As a developing artist, whether you’re a writer, composer, photographer, fine artist, textiles designer, graphic designer or illustrator, the act of sharing your work with others – in its various states of readiness – is a critical part of your development.
I was about to start a three-year academic commitment. In applying to be part of the Open College of the Arts 2014 cohort for Europe’s first distance part time Masters in Fine Art, I had signed up to deadlines and being a student again: a proper one (not the kind who says they are a ‘student of life’ and winks in an alarming way). I’d have an NUS card, discounts in Top Shop and more two-for-one pizzas than I could ever consume . What else would I learn? What had I to gain?
What is a comfort zone and who defines them? Well, we all do; they are defined by our lack of experience or familiarity with a subject. They can be as little as trying a new technique, to exploring an alternative research pathway, and it is the discomfort and uneasiness we feel undertaking a new task that reaffirms our zones.
Join OCA tutor Chris Lawry and saxophonist, composer and publisher Keri Degg on Saturday 29 July 2017 for a composition workshop at MAC Birmingham. The day will consist of advice and discussion on writing for saxophone and getting pieces published and will feature performances and feedback of student compositions.
Recently I was contemplating the distinction between origin and originality. I was reading Re-writing the Self by Mark Freeman at the time I was reviewing contemporary artist research for Major Project and how they influenced my own work. I was horrified. What I took to be my own work, the product of commitment to a process with no predetermined fixed point or predicted outcome, resulted in pieces that were strikingly similar to those out there in the world.