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Robin Paris - News and Events 2005
December 2005
The end of my two-year PGCE (post 16) course is in sight with (just!) two assignments to be completed over the next month. Definitely I am looking forward to spending less time 'in my head' and more on batik once it's finished but the research I've been doing is fascinating and informative. Currently I am studying Maori arts, especially carving and weaving, and how skills and knowledge were traditionally passed on, how sustainability was incorporated into this, and implications for teaching art - and sustainability - here.
I'm beginning to see batik as a 'slow art', one that needs time devoted to it and the value of that in our fast-paced lives. The retreats naturally are dedicated to batik-making, but also are a time for slowing down, being in nature and with her rhythms, enjoying space for self and for creative rapport.
This March batik by participants of last September's retreat will be on show at Trebah Gardens: Gill Recordon, Anita Reynolds, Gill Fisher, Carol Yarrow and Sarah Chetham will be showing both work produced during and following the retreat, inspired by the gardens and Helford environment. My own work is showing in a textiles and jewellery exhibition in Gateshead's Shipley Art Gallery until 8 January.
Last summer I joined an intriguing natural dyes course by Abi Evans. I was (and am) especially interested in indigo dyeing, but am glad to have tried others too. The harmony in the colours is just wonderful and I look at them most days. The processes being so different from Procion dyeing means more experimentation is needed before I'll feel confident working with them...
July 2005
It's been a fairly quiet few months while I've "de-cluttered" my house (and studio) which is now for sale. Most of my work stuff is in accessible storage - the space around the house makes me realise how little is really needed and how pleasant an emptyish house is. Consequently, my ambition is to halve my belongings before moving!
My batiks are hanging in the Indian King Arts Centre in Camelford until late autumn. Although the centre is closed (it's also for sale), I have a key and viewings are possible any time with prior arrangement. My next show is with Gwynngala at the Mariners Gallery in St Ives from 22 October - 4 November.
Five participants including professional and hobby artists came to the Cowslip workshop in March, including Nancy Winegard from New York. The theme of Between the Real and Abstract provoked good discussion about "semi-abstract", and how far you can go or must go to be in that centre ground. It wasn't all intellectualising though and some great batik was made.
Thursday afternoons in April and May I was facilitating on the Environment Action course at Callington Community College where fourteen Year 10 students have been making resourceful batik themed around the Earth Charter principles for a global Mail Art project.
More recently I worked with Roche Primary School on hangings inspired by Ghanaian Adinkra cloth and symbols as part of Restormel Arts 'Global Links' programme. I have my Ghanaian friend Antoinette Ablordey to thank for introducing me to Adinkra last year.
For my PGCE (pcet) I'm enjoying researching ecological literacy, apt as 2005 is the first year of the UN Decade for Education in Sustainable Development. What resonates most with me is ecoliteracy's recognition of interconnectedness of everything, inclusion of outdoors, nature and real world relevance in learning, and holistic combining of heart, head, hands and spirit as the path to sustainability. Reading some of the papers from June's World Batik Conference in Boston, US, I'm thrilled to find related thoughts coming from Asian, Australian, American and European batikkers. Ray Pierotti (US) sums it up best when he describes the broader (western) move away from linear to systems thinking... many of the patterns and structures found in nature are reflected in the making and world of batik. I won't go on, but if you would like to discuss it further, email me - I'm all ears!
February 2005
My exhibition at Lambrays in Wadebridge was the last time work from "Streams and Pools of Bodmin Moor" will be seen together, though four large works remain on loan to the Royal Cornwall Hospital in Truro.
"Australian Memory II (Mt Isa)" has been selected for the World Batik Conference exhibition this June in Boston, USA. Only 40 works were chosen from more than 300 submitted, so I feel lucky (and honoured!). The conference itself has a very full programme from artists around the world, and sounds fantastic but sadly I'm not going. More details on the conference are at www.massart.edu/batik.
In December my work was in an exhibition in Minsk by invitation of the Batik Club of Belarus (the country between Poland, Ukraine and Russia). The political situation there doesn't make things easy for them so symbolically they found it important to have European artists exhibiting with them. They now hope to set up an exchange programme with Britain and other European countries. Belarusian batik art appears more allegorical and symbolic than that generally seen in Britain; I find it refreshing. The exhibition catalogue will be at my workshops for anyone interested in looking at their work.
A friend has invited me to run a 3 day workshop in Luxembourg though dates have yet to be fixed. If late autumn this year isn't possible (due to house and studio moving plans) then it may happen in April 2006. I've heard Luxembourg is a great place for walking, so am definitely looking forward to combining it with a holiday! For more details or to register an interest please contact me.
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