Monday, October 03, 2016

Robert Carter

We've been in continuous exchange of mail art, letters and digital.
Robert have been putting images from our exchange on the blog.

Negotiating friendship and trust in collaboration. I am on the wait for his new address while he is moving to be an artist in residency in Rotterdam, finishing his job as a frame-maker in Manchester.
Starting to be an art frame-maker as a curator?

Having an address to post things to means so much. Something I craved for since I was 17 when left Russia. Something that intervened with my mail art distribution, and something that started from my mail art distribution.

Receiving envelopes, pieces of card and stamped collages.
Being dramatic, bad at handwriting and accepting Robert Carter's invention of Dear T.

Robert is also a fictional character in SE14 Punchlines, an artist and a curator, friend of Robin. Someone who gets to float nearby, when both are depressed and potentially sinking.

Cardboard fireplaces/ HMP Grendon

I love these pieces presented at Koestler Trust exhibition in the Royal Festival Hall. 'Life-like' fireplaces and contrast of those with cold institutional environment of a prison. This makes me think of how Holding Cell project I've done with Houserules, cardboard child-scaled police station holding cell was a reverse, maybe now slightly ironic but creepy reverse of this utopian gesture by Dean from HMP Grendon.
Every year I attend Kosetlet Trust exhibition and find myself inspired and impressed by work of educators holding art rooms, and inmates who work in those rooms. It gives me a sense of optimism, maybe fake unnecessary optimism about the state of the soceity and how it's structured, politics of punishment and having such place as prison. It makes me jealous of those incarcerated: punishment of time, all time at hands. As of society we live in, something we don't have is time. It's all taken by the reproduction of capital, our existence: rent and bread. Nowadays all my time all goes into running my Ceramics Studio Co-op, writing story of a Robin and working with Robert Carter on our mail art exchange. Secretarial work at Co-operatives London, and recent election as a director take a lot of commitment also, but this work is necessary and important move in direction of change of attitude towards co-operatives.
I find myself being inspired by political involvement of Courbet and Pottier at the times of Paris Commune, and it keeps me away from panicking about lack of distribution of my own work, as this experience contributes to what my work has to become. Nuances and complications of governance and organising. Fields of pre-figurative politics on one side, and business world on the other. Socialist movement that takes place in most advanced capitalist hub, and being seen as communal business. This builds into my practice as artist, and this waits for analysis to explain how exactly. In December this year I hope to have my work, SE14 Punchlines published in the Archipelago, MA Art and Politics, Goldsmiths publication. Embarrassment over wiring in the language I have accepted as my own, and writing my story, a sketch of New Cross, it's streets mapped by a body of a young queer character and co-operator.
'If you don't turn your life into a story, you just become a part of someone else's story' - Terry Pratchett.