Future

RWS Update

The following explains my decision to step down from the Royal Watercolour Society

The RWS (London) is the oldest and most prominent watercolour society in the world. As that beacon, one would want for the society to embrace all the exciting possibilities the medium holds. We have an abundance of artists at all levels exploring the medium in the UK: producing a wealth of innovative work by painting in watercolour on a wide array of non-traditional surfaces, as I myself do. For its shows and competitions, the society will accept only watercolours painted on paper. Upon election as a RWS associate, one of my key aims was to advocate for a broadening of the acceptance criteria. My non-traditional approach and use of watercolour upon found-objects was, after all, one reason I was invited by the society for interview in the first instance.

Two proposals to the council over the last two years – that the RWS should consider expanding the range of accepted production materials – have been denied and finally rejected outright. Although I understand the desire to honour long-standing traditions within such an established society, I personally do not feel that this ethos is compatible with my own ever-evolving and experimental practice. I firmly believe that creativity and innovations should not be bound and restricted by tradition, but should be a founding basis for a sustainable and supportive culture and development of that same tradition. For this reason, and with regret, I have decided to leave.

Many positions come and go during an artist’s working life. Sometimes one must try something out in order to determine if there is space for it to sit in harmony with one’s methods of creation. As an artist and a collaborator I have always endeavoured to avoid situations where restriction exists. In my career thus far I have spent time exploring a variety of ventures in order to help extend my practice, find balance and learn new skills that feed into my principal output.

It is an honour to be recognised by such a prominent institution. Yet – as in many aspects of life – if a scenario is incompatible it shouldn’t be pursued against one’s principles simply because it is associated with a level of prestige. Leaving is a step forward.

Below image: paintings in (mostly) watercolour & gouache upon a variety of found surfaces: wood, antique canvas, stone, card & metal.

Feature: Conservation & Contemporary Art, Reina Sofia Madrid

Conservación de Arte Contemporáneo 16ª Jornada

Spanish art conservationist Alicia García (working most recently with the Museo del Prado) presented a protocol that she has constructed to archive current artworks for the future in this important publication (and lecture series) commissioned and led by the Reina Sofia Museum in Madrid. In collaboration with the team of an artists' residency in rural southern Spain – Joya: arte + ecología – and artist Gonzaga Gómez-Cortázar who co-authored this book, Alicia set the location of this eco-residency as her testing ground, and I'm delighted to have been featured in the publication as a subject (p31). The totality of the artworks I created in this arid-zone in Almería were temporal - time based - and so documentation was vital. The success of these artworks will hang on the strength of their documentation. 

Authors: Carlota Santabárbara, Arianne Vanrell, Lydia Frasquet, Mª Teresa Pastor, Alicia García, Gonzaga Gómez-Cortázar, Elena García, Laura Limatola, Rosario Llamas, Camilla Vitti, Luiz Antonio Cruz, Magali Melleu, Katarzyna Zych, Ana Cudell, Heidi Belisario, José Frade, Paulo Magalhaes, Laura Castro, Carla Felizardo, Ana Calvo, Ana Martins, Pino Monkes, Fernando Marte, Mª Teresa Pastor, Camilla Vitti, Mario Anacleto de Sousa, Rosario Llamas, Sharon Avery-Fahlström, Juan Antonio Sáez, Christian Adrián, Humberto Durán, José Manuel Pereira, Almudena Rolle, María del Carmen Bellido, Maite Martínez, Isidre Sabater, Isabel álvarez, Rosalía Fernández, Enara Artetxe | Museo Nacional Centro de Arte Reina Sofía