emma Bass

So there it is, a moment of vulnerability that I hope will remind you to have a little bit of courage with your work. If you've made something that you're pleased with and have wanted to have a go at submitting to an open exhibition but self doubt has held you back then why not have a go? After all, you have to be in it to win it! Let me know in the comments if you've applied or if you are going to and wish me luck! 

Entry to the 2018 Royal Academy Summer Exhibition closes on 14th February, if you'd like to submit or read more then please click here.

If you enjoyed reading then please click the heart at the bottom, share or better still leave me a comment, I love reading them. ❤️

Artist Interview: Megan Fatharly

I'm a curious type; I like to know what informs an artist. Who or what do they look to for inspiration? How do they work? Each month I will be asking an artist I admire a few questions, first up is Megan Fatharly.

Artist Interview: Meg Fatharly

Megan, I've been following your work for some years now, one of the things that impresses me most is your willingness to experiment with different mediums in your art practice, would you say that experimentation is important to you?

Experimentation is fundamental within my practice. It's what keeps my creative energy engaged. I think there is a willingness but it is more of a need to experiment with different materials to really understand them and incorporate them into my visual language and practice if appropriate. When people ask how and why I experiment so much, it's only really then that I actually think about how it impacts my way of working. I have a curious mind and art helps me learn and see the world in my own way. In recent months I've been playing (dabbling) in ceramics and working with incorporating digital laser cut elements to my work. I think it's so important to not let the fear of something not working out stop you from experimenting. It's a constant dialogue between my way of making and the material I'm using.

Artist Interview: Meg Fatharly - Etching And Laser Cut Experiment

Artist Interview: Meg Fatharly - Etching And Laser Cut Experiment

What draws you to printmaking in particular?

I have always been interested in using materials in combination with each other to manipulate them and change how they are perceived. This means at times I can get so engrossed in working I become manic. I first found printmaking in my foundation and was introduced to it through my tutor at the time (John Howard) and the technicians who were very patient with my constant questions about the process. Printmaking is a methodical process with a clear step by step process and from that the maker or artist can manipulate it in their own way. Printmaking slows me down, it has enabled me to really learn and adapt the process to my own way of seeing and working. I get excited by the process everyday and will often spend many hours in the studio experimenting and just enjoying the process. The smells, the environment of a workshop is where I thrive because the process is physical and conversational. There is a certain element of control that I am able to change.

You are currently studying BA (hons) Drawing at Falmouth University, what is it about Cornwall that drew you to study there?

I was born and brought up in Edinburgh and North Berwick which is by the sea. I think ultimately this is why I stayed after doing my foundation year at Falmouth. I wasn't going to originally. I was destined for LCA to do Surface and Textile Design. Falmouth is a small town dominated by students but has a creative scene. The pace of life here has done me wonders as someone who is always doing. I think a place like London would really take it out of me as I would clash with the faster way of life.

I'm an avid outdoor walker and sea swimmer and being by the sea means I can do this all year round. While Falmouth is where I live and study, I find it difficult to be somewhere so small because of how it's changed in the last 4 years. I love places like Lizard as I have wonderful memories of walking and drawing with my dad.
 

Artist Interview: Meg Fatharly - Detail Of An Etching 

What artists (living or dead) inspire you?

Ian Hodgson - his output and consistency is genuine but each piece has so many emotive qualities.

Kayleigh Harris - a fellow BA drawing student whose interests and practice is similar to mine. On our course it can be sometimes difficult to justify our more ambiguous and process led work. She was always there to talk to in times of doubt (and still is). Her work and fascination with line is so exciting.

Rosanna Martin - who is a ceramicist and rock appreciator. For the last 5 months I've been working and learning basic ceramic and clay skills from her. Her ability to create tactile and colourful works makes me excited to continue playing with the material. She's given me a new space to explore a new process.

Joseph Beuys, will always be an artist who changed how I saw things. I first saw his work in Berlin and was struck at his narrative with material. I'm itching to get back to Berlin soon. The architecture and lines of the city really inspire me.

Instagram is a great creative space for finding and talking to new creatives.

Tell me about your studio or creative space.

My studio consists of stuff piled up in an organised chaos. I am a messy person and this is reflected in how I see things and am quite sporadic as a person. I often work very quickly so make a lot of work which I make to fulfil anxious energy but it often gets lost amongst the jungle of paper stacks. I need to get better at looking back at work I've made in the past and reflecting on how certain elements could be moved forward.

My desk is probably more of a dumping ground for work and I need to utilise it better. I don't like working at a desk, the floor or standing in the print room seems to do me fine.

Artist Interview: Meg Fatharly - Detail Of A Drawing

Artist Interview: Meg Fatharly - Detail Of A Drawing

You travel a lot, sometimes it seems like you're always aboard a train on your way somewhere, is travel important to you in life or your art practice?

It's so important. I love to explore new places and get so stimulated by the outside world. On trains I've formed projects where I leave art for people to find and engage with which has changed the nature of how my work is communicated. It's more intimate and interesting. I also make and leave sketchbooks to encourage drawing and mark making. I use Instagram to document my art and travels and it's given me a community I can explore not just on my own.

Also, I'm a fidget so always being on the go feeds my energy.

What aspirations do you have for the future?

I don't know to be honest. I'm hoping that my degree show work is picked up or appreciated by people who will allow me to continue my creative journey. I'm terrified about graduating and losing facilities like the print room which is a second home to me. I think come the degree show it will be about adapting and embracing opportunities and people who see something in me.

Finally, where can people follow your work? 

@meganfatharly on Instagram
@megasinegg on Twitter
@Behave.Collective on Instagram

Up coming exhibitions: degree shows @ Falmouth from May 19th 2018.

Thank you to Megan for being my very first interviewee, I think we can all wish Megan the best of luck in her upcoming degree show and future as an artist. If you would like to support Megan and her practice then give her a follow on social media and start a conversation with her. It really does make a huge difference knowing that there are people out there rooting for you, especially when you are a recent graduate. 

If you'd like to take part in my artist interviews series then please do get in touch at claireleanneleach@gmail.com. 

If you enjoyed reading then please click the heart at the bottom, share or better still leave me a comment, I love reading them. ❤️

I’m An Artist

What Makes Someone An Artist? 

“I’m an artist.”

It took me a really long time to own that sentence. I'm nearly 30, I have a BA degree and an MA degree both in Fine Art and yet I still cringed when people asked what I did; 'I work as a temp in an office, oh and I make drawings'. I thought that if I said 'I'm an artist' then they'd have an assumption about me, maybe that I was a bit pretentious or snobby or that I was pretending to be better than I am. This frame of mind may have something to do with my working class background. On my maternal side my nanny is a school caretaker, my grandad is a retired scaffolder turned chicken farmer. On my paternal side, my grandfather was a dairy farmer and my grandmother who died a decade before I was born was a homemaker as far as I know. My aunties and uncles are lorry drivers, cleaners, warehouse workers and grass cutters for the council. My mum works as a packer and my dad as a mechanic and workshop manager. All are jobs that are vital and keep the world ticking over but don’t involve an element of creativity.  Put bluntly, as far as I know no-one in my family is or was artistic. I have no idea where my appreciation of art comes from; I had no one teaching me how to draw when I was younger, no one took me to an art exhibition or encouraged me to follow an artistic path. In my family and in many others; art is not a necessity, it’s a past time, a hobby and being an artist is not useful. 

When I was little I went through the usual phases of wanting to be a variety of different things when I grew up. I wanted to be a teacher so I could write on the white board whenever I wanted, I liked the idea of being a vet because I loved animals so much, my dad was in the army and I was outdoorsy so I wanted to be a soldier at one time too. When I reached the end of school I decided to take A-Levels including ceramics and photography, not for any career prospects but because I hadn't studied them before and they sounded fun. Whilst studying my A-Levels I went to New York City as part of an art college trip and fell head over heels in love with everything I saw that was art related. The galleries in Chelsea, the artefacts and abstract expressionist paintings in The Metropolitan Museum of Art and especially seeing Monet's Water Lily triptych in the MoMA. Hypnotised by the colours and scale of the painting I was entranced and suddenly knew that I wanted art to always be part of my life. After my A-Levels I did a year-long foundation degree at another local college where painting became my favoured medium of expression. Having relished the idea that with fine art you have free-reign to 'do whatever' I decided to do a BA in Fine Art. I wasn't the brightest in the group, nor the most talented. I didn't really know how to get the best grades either, I just experimented. I splattered paint and used charcoal, I focussed my efforts on the human form and then landscapes. I left university with a passion for drawing.

After a period of time working in non art related roles and travelling I returned to university to study an MA in Fine Art. I saved hard so that I could work on my art uninterrupted for a whole year with no uninspiring temp job getting in the way of my practice. My MA degree was an awakening, led by a tutor who believed that life will always trump art, I felt out of my depth intellectually but enjoyed being surrounded by difference. The course was made up of mostly Chinese students, with two Indian girls and a boy from Thailand who came to be my best friend on the course. I'd been to China and Thailand and I felt a sense of companionship with the international students. Artists visited and spoke to us; I realised that artists are just regular people who perhaps see the world in a different way and aren't afraid to put their way of seeing and thinking out into the world. My assumption that artists had to be a certain way was smashed. I'd thought that you had to be working on your art 24/7 to be a real artist or that you had to exhibit several times a year, or that by being an artist you were a serious sort of person. As time has gone on I've realised that all artists feel self doubt or anxiety at some stage or another about their work, all artists are human. I left the MA with more exhibiting experience and a little more confidence in myself. That was in 2014 and still despite the new qualification I was still a nervous artist, shrugging off my practice when anyone asked about it like it was no big deal. I didn't want to be made fun of, even though in reality my art was everything to me. I saved up and travelled again, for longer this time and had even more time to think about what art meant to me and what I wanted to do. I had to write my occupation on custom forms and I started writing 'artist'. It was the first time that I properly embraced it. I make drawings, I show people those drawings by posting them on social media and by exhibiting when I can even if it's not often. I think about my work all the time, every day. When I look up at a cloudy sky I see the work of Turner in my mind, when I write in my neat and precise way I think of Tracey Emin and how her handwriting in its scratchy and messy manner is so at odds with mine. 

I don't think that my BA or MA degrees in Fine Art are what gives me the right to call myself an artist, they are just qualifications I'm lucky to have because I was privileged enough to choose what I wanted to do at university. Don’t get me wrong, I’m proud to have studied Fine Art for four years but you don’t need a qualification to be an artist. I call myself an artist because it is what’s in my heart, I identify with it. I see the world in an interesting way sometimes and I have a fierce passion for it. Art is everywhere. A paint splash on a wall can sing to me much more than an exhibition of Damien Hirst sculptures. I can't name you all the artists of the renaissance but I have studied the surface of a Cy Twombly painting until my eyes went fuzzy. My work doesn't sell out as soon as it hits my online shop but the process of creating the work gives me enough satisfaction and happiness without the association of money. So, what I'm trying to say in another 'classic Claire' rambling piece of writing is this; calling yourself an artist is your prerogative. It is not up to someone else to define you. If you like to draw then perhaps you are an artist. If you write poetry, dribble paint on canvas, create music or study the details of the human form in weekly life drawing classes then perhaps you are an artist. 

If art in any form speaks to you and you yourself create then perhaps you are an artist. If you think you are then own the phrase, tell people proudly when they ask and don't let other peoples preconceptions about what an artist is or does limit you and your thinking. Only recently have I learned to embrace the title ‘artist’ and feel brave enough to say ‘I’m an artist’ when asked what I do, it’s an uplifting feeling to acknowledge it, I only hope my bravery stays around and that my confidence only ever grows. 

So, what do you think? I was nervous writing this one, because I feel completely unqualified to tell people what it means to be an artist, it is different to a lot of people. But, this piece of writing is here to explain my story and how I came to embrace the title and I want you to feel confident embracing it too if it speaks to you. Let me know in the comments below if you call yourself an artist and if you've always felt comfortable doing so, perhaps you're someone who thinks like an artist but isn't brave enough to own the title yet, thats ok, I'd like to hear from you.

If you enjoyed reading then please click the heart at the bottom, share or better still leave me a comment, I love reading them. ❤️