Most artists love to be seen. By other artists, curators, critics and anyone who shines adoration on them generally, a sort of narcissistic existence. As if the world needs more images, objects, expressions of culture and society, reflections of ourselves, expressions of wealth and hedonism, of consumerism and idols. This unquenchable thirst for existence justfied through recognition or celebrity status and artwork as a way to get there. Get an artist to admit that and they're probably called Jeff Koons.
A friend of mine has a rare medical condition: she doesn't recognise peoples faces automatically, so whenever I see her I would give her a longer greeting than is normal - this gives her time to register the sound of my voice and my accent and 'place' me, so she can compose herself, rather than suffer the discomfort of not recognising someone.
Here's the point: how do we know, or recognise each other? Personally, my face can stay out of it, but when someone sees my work - sees me - what I'm about, what I'm trying to say - well, that's rare, a joy to the soul. I received this comment from John, who visited the Dovecote in early July:
Hi Madelaine
I get the birdboxes! I did spot the flake and cherry one earlier! So birdboxes made of food as a medium to express sexuality amongst other things.... Love the way you push the boundaries but incorporate so much humour in your work. I like working with metaphors - gets the creative juices flowing.
....
If you are in [another area], do let me know.
Yours
John
For this person to 'see' me, is brilliant! Unsolicited, part of a conversation. That's rare. The 'what my work is about' conversations - interested and engaged onlookers, the explanations, the 'ooh' moment - that is great, but those who just 'geddit', that's something else.
I'm sure there are those who wonder why I use food. The artwork has to be thrown away at the end of the day, and the covetousness (and I am too) to keep artworks is certainly there, but the sentiment, statement, viewpoint, the communication and connection will never have an expiry date. This, to me, is to be really seen, to be recognised, and for me that's what it's all about.
Many thanks, John.
A friend of mine has a rare medical condition: she doesn't recognise peoples faces automatically, so whenever I see her I would give her a longer greeting than is normal - this gives her time to register the sound of my voice and my accent and 'place' me, so she can compose herself, rather than suffer the discomfort of not recognising someone.
Here's the point: how do we know, or recognise each other? Personally, my face can stay out of it, but when someone sees my work - sees me - what I'm about, what I'm trying to say - well, that's rare, a joy to the soul. I received this comment from John, who visited the Dovecote in early July:
Hi Madelaine
I get the birdboxes! I did spot the flake and cherry one earlier! So birdboxes made of food as a medium to express sexuality amongst other things.... Love the way you push the boundaries but incorporate so much humour in your work. I like working with metaphors - gets the creative juices flowing.
....
If you are in [another area], do let me know.
Yours
John
For this person to 'see' me, is brilliant! Unsolicited, part of a conversation. That's rare. The 'what my work is about' conversations - interested and engaged onlookers, the explanations, the 'ooh' moment - that is great, but those who just 'geddit', that's something else.
I'm sure there are those who wonder why I use food. The artwork has to be thrown away at the end of the day, and the covetousness (and I am too) to keep artworks is certainly there, but the sentiment, statement, viewpoint, the communication and connection will never have an expiry date. This, to me, is to be really seen, to be recognised, and for me that's what it's all about.
Many thanks, John.
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