I have sent out a newsletter to subscribers, having merged my audiences from Flow Contemporary Arts with CarolynBlackArt.

It really has been a weird, and exciting, year for me. Not despite Covid19, but possibly because of it. Below is my ‘annual report’ on activity, and some links to where you can see my work. If you enjoy reading this, do subscribe to receive future newsletters (very occasional – rarely more than 4 a year, unless i have great opportunities to share with you – or brilliant exhibitions to see!).

This is a year in review and will go some way to explain why I plan to merge Flow Contemporary Arts with my personal art practice. Times are a-changing.

In February last year I ordered 100 more copies of my book, Severnside: An Artist’s View of the Severn. I did so because the first 100 had gone and I wanted to put some in bookshops. Which pretty promptly closed.
 
An art project in the public realm I was involved with was eagerly awaiting decisions on grant applications, so we could deliver a brilliant event across the Forest in empty phone booths. You can see information about the research stage here. Now ground to a halt and put on the shelf until brighter days.
 
Other Producer work in the public realm has been slowed down, time has been stretched like a rubber band. But not snapped, which is fantastic.
 
In my studio, my practice has developed more than I could have imagined. After finishing the large panoramic drawings for the book, I began to consider returning to earlier media – such as printmaking and film. Lockdown provided an opportunity to embrace that.  I made my video “When You Call I Shall Come” (855 views on Youtube) during the spring tides 2020. Having had a longing to deliver a public art event at the river involving a Swedish kulning song, making the film sparked off the possibility of using such a song as the soundtrack. After all, with no surfers, few bankside viewers, this was my first, and likely only ever, opportunity to film the high Severn Bore without human presence – no surfers, no watchers, no hang-gliders. This was not only a time for the tide to turn, it was also a turning point for me. Swedish singer Eva Rune and others  gave me permission to use their beautiful voices, providing a haunting soundtrack to a very special moment in time.
 
Eva and I have been collaborating ever since – expect some new films in the near future.
 
I submitted it for the EarthPhoto2020 exhibition, and it was selected from over 2.6k applications worldwide. My film can only be seen in their online exhibition. I then went on to make other films and submit them to other opportunities. “Bev D “ is the most recent, which is causing quite a stir (forgive the pun – she is a dredger). Andrew Heath worked on this one too.
 
“As Above So Below”, with a soundtrack by composer Andrew Heath, was selected for Trinity Buoy Wharf Drawing Prize 2020. They managed to open in Marlborough and Dundee, and now at AUB in Bournemouth, but sadly the London show, and awards event, could not be held.
 
When You Call I Shall Come is also in the RWA Open 2020 – finally opening its doors this weekend – the 17th of April 2021. They also have two photogravure prints of mine for sale on their website – and on my own too. Thanks to an Arts Council England Grant for professional development I am relearning printmaking (I have a post-graduate diploma in printmaking but not done any for years.) You must book a slot – but it is worth it – to see a wide range of fantastic work.
 
It feels to me that the arts have had a really rough time of the Covid19 rules. As lockdown lifts priorities are for shopping and sport – I cannot comprehend why it is ok for people to hang out sweating and exhaling vigorously in a gym, or drinking and eating, but cannot sit quietly at 2metres plus away from others and enjoy drawing in a small group, with windows open.
 
Personally, I have found drawing a wonderful way to immerse myself in place and am actively involved with various online groups. Not all virtual some involve walking as well as talking! I am currently putting together a programme to share this passion by running Looking Classes (drawing workshops). Find out more here.
 
In a nutshell – where to see the work made during the past year:

RWA Bristol 17th April until 9th May 2021

AUB Bournemouth Trinity Buoy Wharf Prize 17th May – 2nd June 2021

EarthPhoto2020 online – it may be opened in venues, please check their website
 
Fingers crossed we can move forward embracing the learning we have done during the pandemic. Social and economic inequalities have been brought to the forefront, as has environmental awareness. Many have spent more time in nature and, for some, being unable to see loved one’s has been horrendous, but it has expanded my world via online interactions. Many have found solace in creative activities and their importance must be reflected in wider society.

I celebrate the gain of my return to practice, I hope others have been as lucky as me.
Be well, stay safe.

I’m writing this post as an arts professional who has an opinion, with experience of supporting and delivering arts events in empty buildings. Artist-led groups thrived in the late 1990’s and early 2000’s, when artists began to initiate their own gallery opportunities, due to the huge number graduating from an overstretched university system. The YBA (young British artists) or the Britpack, was one of the first. That was in the days when artists needed spaces, and councils had empty ones that needed filling. The rest is history.

Below, I make the case for revisiting creative occupation of empty shops and rethinking the High Street.

Listening to the news today and hearing economists saying (yet again) that we must ‘save our high street stores’, and more or less blaming the pandemic and online businesses for the closure of shops, is depressing. For a start, our high streets have been declining for years. Yes, online shopping has taken the trade by supplying products more cheaply and delivers them to your door. Why is that a problem, isn’t it something that makes people’s lives easier? 

The only reason we must keep some retail shops is so we can buy local, good products, to reduce the need for  importing so many things. That way we keep the carbon footprint down. Shops run by independents, keeping the economy local. The government could invest in  farming and creative companies that work in an environmental way. Ones that support recycling, plastic free and fossil few industries. The recent government report, by Dasgupta, flags all this up. So the government can no longer pretend it’s not an issue – they commissioned the report. 

We need to reconsider a new economy that isn’t just about financial profit.

The biggest problem with the success of home deliveries is not that high street stores are closing, but that all those extra fossil-fuel vehicles delivering are damaging the environment. That could be addressed using electric vehicles, which the government could make a legal requirement. Where jobs are lost in the retail industry they could, surely, be employed in the environmental recovery industry, which must be our priority

For centuries new innovations have changed the way society operates and products are distributed. The printing press saw off town cryers; washing machines replaced dolly stirrers; tumble dryers mangles; tractors horses. The list is endless. Big chainstore shops are no longer needed because they make more profit selling online. Arcadia has collapsed, Debenhams and many others are closing. So what could replace them?

Years ago I read a book written by Louis Gerstner who turned IBM around. In a nutshell, IBM was the world leader in mainframe computers but desktops were arriving which could be used in homes. The closed-shop management team and Board would not acknowledge that they too should take on desktops or would cease to be needed. Part of the problem was appalling internal communications, but the biggest failure was not seeing that however hard you dig your heels in for the sake of the good old days, when a better, more useful and universal product comes along, it will inevitably, eventually, replace the old system.

I appreciate not everyone has technology, or the internet, even now. That is another outcome of social inequality. But if we stop trying to keep fixing broken things, like shops, (especially chain stores that don’t even contribute to local economies) open, and focus on enabling people to shop safely and well online, wouldn’t that be wiser? Don’t forget that libraries were opened to give access to books for all, even those that couldn’t afford them. Or pay for education. We still want, and need libraries now, but maybe for different things? It is interesting too that funding of libraries is no longer a government responsibility, but an Arts Council England one. Clearly our government no longer values our literacy and perceives it as a creative pursuit, not a necessity. Is there a case to argue here that creativity IS a necessity to our wellbeing as well as something that meets the human inclination to be social animals?

There was a time when people worried that cinemas would close down, when TV, video and DVD brought film into our homes. But they didn’t, they came back bigger and better with multiplexes. And to counter-balance that, small film clubs opened up in villages and towns. The film industry is still thriving and also includes small producers and creatives. Cheap access to digital cameras and phone cameras has opened up even more creative opportunities. All of these developments have contributed to social activities. People love to share experiences together, which is one of the greatest sadnesses for many during lockdown.

Mass production of cheap clothes, imported and sold at low prices end up in landfill, which has resulted in a genuine desire to buy quality, natural, handmade artisan products. And to mend them not bin them. The fashion industry are now looking at their own responsibilities in this system too. Fast fashion contributes to pollution, fast food no longer satisfies people.

No longer supporting chain stores means cutting out the middle men/women. Which risks removing power from those who only care about profits and have little respect for social need or environmental duty of care. 

Surely this is a good thing?

So now, to my point, how does this relate to the arts? After all that is my specialism, it is why you read my blog posts. Here is why:

• When things progress and there is a sense of loss of things left behind, it is artists that often find ways to find new audiences or the lost social aspects – e.g. film – the big Hollywood films are still happening BUT artists and those who love 35mm are also thriving and keeping things accessible and social.
• There became a concern that ebooks would destroy book shops – but many people went back to buying books, missing the tactile quality of paper books. And people like to share paper books. People still love going to book launches, the personal touch. Book Clubs thrive online and off. Artist books are very popular, as is bookbinding by hand.

There are many more examples, but essentially, what I am saying is that ART and ARTISTS enliven places and spaces. They are social and accessible. Anyone can join in. 

Since the pandemic began there have been losses and gains for the arts. It is horrendous for those whose practice depends on having large audiences, such as theatres and festivals. But for some audiences, this resulted in a gain. Suddenly, the big city-based event providers started providing access to audiences who had previously been able to see their performances. Those who live beyond the cities in rural areas. Those who can’t afford expensive tickets to attend the London theatres.

Art and craft materials are selling like hotcakes.Online art classes well attended. Artists who walk are thriving too – indeed many nature activities have been accessed by people confined to local areas. It is nigh on impossible to buy a dog these days, unless you have thousands of £’s. 

Everyone is appreciating the countryside more, David Attenorough is the new god, rural areas are packed with more visitors with shiny new camper vans with their puppies. 

So chain stores come and go, high streets have gone temporarily quiet. Those who have just discovered online shopping may well not return. What to do with all those empty shops?

How about artisan shops? Artist studios? Small event spaces? Local makers who run workshops too? Shoe repairers who also teach you how to do it (but they will always do it better!)? Book exchanges, with comfy sofas and serving good coffee and homemade cakes? Community spaces? Convert the big chain stores into a hive of artisan makers, where they make and sell too? Wool and fabric shops? Blacksmiths? Potteries? Artist supplies? Florists? 

The list could go on.

But in the meantime, until we are able to do this, let’s make sure that local authorities and central government stop pushing for reopening high street chains.  

They are the past, we are the future. 

We need to reinvent not resuscitate.

There is a lot of evidence that blue therapy is a powerful thing during tumultuous times. I’m no sailor, but thinking about the USA at the moment, the waves look choppy indeed. In parallel, here on this small island, the comparative still of lockdown has washed over us. It is a time for much reflection but hard to move to the next step, future planning.

As always, I am immersing myself in making art. It is my way of finding a level. Most of the footage I’m using has been gathered in recent weeks. We have been in the pandemic so long now I remember very little about the optimism of pre-pandemic. The projects planned were almost tangible, only to be knocked out of the picture completely. Those that don’t involve audiences (for now) can keep moving forward.

When I was doing large drawings of the river I left large areas of white in them. Those voids were to leave space for the viewer to dream in. Strange that now, only a few months later, a different void has been presented to everyone – a time:space gap. It leaves many of us lost and at sea. I hope my films offer gentle spaces that provide a constant sense of support to you, as much as they do to me.

Here are three newish films:

Between https://vimeo.com/475429289
Wave, song, swan https://vimeo.com/475099054
The seen and the unseenhttps://vimeo.com/475821629

As most readers know by now, my work often involves addressing you – the viewer or reader. I have a history of making films that do that, often very layered and complex in the background thinking, they present themselves gently as an enquiry, a reflection, a self-examination. They are, one might say, a little existential. This is not an accident.

When I film and immerse myself in what I view through the lens, I have to connect in that moment, at that place. I can’t believe this is a one-way process. All filming is preceded by planning, writing, and careful consideration of what the final film *might* relate to. It is also prey to my mood, the river’s behaviour and what else is going on in the world.

The river is unpredictable, but possesses specific traits that I have learned to notice. I am also self-aware enough to know that there are certain aspects I habitually zone in on, as my gaze flits from surface to shoreline, highly active waves to subtle revelations of line, or floating objects.

The action of filming is directed by prior thinking.

The next phase occurs in my studio, on my computer. I need to reconnect with what I was searching for when I filmed, understand what the river saying to me, and consider my role as the editor. It is at this point I begin to connect past with present and future. Filmed in the past, edited in the now, presented in the future.

And the now of 2020 is an unusual now. Unprecedented, as we keep being told. The first films I made during the pandemic were about being alone with the river. And the actions related to that experience – of writing, drawing, photographing, filming and editing. Essentially, it was about me, in this place, in this time. As Above So Below not only depicted me sitting under a tree drawing, it also had a voice overlaid which responded to the editing process – switch, description etc.

The work I have just uploaded to Vimeo continues that theme, the nowness of the editing process. And you, the future viewer/reader are also present, because I am explaining my thinking to you. I’m not physically visible, but a bit of me lingers in there. Because it refers to my sitting in a chair, watching a screen, whilst also being distracted by the sounds outdoors. As if sitting at the screen is anathema to me. I just want to go out. And I do. I could take the perspective of the meditation instructions – allow the distraction to float in and disappear again. But I chose to embrace them, and bring them into the work. Because they are evidence of how one’s mind travels from one thing to another.

Like the conflicting tides which push in and out, my mind has tides too. Like the Severn, I’m doing my best to make these opposing streams be reciprocal, to draw from each other and feed each other too.

It’s a bit like creating a digital Open Studio event!

Watch the film here.

I’m delighted to say two of my covid19 period films are being shown in three significant exhibitions. I hope you can get to see them.