Disability Arts Online – Sarah Munro reflects on her career so far and OutsiderXchanges making a lasting impact on her vision for supporting disabled artists

“They were able to overtly challenge elitism within the art world. There was a real sense of making visible the constraints of the art world that exist for everybody, not just for disabled artists. There was also a strong sense of comradery and that they were working as a group to create a collective practice”

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“It’s not like we have done OutsiderXchanges, now this is the next thing. It’s more about, how do we stop it from being something that sits on the edge of the organisation and instead becomes a discourse across the core.”

Sarah Munro, Director of BALTIC Centre For Contemporary Art reflects on the legacy of OutsiderXchangeS and how it has influenced her vision for nurturing and showcasing disabled artists in the future.

Read the entire article via Disability Arts Online –http://bit.ly/2DAOSMOX

Castlefield GalleryRosanne RobertsonSophie Megan Lee, Matt Girling, Simon Raven, BALTIC 39, Tanya Raabe-Webber, Juliet Davis, The Whitworth, Amanda Sutton, Arts Council England.

 

Article: OutsiderXchanges Overview by Sara Jaspen at Corridor8

Sara Jaspen, Corridor8, reviewed OutsiderXchanges take over at The Whitworth Thursday Lates event on the 3rd of November. Read her article here:

http://www.corridor8.co.uk/online/article-outsiderxchanges-overview/

 

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Matt on Collaboration

We sat down with Matt Girling to ask him about his thoughts and experiences on the OutsiderXchangeS project. Exploring how it may have changed his work and how he  collaborates.

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How did you approach collaboration within the project and what difficulties did you discover, how did you overcome them and also what successes have you discovered in collaboration? 

 I started out in a way that, looking back on it now, seemed naïve. Even before we came to the first studio session I had big bundle of ideas that seemed to me, likely to result in interesting and exciting collaborations. Most of these ideas involved me inviting other artist to participate in what I was doing; I had the door to my art practice open and beckoned people in to try it out. On the whole, this approach fell pretty flat. Other artists were interested but understandably were more interested in getting on with there own work. At that early stage I wasn’t comfortable attempting to influence what anybody else was working on. It felt rude to break somebodies’ busy concentration and try and make a difference to artwork that in most cases doesn’t need to be changed at all.

So I decided to do the same and just get on with my own practice. Just doing the what I would have been doing regardless of the context of the residency. I was mainly drawing. I sit next to Lesley in the studio, He also draws a lot too, and generally with the same kind of equipment to me; he’s the only person I know with a bigger trail of dried out black fine liners in their wake than me. Working so closely in parallel with another artist with a similar process to mine has defiantly affected the way I make drawings in two ways, I have become more interested in making drawings that tell stories. I have adopted a more dogmatic determination to keep going without becoming distracted. The way Leslie is able to concentrate has made me pull my socks up and really get on with it.

After that initial handful of sessions collaborations started to form organically; small at first, using an action figure belonging to Leslie for a bit of animation or giving Barry an alternative kind of paper to do his writing on. Ever since I have just let stuff happen without planning ahead, often working with different artists from week to week. More recently I have been working a lot with David, we have been making some experimental animations using green screen, (or “the ghost town effect” a term coined by David because he had seen it used in the music video by the specials.) we still don’t really know what it is we are doing but we are both just enjoying process for the time being. Looking forward towards the end of the residency I plan to amass all the small chunks of collaborative video work made and into a kind of visual soup. But that might change.

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Will the way you work in collaboration change now moving forward – was there a particular way you approached collaboration before? How has the OutsiderXchangeS project changed your art work? 

I haven’t collaborated on many art projects in the past so I can’t be sure. I’m fairly sure it has in some way affected the way I will work both collaboratively and on my own in the future.

How has it been working with artists who have a learning disability? Is there a difference? If so what is that? 

The difference in the way any two people perceive the world is massive, with the learning disabled artist working on Outsiderxchanges that difference in perception is multiplied wildly. This has made the whole experience insightful, confusing, hilarious in equal measures.

 If there was one thing you felt proud the most about the OutsiderXchangeS project what is that?  – this could be a piece of work, a collaboration, the environment…

 I wouldn’t say I have felt proud for any one piece of work but I was very happy with the reaction the project received at the open studio we held in May. I think people were able to see that this project is about mutual growth, which is important. I am looking forward to pulling all the loose ends together to make something that I am proud of in the coming months.

Juliet on Collaboration

We sat down with Juliet Davis to ask her about her thoughts and experiences on the OutsiderXchangeS project. Exploring how it may have changed her work and how she collaborates.

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How did you approach collaboration within the project and what difficulties did you discover, how did you overcome them and also what successes have you discovered in collaboration?

Collaboration, whatever the level, is a very important part of my work; I rarely do art projects on my own. I don’t really have a studio based practice so that was a first “challenge” for me, finding ways to make my thought processes and experiments visible in the space and intriguing enough for people to get interested in them.

I spent most of the first few sessions wandering around the space, chatting to people, looking at what they were doing… but not really creating work at my desk. I noticed that most of the Venture Arts artists were really focused on their work, getting on with it from start to finish, Barry even eating his lunch at his desk!

I wasn’t sure how to approach them as usually I will collaborate with people with specific projects in mind, everybody’s role and position in the group being quite clear, this time there wasn’t necessarily a clear entry point for the discussion and I was pressuring myself about having to create work with absolutely everybody.

I think the collaboration with Sophie and Horace started quite naturally, Sophie and I had a chat outside of the studio space, and then visiting Horace’s school with Martin really helped bounding us. After that Horace was always really up for trying new things we would propose, always bouncing off his own work. The ‘unproductive’ time spent with Horace looking for people or places on our laptops also really helped getting used to his sensibility!

So I think I’ve learned to value the time spent together in a studio setting without a specific outcome in mind (which I hadn’t really had since finishing my master 2 years ago).

I will usually do lots of research and thinking before acting (but not necessarily change things several times), this time because of the long duration of the residency, I really had time to build up ideas, then realise what parts actually interested me, repeat this several times, but also try things out without really thinking about it much before doing it (like the ‘if you could invite anybody in the world to our party, who would that be?’ question which in less than 10 led me to start building life-size cardboard models of people’s favourite guests.

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Will the way you work in collaboration change now moving forward – was there a particular way you approached collaboration before?

I used to collaborate with people I either knew very well and/or whose work I knew well, people who’d been to art school too and had very similar interests and references to mine, but often from different perspectives (sound, drawing, graphic design, film making, dance…). And as my work has a site specific/contextual approach to the environment, we would always have a very clear outcome/setting (an exhibition space, a certain event…). This time it was with people who have a very different approach to art than I do (and also people who had similar art education as me), and we were not sure about the form of the final showing.

It’s made me realise the importance of just trying things out before setting ideas and giving time for relations and ideas to evolve.

I realised that there were lots of ways to ‘collaborate’. I think I was quite weary of ‘using’ Venture Arts artists’ practices to create something that wouldn’t be meaningful to them, but by leaving things open ended and not feeing rushed some exchanges happened (even if it was just a discussion, giving someone a hand… and not necessarily creating a work together with absolutely similar involvements).

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How has the OutsiderXchangeS project changed your artwork?

My work is usually immaterial or takes the form of performances. This time, because all the other Venture Arts artist create works with visual physical outcomes, it helped me think of my work as installations, actions to be documented in video, etc.

But all the participants have a very ‘performative’ element in their art making, for example Barry whose writings are almost like performance writings; it’s helped me think of ‘performativity’ in a more open way. The discussions we had about celebrities, actors and TV shows has really made me think about ‘reality’ and ‘fiction’, when do both start and end… how important they are to us.

As an artist and person, I think I’ve become more patient and comfortable about speaking to people I don’t know. I feel like I have more attention and understanding for people I come across in public spaces. Disturbing/highlighting social behaviours and conventions was already very important in my work but it’s like these six months have really help put my beliefs into practice, so I hope this evolution will transpire through my future works and ways of working.

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How has it been working with artists who have a learning disability? Is there a difference? If so what is that?

They have very different artistic or cultural references to me (having been to art school, so being quite knowledgeable of art history and always ‘aware’ of it when I work, and also being foreign – so knowing little to nothing about British TV series or movies.). This meant that when we were interacting I couldn’t focus on the things I usually focus on.

I think there are common elements in the reasons why we do art and why we enjoy it, but also great differences, due to the fact we experience the world in very different but also very similar ways. We share really strong feelings in common (for example our admiration for a movie or a character) but they will take different places in our lives.

It really made me more aware of the direct impact that engaging with art / creating art can have on people’s wellbeing, why it’s important for people like Horace or Sarah or Leslie to do art, and how I can contribute to that.

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If there was one thing you felt proud the most about the OutsiderXchangeS project what is that? – This could be a piece of work, a collaboration, the environment…

I was really amazed by how the geography of the studio evolved throughout the months, at first we were all in our own corners and Matt’s decision to invest the centre of the space felt like a really bold statement, now everything is much more fluid and we feel comfortable working next to someone / don’t feel like we’re being intrusive. I feel like we’ve all created a really welcoming atmosphere in the group and that James, Martin, Glen and Tanya’s presence and advices throughout the months have really helped make everyone feel comfortable.

Then there are those little pearls that happened, which were not exactly ‘art making’ but really bonding moments: that day Leslie hugged Sophie to say goodbye, that day Sarah got really interested in the book I’d brought for Leslie weeks before (which didn’t really interest him) and we spend over 30min reading it, the day Horace took us to see his old school and wait for a freight train – and the level of excitement when a train did actually go past! I feel like these were moments when we forgot about our differences or what was expected from us and just enjoyed that sharing of joy.

Horace Reflections

We sat with Horace Lindzey, one of our OutsiderXchangeS artists to find out a little bit more about his work and his experiences on the OutsiderXchangeS project.

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Horace what have you been working on during the project?

“I’ve been working on a big book which shows a lot of things I’m interested in also the different types of people that interest me. One of the main things I’ve been making art around is my old school, a school called Cambrian school.

In my book I’ve brought together a collage of new and old pictures of different schools, but also showing different people’s schools as well. For example I’ve got pictures of Tanya’s school and my mum’s school which was Webster School near Denmark Road.

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Horace a lot of your work seems to focus on your school days and places. Is there any reason for this?

“My school days were good, I also went to Whitworth. This was back in 1977. I was really happy in school and I always think back to my time there. Especially the teachers who aren’t there now, but it is a long time ago.”

I see food and people celebrating features quite a lot as well?

“Seeing pictures of people out enjoying themselves I like very much, so I’ve collected them all in a collage. Food I really like because there are certain foods I’m unable to eat because of diabetes. So foods like Christmas and fruit cake and finding out if people eat them I like to find out. So I ask people questions about food as well. “

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So you’ve taken those questions to the next level working with Juliet and you’ve been conducting a number of interviews?

“Yes I’ve been interviewing lots of people. I’ve been asking them a lot of questions about their schools and weddings. Juliet has been recording them and then we’ve asked them to build their old school out of wooden sticks. That was good to watch.

Also working with Juliet and Sophie I’ve visited my old school and interviewed staff and I also made them both wait till a train came through the local railway bridge. It was very exciting

I’ve also been making art with Rosanne and we broke up old records and made bits of art with them. I quite like this piece of work because I love music and vinyl. Although it is strange, but felt good, to cut up old records.

I’ve enjoyed the work with Rosanne the most because it has included records but the work with Juliet and Sophie has really got me excited as well.”

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Going back to your artist book there looks like there’s a style developing there?

“There is an artist called Peter Blake who James introduced me to. I like the way he takes images and cuts out people and then turns this into his own art. So I’ve done the same. I’ve made art of Last of the Summer Wine, people with spectacles on, people from television history, comedy – like Eric Morecombe and soaps – I very much like Rudolph Walker (Patrick from Eastenders). Using these characters takes me right back to watching television when I was young. But I’ve also used complete strangers and shapes with abstract art, or flowers and body shapes. I’ve even started to use pictures from these workshops we all do on a Wednesday.

So my collaboration has brought about some good art but my little book is like a mini book exhibition about what I like and what work I’m doing now. I’ve curated what goes on each page.

The work I’m proud of the most includes the pictures we captured of the freight train near my old school, the work that’s come from the visits to my old school and of course my book. When we have exhibitions of the project I will feel proud to tell people “I made that”.

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Sophie Lee – Thoughts on Collaboration

This week we posed a number of questions to OutsiderXchangeS artist Sophie Lee focusing on her progress during the project as well as some thoughts on collaboration.

How did you approach collaboration within the project and what difficulties did you discover, how did you overcome them and also what successes have you discovered in collaboration?

I felt it was really important to get to know each other before approaching the collaboration. I spent the first few weeks observing the way others worked and having conversations, becoming familiar with one another and comfortable in the space. For a while I was concerned my pace was too slow, but on reflection this period was very important for me. It was challenging initially to see a way in to collaboration with the artists with learning disabilities as they were very focussed on their own work, it was quite difficult to engage them in an alternative idea. However, over time Horace has become very open to testing ideas with Juliet and myself. Perhaps this is through spending more time together or maybe because the project has quite a heavy focus on Horace’s interest in school. I think it was really beneficial for the three of us to go on a trip to Horace’s old school, he regularly reflects on this shared experience. I feel it brought us together and firmed up our connection to this project.


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Will the way you work in collaboration change now moving forward – was there a particular way you approached collaboration before?

When I’ve worked collaboratively in the past it has been very organic, coming together over a common interest or similarity in ways of working. It was a little overwhelming at first feeling pressure to find this in one another, but through conversation common ground was quickly established between Horace, Juliet and myself. It has been interesting to discuss our shared interest in schools, childhood and our relationship to architecture, but particularly exciting exploring our different approaches in how to communicate these ideas. Moving forward I see huge value in collaboration with artists working in different mediums and with different perspectives. This is really pushing my practice and stimulating my ideas.

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How has the OutsiderXchangeS project changed your art work?

Working on OutsiderXchanges has definitely encouraged me to become more playful in my practice. The focus being shifted on to the process rather than the outcome has helped with freeing me up, as well as working along side such a diverse group of artists.

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How has it been working with artists who have a learning disability? Is there a difference? If so what is that?

The artists with learning disabilities are uninhibited and unpretentious which is really refreshing. It may be quite challenging to discuss the development of projects together, I have found it is better to experiment and reflect on how we feel afterwards. James and Martin have been key in supporting us in this, using questionnaire style worksheets is very helpful in giving a structure to reflection and allowing the artists voice to be heard. Almost always conversations about our collaborative projects go off on a tangent, this is one of the reasons that the work is playful and it really encourages a continued enquiry.

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If there was one thing you felt proud the most about the OutsiderXchangeS project what is that?  – this could be a piece of work, a collaboration, the environment…

I am very proud of the studio environment we have built together, it’s a lovely place to come and work with a different atmosphere each week. Sometimes it’s really calming and others we are belly laughing all day. I’m happy to have met all of the artists and I’m excited to see what comes from our time together. Each artist is making engaging work that is authentic and honest, I am delighted to be showing work alongside them on some established platforms.

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