Future Forward 1 - Risk and review

An article by Kate Stoddart mentor to Cathy Miles on Future Forward 1 mentoring programme

 

‘Don't refuse to go on an occasional wild goose chase - that's what wild geese are for.’  Anonymous   

 

Artists, designers and makers are familiar with risk - establishing a business based on a belief of one's creativity.  In the process of making new work, there is always the risk of how it (and therefore you) will be perceived, as well as the risk of taking it to market. When a maker is ‘established’, a steadier pace sets in, so the risk to make a step change is great. Perhaps this is exactly when a 'wild goose chase' should be undertaken. A mentoring opportunity can provide this period of reflection, review and development or it can accompany it - a companion for the parachute jump.

 

Cathy Miles uses wire and found materials as imagery, narrative and a dry wit infuses her work. Cathy wanted to review 'Bird Life' (see image), and to explore other markets - to redirect her practice. Two things emerged early on. Past experience of public art commissions had left her with a somewhat limited view of the possibilities of this type of commission. When it was suggested, at some risk to the still new relationship, that we revisit her first public art commission at the Cotswold Water Park, and use the session to look at public art in the context of her work, she agreed.

 

The piece had stood up well, despite some changes to the space. The discussion started that day and continued over the next few months. The question was ‘how can a commission develop one’s practice in new directions?’ This aspect is often overshadowed by the needs of the client and the brief.  Seeing the commission as a personal development was a new view and made the choice of what market opportunities to apply for easier. 

 

The second focus for discussion was the Useless Tools project, which had not developed in a way she had hoped. These were her non functional versions of tools which she had noticed when interviewing trades people in Birmingham’s jewellery quarter, as part of a research project funded by Longhouse. This piece of work was only to develop fully three years later. The mentoring process clarified her thoughts around commissions as well as working with the public (workshop situations, and oral history). When she saw the advertisement for the Museumaker programme, which offers a major commissioning opportunity for artists to work with museums and collections, she was ready to respond with an idea that would allow her to work in a participatory way.

 

One of the Museumaker partners was the Guildhall Museum in Rochester, whose collections included the Seaton Tool Chest, a complete set of eighteenth century woodworking tools.  She came up with a raw idea, of how she would respond to the chest, inviting people into the process. The experience of writing the application was in itself valuable and she appreciated how it helped to put flesh on the bones.

 

The proposal is for a new temporary making and display space within the Museum - the 'Tool Shed', a skeleton version of a shed, which will allow her to work with groups and children towards the final tool filled exhibition.

 

She is happy to describe the new work she developed during this period, as work in progress, and does not feel past pressure of being judged on it. There is less concern about where the work may lead, and more sure of the creative process.

 

"In general, my practice received a holistic health check… it has stretched wider than imagined (and has) given me tools for the future that I can apply to many different things. I realise it isn’t about problem solving, but gearing yourself up to deal with things so there are less problems to solve."  

 
 

 


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