I had a long and hard think about my material of choice and wrote the following:
The act of working with wire, a material deeply tied to industrial and colonial histories, becomes a powerful metaphor in my practice. On a personal level, the wire’s repetitive weaving and shaping serve as a channel for processing grief and loss, offering moments of care and reflection amidst vulnerability. The material’s inherent rigidity contrasts with the tenderness of her intention, underscoring the tension between pain and healing. As my work progressed, I learned more about the process that happens within me whilst making. I wondered about the things I feel and how, by making them, they are expressed. I would like to explore this more.
Historically used as a tool for control and division—fences, enclosures, barriers—wire carries a legacy that reflects societal struggles, including displacement, systemic inequities, and historical trauma. Yet, my work transformed into a medium of care, connection, and resilience. The nest, with its intricate forms and transparent layers, embody the ongoing effort to build spaces of safety and belonging in the face of adversity.
and:
My work doesn’t shy away from acknowledging the challenges of our time, including the mental health crises and social disconnection that are profoundly relevant today. Losing my son to depression—became a thread that runs through my practice. The wire embodies both the weight of this loss and the ongoing struggle to weave something meaningful out of it.
This personal reclamation intertwines with the material’s historical narrative, creating a layered conversation. By reclaiming wire as a material of creation rather than containment, I invite viewers to reconsider how we approach the physical and metaphorical structures that define our lives.
I was also inspired reading about a recent speech made by our country’s president where he referred to the sociable weaver birds and their ability to work alongside and create one huge nest, which he compared with building a nation through the new government of national unity. After recent elections, the ruling party had to form coalitions and more learning is needed to look at the benefit of the group compared to one party only looking at their strength and opportunities.
I also think there is an opportunity to explore the use of sound in my work. I did not have the means to explore this as I would have liked to to during my exhibition – technological and financial constraints which I can now explore.
Start connecting with the ‘art world’ in a profound way
I have arranged two meetings with local curators. The first meeting was productive as she put me in contact with the second curator. I share the feedback below:
Dear Karen
Thank you once again for the kind invitation to visit your farm and learn more about your project. I truly enjoyed exploring Hotel Kalahari and will definitely share your mail with Tamlin Blake.
You did a great job of exploring how personal grief, care, and resilience come together through the metaphor of wire nests and how they served as a cathartic process and a way to work through your loss. You’re a very brave woman, as I cannot begin to imagine what is it like to lose a child.
All the very best!
The meeting with the second curator was planned for Monday, 25/11/2024, at 14H00 at the farm in the exhibition space. This meeting focussed on the body of work I presented at Hotel Kalahari. Her advice is that I should, for now, consider keeping the work as a grouping and selling and pricing it as such. I was reminded that this work is my future marketing material, it can be re-used in another exbhition. I can continue to make work from here, which could go to the market. She is keen to join my planned artist residency in September 2025. We talked about my drawings and developing more as part of new work and possible ways to look at pricing strategies. I learned that I should be careful to price, as one easily undersells one’s work.
I use Instagram and Facebook as social media platforms to share my work and ideas as an art student/artist. I rarely share personal info or images of myself. I find that there is something I could explore in terms of the opportunity to put work out, and have possible feedback – or at least know people see it and if there is a market out there. If the work were in a gallery, I would not know if people cared to look at it. It would say the need I experience would be to have conversations around the work – is that possible on social media? I feel this is something I can explore more. I recently listened to a podcast which talked about how artists can find ways to connect with audiences on social media. The main reason for using social media is to research and communicate. In terms of it being a communication tool, one can share and give context to your work, almost like a gallery. Here, one can include a portfolio and create a marketplace. It is this ability to make the tool your own which is essential.
We also discussed the importance of taking ownership of the development of my practice from this time forward. My studies have almost ended; I can create space to play more freely. I will be working less goal-orientated as I should permit myself to play within the structure of the course. The other is that for the last few years, I have learnt to become accustomed to guidance and constructive feedback from tutors – it was in the forefront of my mind when working and sharing work. Yes, I had to internalise that learning, reflect on what resonated deeply and use those insights as a guide to move forward.To summarize, I think it is essential to consider building a peer network, learning to trust my voice, and balancing self-criticism with external input. I must think hard about how such a peer network should look: fellow artists, local? I prefer informal critique and support in such exchange situations. I believe it will bring a fresh perspective.
I am considering using online exhibitions and will partake in open calls.
I recently joined a-n.co.uk and hope to gain experience, develop my practice, expand my network and have opportunities to connect with other artists and audiences. I have found interesting articles as well as podcasts to listen to. A recent podcast focused on using social media to promote yourself/work.
After reading about how artists battle to submit proposals for open calls, I think I can support my practice by setting up an online gallery space on the side.
It seems a-n.co.uk can be a space to learn and find connections. On their website they state the following: “We are the artists’ advocate. Guided by our members and advised by our Artists Council, we campaign on crucial issues, from fair pay to intellectual property, ensuring that artists’ voices are heard and shaping policy at the highest level. Open to every artist, our inclusive, open-minded community connects members to the services and opportunities they need to thrive, empowering them to make change for the better. We are outspoken champions of the value of artists to society because we believe artists see things differently, offering much-needed perspectives that connect us, enrich our lives and create wonder for the world.“
I read the following on the site and felt at home: “The opportunity shouldn’t be totally prescriptive, there should be loads of room to work accordingly to your own practice and your own needs.” Emily Speed
In their resources area, I found valuable material to consider regarding goals and outcomes and how to focus on my priorities. I do like the following in terms of negotiation and to know what you want to achieve:
“Things you must achieve
Things you intend to achieve
Things you’d like to achieve”
I am thinking about my recent reflections around the commodification of art and its intersection with audience and intention. The sale of Comedian by Maurizio Cattelan (the banana duct-taped to a wall) served as a provocative case study for me on my social media in terms of how art intersects with money, spectacle, and meaning. I must consider aligning with audiences who value art’s potential to inspire rather than its market value. This could involve what I use as an educational tool and reach audiences through workshops or talks that demystify art-making and its purposes. I am not sure I feel comfortable as a speaker, but I would take it to social media and write about this. I hope I can have conversations about this. I want to participate in art exhibitions that prioritise social and ecological themes and engage in community-based art initiatives where one fosters dialogue and connection.
Reaching out to local artists and people who care about nature/ecology
This is a crucial bridge to climb. I had invited local artists to my exhibition and this was a good space to connect and work on these connections. At least three of the local artists are interested in collaborations, which we will discuss as options to get to know each other’s work and find connections.
Doing a local residency
Below are two videos of artists doing a residency at Tankwa , which interest me mostly.