I was pleased to be invited along to one of the recent and regular crit group at Meter Room, Coventry, as the host of the second showing of Tainted Love and having got to know a few of the new studio holders during the show I was keen to go along and find out what the artists were working on as well as talk some more about Tainted Love and how it all came about, in particular the ACE & Coventry City Council funding that has been so critical in the realization and smooth running of the touring show.
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With a relaxed and friendly atmosphere and discussions lead by Dan Pryd-Jarman (Director of Meter Room) the afternoon was full of humour, ideas and insight into the work of recent Coventry University, School of Art graduates. I was grateful to be asked to be part of it.
While there I wanted to talk a bit about Tainted Love too, why it came to the Meter Room and my (first time) experiences of applying for funding. There were a couple of artists in the group currently applying for funding as well as a couple who have been successful applicants. I think I was keen to express how important a support network has been, as well as doing lots of research, asking lots of questions, even if they seem daft, having a very clear idea of the project and how to go about making it happen from transport, to specialist help such as designers, budgeting for services/fees and never being afraid to ask for help and advise, often.
One member of the group asked about using 'art speak' within a funding application, which is interesting because it seems to point towards a myth regarding these things. I found that it was important to be clear, thorough and logical but also allowed my and the other artists involved, enthusiasm for a project to show through. Looking back on the applications, I never felt that 'art speak' was used. Assuming that this means dense theory and very long words.
What I wanted to get across while chatting to the artists is that I wanted Tainted Love to get out to as wide an audience as possible (making this clear in the application) through visiting the show, online interaction, curator days, publications and that I had everything in place (as far as I possibly could) for that to happen at the time of application. Also that within a group show no one is alone and I have been continuously supported by all of the artists in lots of different ways. I was on a very steep learning curve having never put together anything of its sort before. I imagine that all of that sounds like simple common sense but I think that fears and worries can have a big impact. So my last words to the artists were go for it, you're never alone so seek out people who can offer advice and help at every stage.
Thanks to Dan Pryde-Jarman and all of the artists at Meter Room who have made Tainted Love feel welcome and their continuing support for the project.
Which brings me to this weekend when I am off to Down Stairs Gallery to install the show for the third and last time. Each install has been a very different experience I'm looking forward to finding out what this one will be like and a little sad that it will be the last install. (I am going to take some pictures and report back)
cs
While there I wanted to talk a bit about Tainted Love too, why it came to the Meter Room and my (first time) experiences of applying for funding. There were a couple of artists in the group currently applying for funding as well as a couple who have been successful applicants. I think I was keen to express how important a support network has been, as well as doing lots of research, asking lots of questions, even if they seem daft, having a very clear idea of the project and how to go about making it happen from transport, to specialist help such as designers, budgeting for services/fees and never being afraid to ask for help and advise, often.
One member of the group asked about using 'art speak' within a funding application, which is interesting because it seems to point towards a myth regarding these things. I found that it was important to be clear, thorough and logical but also allowed my and the other artists involved, enthusiasm for a project to show through. Looking back on the applications, I never felt that 'art speak' was used. Assuming that this means dense theory and very long words.
What I wanted to get across while chatting to the artists is that I wanted Tainted Love to get out to as wide an audience as possible (making this clear in the application) through visiting the show, online interaction, curator days, publications and that I had everything in place (as far as I possibly could) for that to happen at the time of application. Also that within a group show no one is alone and I have been continuously supported by all of the artists in lots of different ways. I was on a very steep learning curve having never put together anything of its sort before. I imagine that all of that sounds like simple common sense but I think that fears and worries can have a big impact. So my last words to the artists were go for it, you're never alone so seek out people who can offer advice and help at every stage.
Thanks to Dan Pryde-Jarman and all of the artists at Meter Room who have made Tainted Love feel welcome and their continuing support for the project.
Which brings me to this weekend when I am off to Down Stairs Gallery to install the show for the third and last time. Each install has been a very different experience I'm looking forward to finding out what this one will be like and a little sad that it will be the last install. (I am going to take some pictures and report back)
cs
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