Tag: Books

Posted in Lectures 2024/2025, Reflection, Writing

The White Pube Lecture

Posted on by KM

This week, I attended a truly inspiring lecture by The White Pube, a collective I’ve admired for their influence in the art world, especially in championing new and emerging artists. Gabrielle de la Puente and Zarina Muhammad, who started their journey as students at Central Saint Martins, have since grown into influential voices in the contemporary art scene. Their candid and relatable approach resonates deeply, and it was fascinating to learn more about their evolution.

The collective has recently released a book titled Poor Artist, and I was intrigued by their process and approach to publishing. As someone planning to create a book for our upcoming exhibition in March 2025, their journey felt particularly relevant. Gabrielle and Zarina shared how they ventured into publishing without prior experience in creative writing or the publishing industry, relying instead on the foundation of their studio practice. This reminded me of Roy Claire Potter’s words about how creative work stems from lived experience, a sentiment that deeply connects with my own artistic practice.

A highlight for me was when Gabrielle reflected on a conversation with her tutor. She had asked, “How do I become an artist?” to which her tutor replied, “Don’t stop making art.” That phrase stayed with me—not just for its simplicity but for its broader implications. Making art isn’t confined to producing physical pieces; it extends to engaging with the art world in multiple ways: reading, writing, reflecting, and staying informed about what’s happening around us.

The lecture also highlighted how The White Pube began writing for themselves, creating a voice that spoke to two audiences at once: the critical, often inaccessible world of theory, and the everyday experience of artists. They carved out a niche by addressing what they felt was missing—a relatable, conversational space in art writing that didn’t conform to traditional academic or journalistic norms.

This approach inspires me to reflect on my own work and how I can make my practice and writing more accessible, honest, and personal. Gabrielle and Zarina’s story is a reminder that starting small, writing for yourself, and embracing your voice can lead to impactful outcomes.

As I think about the book we’ll be creating for our exhibition, their journey offers a template for how to take risks and embrace the unknown. It’s not about perfection but about authenticity and a willingness to keep going.

This lecture was not only insightful but also a reminder of the power of persistence and self-expression in art. I’m grateful for their honesty and look forward to delving into Poor Artist for more inspiration.

Posted in Research

Inspiring Text: Pedro Reyes on Social Sculpture

Posted on by KM

The interview between Pedro Reyes and Cara M. Jordan is a fascinating exploration of social sculpture and its potential for societal impact. Reyes presents a compelling perspective on social sculpture as a medium where human relationships become the material, transcending traditional artistic boundaries and incorporating tools from diverse fields such as theatre, therapy, and rituals.

Reyes’ reflection on Joseph Beuys as a foundational influence further enriches the discussion, particularly through his project Palas por Pistolas, which transforms weapons into tools for reforestation—a direct homage to Beuys’ 7,000 Oaks. This project exemplifies dynamic, living art that evolves over time, reflecting the transformative power of human collaboration. His appreciation for Beuys’ humour and dedication to socialism underscores an optimistic yet critical vision of art’s role in addressing complex social issues.

Reyes’ commitment to accessibility is especially notable, as he advocates for art that transcends traditional audiences and creates transformative experiences regardless of participants’ familiarity with the art world. Collaborative projects like Sanatorium and People’s United Nations (pUN) highlight his dedication to co-creation and role-play, fostering a sense of ownership and shared authorship among participants.

His belief in the transformative power of materials is equally inspiring. The act of turning rifles into flutes, for example, embodies his philosophy of relational objects—artifacts that catalyse social encounters and spark psychological shifts. This approach strongly resonates with my interest in social sculpture and the symbolic potential of everyday materials.

This interview has deeply influenced my practice, offering inspiration for integrating participatory frameworks, addressing sociopolitical themes, and ensuring inclusivity. Reyes’ approach aligns with my focus on creating art that bridges communication gaps and meaningfully engages audiences, providing valuable strategies to advance my work.

Posted in Motivations, Reflection, Writing

Artist or Writer?

Posted on by KM

Recently, I tuned into Artists That Write, a fascinating session hosted by We Are Axis, featuring Roy Claire Potter, Roo Dhissou, and Madinah Farhannah. Listening to them discuss their practices and read their work was both inspiring and thought-provoking. It’s always exciting to hear how other artists navigate the overlap between visual art and writing—a space I feel I occupy but have never fully claimed.

I’ve always loved writing, but I hesitate to call myself a “proper writer.” Writing feels more like another medium to me, something I play with and manipulate, much like clay or paint. I resist the constraints of inherited rules about “how” one should write, preferring instead to follow my intuition. As an artist, I’m not aiming for polished prose or perfect grammar; I’m exploring, experimenting, and communicating without borders.

Roy Claire Potter’s reflections particularly resonated with me. They spoke about being more interested in methods and how you make things rather than what you make, which aligns so closely with my own approach. Roy shared insights into a piece they created ten years ago, Mental Furniture, which involved a broken manual typewriter. I’m intrigued to read the book tied to that work and to delve deeper into their methods.

Another standout moment was when Roy talked about The Wastes—how they felt they contained a book within themselves, not one born of studying creative writing but one emerging directly from studio practice. This struck a chord with me. It affirmed the idea that writing, for some artists, is an extension of making rather than an entirely separate discipline.

Roy said something I’ll carry with me: “Text is a cultural thing. Films are text. Fashion is text. Images are text.” It reframed my understanding of writing and language, validating the idea that words are just one form of communication among many. As someone who constantly plays with meaning and form, this was a liberating thought.

For me, writing will always be a tool of exploration—an extension of my practice, unbound by conventions. I’m not a writer who writes like a writer. I’m an artist who writes like an artist.

Posted in Reflection, Visit, Writing

Finding Focus: The Wastes

Posted on by KM

Last week, I attended the book launch for The Wastes, a novella by Roy Claire Potter. Potter was joined by guest artists David Jacques, Roo Dhissou, and Harriet Morley at Dead Ink Books in Liverpool. It was a wonderful evening celebrating the work of an artist and writer whose practice profoundly influenced my own during my BA studies. I liked Roy Claire’s ability to weave humour and insight into their reflections on everyday working-class life. In The Wastes, this approach shines through as memories ripple across the narrative, creating a vivid and relatable journey for the reader.

Experiencing the book and the discussions around it gave me a renewed sense of direction for my MA in Fine Art. I’ve realised that writing and participatory art are central to my practice, and I want to explore these areas with greater intention. Roy Claire’s work reminded me how powerful text can be—not just as a medium for communication but as a way to build connections.

Moving forward, I’m determined to channel more energy into developing my writing alongside my participatory projects. This means refining my approach to storytelling and reflection while exploring ways to integrate these elements into interactive art-making. I want to experiment, learn by doing, and create a structured plan to support my growth in both areas.

Attending the book launch wasn’t just about celebrating a great piece of writing—it was a reminder of my purpose and aspirations. Writing and participatory art are more than tools in my practice; they are at the core of how I want to connect with others and create art that resonates.