I am not writing this when I should have, as soon as possible after the actual lecture. So I can only remember key points.
Notes from the lecture:
His lecture began in a similar way to how our presentations go, in that Tom was very honest, he said how he really felt about work, how he felt some wasn't successful and didn't hide his embarrassment at sharing it with us. It felt very down to earth and relatable. When I think of Jasmir and other artists we've had who present themselves as professionals, it was great to hear from someone we can understand more. It all reminds me of last years lecture when John broke down the myth of the 'Artist'.
During the lecture I felt Tom had anxiety and had difficulty in showing work. I spoke about this during a tutorial I had with him afterwards and he confirmed that he does have issues regarding confidence, using the word 'just' when talking about achievements and questioning the intelligence behind the work.
He has been catagorised as a research based Artist but I think that's a lazy way of talking about people. Context is important all the Artists I've spoken to have a huge awareness and/or critical opinion of culture, and refer to many past and contemporary artists.
He began to really feel like an artist and become involved more after being part of a group in London, sharing a space to hold parties/happenings and show work. I think this relates to the studio space. It's important to be in and to meet people. Art is a communication and this year I am negotiating that more than ever and trying to reconcile it with my need for privacy. I do think, that after uni is over I will try and get into a shared studio space. Even if it's total crap.
I felt that I saw a similarity between myself and Tom, which I brought up in the Q and A. We both begin thinking about one theme then we are constantly inspired and moving in different directions. I asked how he managed to actually be productive and create when he was constantly thinking of new ideas. He said that he finds deadlines useful. I felt that this influenced my decision to take part in the Bridewell show, I will try to apply for opportunities that arise. It reminded me of Chris Evans' talk, he takes part in things and he can sometimes only have a rough idea of what he'll create. I really would like this work ethic.
In the above image, Tom noticed these book covers and related them to the Instagram and Facebook status update template things. He told us about how the reason modern mobile phones are so vibrant -is to replicate gambling machines. The tones are designed to incite an addiction to the visuals.
I always feel, as we all do, that it's important not to read from a script unless you know the words intimately already. I don't remember it too well but I know that he mostly read fine then he'd read parts previously written and it ruined the flow of the presentation (imho) It's quite jarring when that happens. Recently I filmed some actors for a project I am working on and they ruined the lines with their poor knowledge of them and that destroyed the film. I am still working on whether the words are to blame.
I do remember finding it difficult to keep up with his ideas as he would talk quickly and jump onto another concept. I thought he spoke fast until we had Dana presented, it wasn't as difficult as that.
Tom liked to create an idea, which he did with what looked like staws, he coloured them like his Instagram odes and arranged them in front of a window. He was embarrassed by the unsuccessful work and how the background interfered with it. Recently we had a crit and I put a painting in a window and I was reminded by Tom's window straws so moved it against a white background. He then moved it about and experimented with it's framing. He moved onto denim and crafting rope from different materials. It is so important to play and do the shameful things, perhaps I was hasty in wanting a studio space that is so private.
I did ask him about this in the Q and A. But as I say, he imposes deadlines as well as responding to them. He also is a man who crafts and uses his hands, so he will always be able to produce a physical 'thing'.
I love how obsessive he is, I've had that feedback from a tutorial and I didn't care for it at the time. I later decided to run with it and I am now making work. I am not completely happy with my work as I find it to be derivative. I think it would be best to research then make something that has a light touch but also has weight, as it's been thoroughly researched. However, for the purpose of this course, I need to make work not sit about.
The marbles were the most successful work, in my opinion. I love the ideas, the geekiness involved in sourcing correct tones and the involvement with others. I would have loved to see the marbles that didn't make it. In the Q and A Tom told us some of the children made marbles that weren't round at all. Some were stretched out and thin, some the wrong shape.
Tom responds to spaces, he will find out where he is showing the work and make something that fits into that space perfectly. It bordered on intervention I thought.
I didn't like the neolithic tool stuff he made, I understand the research behind it though and I appreciate that side of it. He has remade the original mobile phone. There are so many things to talk about in relation to the work that I feel the way it has been shown isn't doing that justice.
He's one of the rare artists who talk about money, we appreciate that kind of thing. I am wanting to start painting with oils but I am frustrated that I still need to do buy so much more just to begin. I need pipettes, sicitive, liquim (I think) and actual turps- which I do not have and it's dear but a MUST before I even start 😭Maybe I am best to leave it a while.
The best thing about being someone who is crafty is that you can make things when you aren't in the studio, when you're sick or sad. Whether it ends up being great or rubbish doesn't really matter, in Toms caseit lead to greater projects that ended up involving other people. I am not totally understanding the concept of methodologies yet but I would put a Marxist viewpoint on Tom's work I think.
In the end, he read a long exert from this book. I liked the cover and it reminded me of my dream of the gumball headed man. Tom is right about tones almost trademarking things. Colour inhabits more than one sense.
My tutorial was MAGIC, I wish he taught at uni.
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