25 Aug - 26 Sept 2019
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| View from the pod |
One of the images that intrigued me in the announcement about the new additional location for the Trélex Residency in Nyon – 6 km from the original home-based residency in the village of Trélex was the sleeping pod. Up to 6 artists were to live and work in a shared space just minutes away from the Nyon railroad station, 25 km from Geneva. Having been in several differently styled artist residencies, following which I always felt a boost of energy in my work through the new challenges, I was eager to come to the shores of Lake Geneva since I have always wanted to be near water. I see that is a theme in my work, which is mostly landscape painting in oils, and figure drawing in charcoal. I thought that I would continue my attempts to combine figure and landscape, thought also about ambitions to be a little “wilder” in my work and less “serious,” (?stiff? worried about criticism? Of course I am utterly serious about my work – it’s NOT a “hobby”), to try to bring in more imagination and less literal-mindedness, to rediscover the joy of coloring as a young girl.
There seemed to be a pattern that developed whenever I traveled to a new and entirely different location to make new work. There is a period of exploration before arrival, mental expectations of some sort, an opening up to be able to take in the new experiences and people to come, some research-based exploration of the area – always making sure to be open to surprises – “settling in” and working, being open to inspiration from others, from the site, and from art that can be seen in the area. Then comes the physical exploration of the area, the wandering around, the information gathering from locals. The phase of returning home is during, after and before new work: the long process of the images filtering down in the memory, through photographs (my “aide-mémoire”), on-site drawings, photographs by others – very different from my personal photos. This sounds obvious but I didn’t really see what I was seeing – my “obsessions” – until today, my last full day, when I reviewed my photos for myself and for another artist who just arrived and wanted to have a talk before I leave.
Meeting other artists from different countries with different practices was extremely exciting and enriching, if these words are not too clichéd. I have numerous recommendations about interesting artists to look up and see their work, information about newsletters, a sharing of information and views. An excellent addition is the presence of local artists who know the best places for everything and can tell us more about what life in Switzerland is “really” like, tips, favorites, where to get stuff, and of course show their art.
What ensued was indeed (as Nina wrote, “practical help and critical dialogue, exchange and collaboration”) cooperation, feedback, discussion, cooking together--- all of which resulted in assistance in things technical in a good spirit, and a new way of looking at my practice. Because of the shared space and prohibition on materials with strong odors (no oils or turps), and my avoidance of acrylics for the moment, I happily went back to gouache, black/white/gray, and continued my practice of visible “handwriting” in works on paper. What I gained from the residency was a new confirmation of working on paper without feeling I had to “justify” it. The feedback I received from younger artists strengthened my resolve to be more confident in what I do and to realize the power in doing what I do.
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The first few days: Walking around, pencil on grey scale paper, 21x30cm
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I decided to go with the flow, walk around, and photograph as much as possible whatever caught my eye, to stop and draw whatever caught my eye.
WINDING down, CLOSING up. Thinking about the past nearly five weeks. Serendipity. People I was “supposed to meet” (that’s why we are all here at the same time.) Curiosity. Dialogue. Sharing. Cooperation between artists. Collaboration between a working couple. Inspiration. Walking around. PLAYING as the main GIFT of the residency. (Thanks, @Nina Rodin-Artist!). Thoughts arise as I overpaint the traces of the previous artist who left “traces” bringing up thoughts of erased De Kooning drawing by Rauschenberg. Meeting the next artist – an overlap of 10 minutes - enough to share that we were both in Greenland – who knew??? And for me to repeat the “lesson” learned from this residency – that the sketch IS the “finished work.” Confirmed by my very intense visit to the Kunsthaus in Zurich yesterday, a big effort, not organized very efficiently, but so very happy that I did go and saw WORKS ON PAPER which helped imprint the experience of self-acceptance of my own practice as sketch and process.
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Playing: Mountains, ticket collage in sketchbook, gouache, pencil, detail of 13.5x20cm
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My initial curiosity was not disappointed: I had imagined myself living in the pod, “falling” out of bed and working (AFTER COFFEE!!!) in a divided large spacious floor with other artists. I found a space of incredible light and sense of air in the Trelex Esp’asse Residency Nyon. The cozy sleeping/reading units allowed each of us to live in the art space, arise, make coffee, sit, think, and work. Switzerland has such a beautiful network of “pedestrian tourism” along the pathways which led me to explore. I finally found my themes, what I call my obsessions, which I found that I photographed repeatedly almost without remembering that the scene caught my eye already: the vineyards and the little airfield (memories of Dad). The time to play in the space allowed me to work bigger (inspired by the flats and the other artists and the exhibitions I saw and the encouragement) and to work more from memory and emotions. I think that by doing “other stuff” in gouache and watercolor, lots of drawing, mixing mediums, making collages of all sorts of “stuff,” ending up being not so “heavy.”
The quiet and the lake of Nyon was one component of my stay; the proximity to other cities in Switzerland and convenient location of the railroad station and system was the other. The most important component, however, is the dynamics between all the other artists from different countries and cultures and the sharing of information. Although I have been in other artist residencies, this was the most intense in terms of living in a shared space. I have worked in a communal situation but never made art in such a total living experience. I expect the peaceful green of the country will filter down into my work when I arrive home and resume work. I let some of the silly play out in this piece of my reactions to Nyon: It encapsulates my fascination with distorted selfies, the lake, chocolate, architecture, coffee, footpaths, and the greens, as well as all the “accidents” – drips, spills, juxtapositions of weird encounters.
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Silly stuff and obsessions: Swiss memories, watercolour, gouache, pencil on paper, 40x75cm. Photo on terrazzo tile floor, each tile 15cm, good for measuring. Memories include coffee, chocolate, rooftops, sailboats, pumpkin...I reminded myself that Klee travelled only with watercolour and that he was born in Switzerland.
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Everything an artist needs:
Platform, space, light, air, internet, other artists (and a kitchenette, fridge, washer & dryer) (Thanks to Nina and the resident artists “in our conversation”: Kire, Raha, Sara A, Laetitia, Lindsay, Cool and to Cairi, Sara C, and Rita).
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| In the studio: photo by Sara Ashrafi |
With the art world so competitive, the Nyon space is a haven of mutual respect and a calm workspace.
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| Detail of work in progress: to be continued at home |
Images (c) Judith Appleton 2019
