May Studio shots

This month has seen the studio finally become settled, after much work we’ve finally got the space as we want it and I’ve been making up for lost time by getting lots of new things off the ground. Since moving in Alan and I have built walls, taken down another (finding windows and a dead pigeon in the process!) made a kitchen, found a sofa, painted floors & walls, built shelves and storage and capped it off by celebrating with a busy studio warming party.

Below are a few shots of the various things I’ve been up to -

Varnished prints on canvas drying, awaiting paint applied on top

Enlarged details of print on canvas drying

Tester for new series of diptychs. Resin & Print on canvas + Biro on polyester. 2 canvas @ 35 x 25 cm

Hell and High Water I – X (25.5 x 20.5 cm, Oil on canvas, 2012

Collectible – Zeitgeist Art Projects 18 – 28th April

I have a couple of new paintings in this exhibition which also features a whole heap of artists doing interesting things right now. My contributions are part of what will now be known as the ‘Hell and High Water’ series, an expanded body of work continuing the format of my 2011′s piece Irene (below). The images of Hell and High Water come from what were initially my photographic outtakes from Thames walk, structures which I discovered at high tide when the water level obscured the majority of its form. When sorting through these images I realized the abstraction caused by the tide changed the previously functional structures into odd legless stumps, seemingly no longer rooted to the bank but floating just proud of the surface.

Irene (Hell and High Water), 2011, Oil on canvas,
25.5 x 20.5 cm

A high-profile inaugural exhibition of 67 promising, mid-career and established International Zeitgeist artists from across all disciplines; including painting, drawing, photography, sculpture and print from £50-£500. These artists in an act of generosity and accessibility have made their works available for affordable prices so that art collectors old and new are able to invest in some of the most promising and established collectible artists whom normally usually sell upwards of £500.

Curated by Rosalind Davis & Annabel Tilley

Zeitgeist Project Space
ASC Bond House
Goodwood Road
New Cross
London
SE14 6BL

Guy Allott, Iain Andrews, Edwina Ashton, Paul Benjamins, George Bolster, Kate Bowen, Andrew Bracey, Tom Butler, Ben Coode-Adams, Emma Cousin, Graham Crowley, Rosalind Davis, David Dipre, Sarah Douglas, Freya Douglas Morris, Annabel Dover, Charlie Dutton, Karl England, Alyson Helyer, Andrew Hewish, Jack Hutchinson, Peter Jones, Nick Kaplony, David Kefford, Sharon Leahy-Clark, Simon Leahy-Clark, Cathy Lomax, Wayne Lucas, Fiona MacDonald, EJ Major, Amy McKenny, Nadege Meriau, Marion Michell, Clare Mitten, Amy Moffat, Kate Murdoch, Elizabeth Murton, Michaela Nettell, Charlotte Norwood, Wieland Payer, Alex Pearl, Edd Pearman, Gaia Persico, Kate Pickering, Chantelle Purcell, Giulia Ricci, Mark Scott-Wood, Alli Sharma, Gordon Shrigley, Lisa Snook, Emily Speed, Corinna Spencer, Melanie Stidolph, Boa Swindler, Freddie Robins, Annabel Tilley, Virginia Verran, Jenny Wiener, Rich White, Andy Wicks, Rachel Wilberforce, Chiara Williams, Sarah Williams, Jonny Williamson, Jo Wilmot, James Wright, Peter Wylie.

New Studio – Deborah House, Space Studios

Keen observers may notice I wrote a similar post back in December (Back to the Studio) when I took on a sublet following months of studio wilderness. But this time its different. Rewind back to the final days of the Florence Trust residency where myself and a number of the artists sat down with plans for a shared space and a continuation of the energy that we’d created during that year. We had some false starts along the way, seeing spaces with real potential which for one reason or another fell through (some at the 11th hour).

Having spent a year in each of my 2 studios previous studios, followed by 4 months in the recent sublet I’d had enough of moving around or using the temporary nature as an excuse for not having the correct set up. I guess for me this idea of the perfect studio could mirror someones desire to make a good home; having all your belongings around you and spaces which appeal to varying sides of ones personality, or in terms of a studio, space to work in multiple disciplines. The luxury of space at the Florence Trust (doubling on my previously studio square footage) was one that I wasn’t prepared to give up. I want to invest in my studio, for it to be big enough that my work isn’t compromised and that I can grow into it over time and not feel the need to upgrade when a big project comes along. I recently brought Sanctuary – Britains Artists and their Studios, a huge book interviewing 100+ artists in their studios, i’m interested in how different set ups work for different types of practitioner and have been making mental notes of things that could work well in the new studio.

I’ll be sharing the studio with Alan Magee who I was at the Florence Trust with. A multi disciplinary artist who I recall introduced himself by saying he does everything but paint. And now that this painter is dabbling with sculpture, photography and printmaking its going to be an exciting to watch things develop.

Alan Magee - I think I can Sculpture; Clothes drying racks & ratchet strap, 2011

The new studio is run by Space England’s largest provider of studios with a community of around 700 studio artists. Alan and I will be sharing 550sq foot of studio with plenty of natural light from skylights and window it offers flexibility, storage and space for work to live before being unleashed. It needs a lick of paint on the walls and floor as well as bit of storage built which will keep us busy for the coming weeks as we slowly move bits over.

New Studio

New Studio

On the note of developments its probably a good opportunity to mention one of the first major projects I will be working on in the studio. I’m going to be making a site specific sculpture as part of WW Gallery’s Patio Projects, a temporary public art commission which sees a sculptural work installed at the front of their space on a residential East London street. The piece is going to be 3 metres high and constructed from found wood, ideally driftwood with which I will be using to make a sculptural realization of one of my painted river mooring construction (or should that be a recreation of the original structures?). I’ve wanted to work with wood for some time and am excited to seeing how this will turn out and gauging reaction.

Mock up of Sculpture (looking out across Hackney Downs Park)

Studio Update March 2012

Andy Wicks – Interview January 2012

Here’s a recent interview I did for Claudio Parentela’s blog, you can see more interviews here www.elvisinh.blogspot.com

Well, first of all please tell us a little about yourself.

I was born on the southern edge of London, a world of commuters and slightly wider streets. I spend most of my time in east London these days where I have my studio practice and do a bit of technician work.

How would you describe your work?

I’m interested in the city and the role it plays in our lives. I enjoy walking paths and looking for things that others may miss, subtle oddities in the environment that take my imagination. My current body of work has taken River Thames mooring structures (dolphins) as an motif for a forgotten past, one of the remaining elements of the River’s (and the city’s) shipping heritage. Still rooted to the mudbanks but gently rotting away with the movement of the tide. There’s a form of romantic longing and storytelling held within these structures for me. The paintings I’ve make as a result walk a line between the heavy ugly brutality of their construction (rotting and rusting colours) and a simplistic beauty in their form.

Did somebody encourage you to become an artist?

I wouldn’t say one person did as such, but growing up I enjoyed playing with art materials. I would always be painting and drawing on family holidays even from a young age. While at school it became apparent that the only subject I really cared about was the art lesson so I just took each opportunity to study further until I got to the stage that I couldn’t imagine doing anything else.

What is your favorite medium?

I work mainly with oil paint and use resins to create a flat layered surface to work on to. I enjoy the constant discovery of the medium, the way it can be manipulated to perform in numerous ways on the same canvas.

Generally speaking, where do your ideas come from?

The world around me informs my ideas, often from walking somewhere with my camera and having an appreciation for the undervalued.

How long does it take to complete a piece?

With long drying times especially using resin I usually have a few canvases on the go at once. They can take anything from a couple of weeks to few months. I don’t tend to come back to unfinished pieces, if they aren’t working for me I move on to something that has more potential.

Who are your favorite artists…and who are some artists you are currently looking/listening to?

My tastes are split down the middle between ‘clean’ abstraction (Tobias Lehner, Thomas Scheibitz) and a more out their ‘messy’ approach (Albert Oehlen, Anselm Kiefer). I guess I should also say I’m particular into German artist if that wasn’t already apparent… I’m also into the work of Gert & Uwe Tobias who are known for producing large woodcuts but their output also includes sculpture, collage, drawing all tided together through interest exhibition design.

Are you represented by a gallery? Do you have any upcoming exhibits?

I’m not represented but try to be proactive when it comes to exhibiting opportunities. I had a painting in the London Art Fair recently and have two group shows coming up in April/May, both are the debut exhibitions for new project spaces in South London; Collectible at Zeitgeist Project Space in New Cross and Past and Present at Occupy my Time in Deptford. I’m also looking forward to making my first sculpture which will be on display at WW Gallery’s Patio Projects in July, which is part of a public art commission series.

Do you have any ‘studio rituals’? As in, do you listen to certain types of music while working? What helps to get you in the mood for working?

I prefer to get into the studio early and ease into the day by looking at what I’ve been working on, I also need to get in early as I know I can procrastinate with my ritual of catching up on the news so I try to build that into my day. I usually have music playing while working but don’t feel that I need a particular sound to get me in the mood for work, if I’m in the mood I’ll get stuff done, the music just keeps me going.

What is your favorite a) taste, b) sound, c) sight, d) smell, and e) tactile sensation?

A hard question to answer.. a/ taste is best when when unexpected flavours work together but I like spicy things b/ the sound of the sea, seagulls & a gentle wind blowing c/ an uninterrupted landscape of rolling hills and openness d/ burning coals (or the non romantic answer – hot tarmac & petrol) e/ cold soft powdery snow.

Do you have goals that you are trying to reach as an artist, what is your ‘drive’? What would you like to accomplish in your ‘profession’?

I push myself to be better, to enjoy the journey and grow with each opportunity. I am very driven and like most artists I never really switch off, but at that level of involvement with your own practice and the surround artworld you have to love it to keep the level of energy up.

When have you started using the internet and what role does this form of communication play for you, personally, for your art, and for your business?

I suppose I am part of first home computer generation (a child of the 80s) . I was an early starter with websites and actually brought my domain name in my mid teens while at school to show my developing art activities. I now rely on the web to communicate what i’m up to and have found Twitter to be a great tool for networking, I also blog regularly and use Mail Chimp for exhibition mailing list. I find using a mix of social media and websites keeps me connected and up to date with goings on and helps get my work to new audiences (such as being asked to take part in online interviews!).

What do you obsess over?

Career, life/work balance, quality of work produced etc. Its all to easy for an artist to get obsessed by everything but generally I try to keep a balanced head and get on with it.

Do you have prefered working hours? Do you pay attention to the time of the day or maybe specific lighting?

I recently did a year long residency at the Florence Trust (a charitable artist studio program in a Grade 1 listed church in North London), while there I worked full days up to 7 days a week. An amazing experience but not possible for a sustained existence living in an expensive city. I’m a freelance art technician so now have a mix of odd days off in the week, evenings and weekends. I prefer an early start and have full days but realise I have to make do whenever I have the opportunity.

Do you do commissioned works?

I’ve done a few bits for friends and family but even those I found stressful and incongruous with my usual way of working.

Any tips for emerging artists?

A visiting tutor said to me on my foundation that the only reason why he didn’t get further with his art is he didn’t have the energy for it. At the time I was worried I didn’t have the drive and determination to make a go of it but I knew I enjoyed making work. Over time I saw people around me get opportunities and have some form of success, as a young artist a group of peers is an invaluable thing, a great motivator and education in the workings of the system. Don’t expect too much too soon but love what you do and observe others. Don’t wait for opportunities but create them – organise shows, studio groups, meet people and engage.

Your contacts

www.andywicks.co.uk
www.twitter.com/andywickspaints

Florence Trust 2012 Winter Open

Its been 6 months since I finished my residency at the Florence Trust and this Friday sees the first opportunity for this years artists to show their work to the masses. I’ve met a number of FT 2012 artists and can’t wait to go back to see the place and catch up with artists old and new. If you’ve not been I highly recommend a visit to this stunning building in a leafy part of north London. I recently met this years Florence Trust Axis Bursary artist Hanae Utamura at the London Art fair where she described how she’s used her studio as a large evolving installation rendered in layers of paint and plastic. While Ben Woodeson will no doubt be challenging health and safety regs in a new and nerve inducing way. Not to be missed.

London Art Fair 2012

I’m going to be showing with Rise Art in the Art Projects section (stand P29) of the London Art Fair. My 2009 painting Fred will feature alongside a selection of original works and prints by Avigail Talmor, Ting-Ting Cheng, Chris Shaw Hughes and Edd Pearman.

The Art Projects section features many other project spaces and galleries include Edel Assanti (who hosted Superunknown in 2010) and Hannah Barry while Limoncello and Serpentine will both be showing a selection of their print editions.

The fair runs from 18th – 22nd January at The Business Design Centre, Islington.

Fred 122 x 121 cm Oil on Canvas 2009

Londonist Article

The Londonist have written a small article on my work as part of their London artists series, which looks at artists who take the city as inspiration. You can see the article here

Back to the studio

After a self imposed studio exile since leaving the Florence Trust in the summer I was delighted to collect the keys for my new studio over the weekend. In that time I’ve viewed, written, read, installed and even brought art, everything but make it. The break was much needed at first, after an intense year in the studio I wanted time away and also needed to get my head down and earn some money. But the last couple of months have really made me aware of what I’ve been missing. The times when I wasn’t working, when I would have usually been in the studio felt wasted and with December being notoriously quiet work wise I jumped at the chance to get going again.

In my blog entry summarizing my year at the Florence Trust I mentioned plans for a shared studio with a couple of fellow FT artists. Those plans are still very much in the works so I see the current studio as a stop gap for a couple of months until we get the green light to move in. There will be much more information on this in the new year but in the meantime it feels great to finally have a space where I can go and try things out. I spent Saturday afternoon moving a few bits of equipment over and messed around with some block prints I made at home during my exile. At the time they didn’t feel as though they were going in the right direction, but having a space to view them in and work into them was perhaps all I needed?

With a work in a couple of exhibitions at the moment and a few shows lined up for early 2012 it feels like good timing to get making again. Watch this space..

December – Upcoming exhibitions

I have work in a couple of exhibitions opening in the next week. If you’re in the area make sure you take a look.