A Place Of Growth

I am one of the 6 studio artists that rents a space in the artists’ studios. I am a painter, mixed media work; sort of semi abstract work, but usually involving an element of the human form. What I want the viewer to find in my work is a sort of emotional response, and that is using colour and texture and maybe a loose theme exploring the human condition. I have a real interest in mental health and how people behave or experience differently depending what environment they are put. I also like doing small scale sculptural 3D work which is coming into play more and more.

I also work part-time as a visual arts tutor as for Crisis. So, in part of the building I wear one hat and in the other part I do my own practice. And I suppose my other involvement is that in the studio space the Artist in Residence has a studio next door to me, and I also sort of facilitate them in the Crisis part of their work, too. It is almost like enabling her to learn the skills to be an art tutor in this environment. And since I have been in the studios, I have taken a bit of a lead in organising the studio, in like Open Door, trying to get artists together to critique each other’s works.

I have been in Oxford for 7 years. I came to Oxford when I was pregnant. And I noticed this space was going to be renovated, so I kept an eye on it and an eye on it, and when it was up and running, I came and visited it and found out a lot about it, saw the job. So, I have really been keeping an eye on this building right from the start. And then I got the job with Crisis about four years ago, and I applied for and got a place in the studios for about a year, maybe more?

It has been completely liberating to have my own space, because painting at home with small children is not the same. So it has kind of reignited my… I suppose my enthusiasm for making my own work and thinking far more professionally about it again, having space to think more deeply about what my own work is about, starting to exhibit, starting to get commissions again. It feels like I am back in the art world, because I felt a little bit on the outskirts in far as my own practice goes

I came to Oxford and felt quite alone really, so getting the studio I feel like I have gone back 10 years - it has been amazing. It’s just been so liberating, to be away and have thinking space in such a lovely space, where it is warm, good light, most studios I have had were freezing cold… but also to be in a shared studio space is amazing. I think it helps you have that drive to keep making it work. If you are working on your own it can be quite a lonely experience. There is no feedback. No element of, what is the word - drive, or competitiveness. It helps you when you see other people exhibiting, getting commissions, you think - I want that, I want to keep making work. So competitive in a positive way. And being able to critique each other’s work, just have conversations about different art forms, different media, exchange ideas, or get different opinions, or where do I get a Perspex box made? It’s not all about making the art, it’s what you do with it, how do you present it etc. So if you have a room full of people with different experiences that’s a really sort of rich place to be.

So it has been life changing for me in Oxford, in the sense that I feel part of something. I have made friends, I feel like I am an artist again rather than an art tutor. I... it has brought me into the city, I suppose. Me being able to locate myself in the city.

And it has been liberating in the way that, if you are not making your own art work and you are looking after everyone else, a part of you sort of dies in a way… this is about what I think and what I see and what I want to express about the world.

I am in the lucky position that I see both sides of the building work, the privilege of working with Crisis and with members, and knowing their stories. And that affects my work as well, so I also find that a really interesting relationship. I have a big interest in mental health and how peoples’ psychological landscape pans out, or changes, or transforms, and I suppose that is a lot about how this building works.

Arts buildings can feel elite or for a certain type of person. And that’s why I like this building because it feels like it is for everyone, which especially in Oxford – so high brow! It drove me nuts when I came down from Scotland, all this about intellect, and academia. I don’t feel that! I like to feel there is a real mixture of people. Theatre and art galleries shouldn’t be just for posh people, but in Oxford I sometimes get that feeling. Some of the people I teach through Crisis, you see getting involved or exhibiting their work and that is a heart-warming experience - it feels fair, or something.

The idea of what this building is trying to do is political. It is bringing two sets of people together to work independently and collaboratively and that is a political statement I think. And any art work is political, or most of it is. I think in the sense that you are trying to reflect what is going on in the city, or the world, or make people to think about things in a certain way, a different way.

It is all different types of people involved here, volunteers, professionals, people on a big learning curve, people investing their trust as well in using this building. It is an interesting balance. It is it is amazing that you have dance studios, a theatre, art studio, professional studios. Now I come for Pilates here! You start getting more and more involved, discover oh that is happening.

I feel part of the building as well, that also creates lots of opportunities to meet other artists. For example, artists that have exhibitions in the space, at openings, you meet other artists, have lots of conversations. It is a hub, you know.

For example, working with Sarah and Becki, who work for The Old Fire Station, our cross over has been quite significant. We have worked together to exhibit work here, in the last show here with One Size Fits All, but also with members - we have had three exhibitions in the gallery space where we have been in partnership with the Ashmolean and with other artists. And then I have exhibited with Studio artists, too.

I think the reason it works is that it is well organised. It is super-complex, everything that goes on here. And for that to work, and the three organisations to work in parallel and intertwine themselves, I think there are lot of good people who work here, and good team work. Staff are open – everyone from receptionists, people in café, shop, everyone. And there is a dignity to what happens in this building, and integrity. I just think that is the kind of people who are attracted to working here. There is a common belief that something like this can work.

And people here can question things. You think it should be done like this, or I think it should be done like this, getting to the core reason of why something has or hasn’t worked. Not making it a bad thing, but a positive thing – learning. Not shutting the door on things. You are encouraged to say what you think, and that can only be a good thing.

It is a place of change, it is a place of growth, whether it is artistically, personally, economically.