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Photo of Achnahaird Bay by Graham Lewis, used under a Creative Commons license

Right everyone, talk amongst yourselves, I'm off on holiday for a week.

My son and I are heading off to the west coast of Scotland. Here's where we're going. It belongs to my cousin, Calum and it's only a few miles from the beach where we used to holiday every year as kids. I've not been to Achnahaird for about 20 years and I shall probably bawl my eyes out when I see it again because it's always been a bit of a lodestone in my life, somewhere I've mentally aligned myself towards.

We're going to be there with my mum & dad, two family friends, my three brothers and their families. Including us, that's 12 adults and two babies. Oh, and then my aunt & my cousin, his wife and their three kids are turning up on the last weekend. So for a couple of days, there will be 15 adults & 5 little kids - actually, possibly 16 adults if my cousin, Lindsey turns up. Did I ever mention that I have a large family?

It will be utter madness!

Fortunately I'm hiring a car, so I'll be able to take off for some peace and quiet when it all gets too much - which it will, because I'm fairly introverted. Planning to take a trip to Inverewe Gardens and maybe this wonderful but very remote bookshop.

I'm very excited to finally meet my little niece, Siobhan. My brother Ewan lives in Australia and this is the first time they've been back to the UK since Siobhan was born last year. My mum & dad have met her because they went out to Oz last autumn but the rest of us haven't. My delightful nephew, Elliot will also be there. I plan to spend the entire week snorgling babies.

Now, if I was an organised person, I would have written a blog post and scheduled it in advance but I am not, so there probably won't be a blog post next week unless some sort of magic occurs. I've no idea if there's even any phone reception there but if there is, I'll be checking in on Twitter.

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Hi, are you a MagpieGirl looking for your special deal? You need to go here. Sorry about this, Rachelle and I did the interview ages ago and I've only just realised that she didn't have the new sales page details.

Come up to the lab and seeeeeee what's on the slab.

So. With my usual inimitable flair I appear to have accidentally launched another new service mere days before I disappear off into the wilds of Scotland for a week. If you've read my Resources page but you're still floundering and you'd like some individual one-on-one help, you can now buy 30 minutes of my undivided attention. Also, there are biscuits.

Behold, my beautiful creature...

Internet Hand-holding

Now, this isn't quite as daft as it sounds (OK, the 'just before a holiday' part is pretty stupid). I've always been drawn to the idea of consulting and coaching and I'd been making tentative plans in this direction for several months after a very thought-provoking Awesomeness Check-up session with the lovely Catherine Caine.

So when John T. Unger asked for willing volunteers to test out Bixbe on WordPress, I did the 'closing my eyes and jumping' thing again.

As a way of launching this and also celebrating the 3 year anniversary of this blog, I'm offering 15 free sessions. If you're interested, please comment below before Wednesday 7th July (the blog's official birthday, we shall have cake). If I get masses of people, I'll pick names out of a hat to make it fairer because I know that not everyone is online at the same time. Please note, the free sessions won't be happening until at least the second week of July because of the whole holiday thing.

Oh and while I'm shamelessly self promoting, I updated my shop, which is now called Drawings And Delights. I added an 'about me' page, some shop policies and more drawings. If I get time later today, I may add a few ACEO's that I've drawn recently.

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Gossiping Ducks by foxypar4

Sometimes I have to slide sideways into things. Or trick myself into starting by making projects smaller than they truly are.

I am cursed with perfectionism, so often the only way forward is to just close my eyes and jump.

Which is how I found myself opening an online shop for my art. Without branding. Without a big launch. Without having all my drawings scanned and ready to go. Without enough mounts or packaging materials. With all my ducks decidedly not in anything even vaguely resembling a row. In fact, I’m not entirely sure where my pond is and it’s quite likely that all my ducks have flown off in a huff.

But I started anyway.

There’s not much in my shop yet (see aforementioned lack of ducks) but I’m adding things as I go along. It’s also possible that my pricing is entirely wrong but I decided that fear of pricing was a lousy reason not to start something.

And I have no idea if this is going to work.

I’ve already sold two envelopes (yay!) but maybe no one else will ever buy anything. You'd think that this would be a source of stress, that I would be filled with the fear of rejection. But weirdly, it doesn't seem to matter and that's because I just jumped. Without too much preparation or angst or investment of time, energy, money or emotion.

Sure, it would be fabulous if I make a gazillion pounds selling art online – don’t get me wrong, I absolutely want this to succeed - but I’m also very clear that it’s a test piece, a maquette, an experiment.

See, that’s the great thing about the internet - the cost of entry is low. I don’t have to spend lots of money ‘setting up a business’, I can just say, ‘hey, let’s throw a few quid at an online store for six months and see if it works?’ If it doesn’t, well, no harm, no foul and I’ll have learnt some useful stuff. I’m hugely interested in trying new things online. At the moment it still feels as though there's a lot of freedom on the web; that maybe I can do things in my own strange, messed up way and still make a go of it. That maybe all those ducks aren’t quite as important as people tell you.


Our local synchronized swimming team by Eric Bégin

Because I think I can do this, but not if I have to get my ducks in order first. My ducks are recalcitrant, they fly away when they’re told to line up, they quack in a rebellious manner, they flaunt their sassy little ducktails like 50’s rockers. And when I wring my hands about business-type things, they make rude and unhelpful Donald Duck noises. My ducks have ATTITUDE.


In the Swim by StarrGazr

Now I'm not saying that you should make a half-arsed job of things. If you're the sort of person who can easily organise your ducks, that's absolutely great - you've got a huge advantage and you should use it to the full. What I am saying is that for perfectionists, the perceived need to get all our ducks in a row before we start anything can be a very effective stalling technique. It can be an excuse. And sometimes you have to be braver than that.

So I’ve learnt to pointedly ignore my ducks and then quietly organise them into rows when they're not looking.

How do you deal with your ducks? Let me know in the comments...

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What's Been Happening Lately?

So, I sort of opened a shop for my drawings. There's not much up there yet but if you've ever wanted me to send you a hand-drawn envelope containing a secret, you're in luck! There's also a couple of my more expensive archival drawings and more will going up next week.

You may remember that back in February I did a 30 minute talk about blogging for the University Of Arts in London - the audio is now online.

On Friday, I visited the American Museum in Bath with the lovely people from Textile Forum South West. We had a guided tour around their current quilting exhibition. Now quilting isn't my thing but it was a fascinating talk and the level of sewing skill was quite staggering, especially when you consider that most of it was done by hand. I also ate my first ever Snickerdoodle, which is quite possibly the best cookie name ever. It was very tasty. The museum have their own kitchen where they bake deliciously exotic American goodies and frankly it's worth a trip just for the baked goods but they also have an eclectic collection set in beautiful grounds.

I sewed lots more sequins and listened lots more podcasts. It doesn't make for very exciting blogging, does it. But I've definitely passed the half way point now. Unfortunately, I've - gasp - nearly run out of sequins. I'm praying that they've got more of the right kind in Fabric Land. I'm going into town to find out tomorrow, if they've run out you'll probably be able to hear the wailing and gnashing of teeth from wherever you are in the world.

I finally made another video. If you fancy a four & half minute tour around my studio, hit play:

Chickens

Last night I was fretting that Colette was ill, she had disappeared into the chicken house for hours and seemed strangely docile. This morning it dawned on me that the silly hen is actually broody. We don't have a cockerel, so she has no fertile eggs - in fact, she isn't sitting on any eggs at all but she's making a fairly determined attempt to hatch out a pile of shredded paper. She's not the brightest chicken, that one! Still, at least it's keeping her quiet.

Books
I finished Among The Bohemians by Virginia Nicholson. It's not flawless, she does rather gloss over Eric Gill's unforgivable practice of committing incest with his female relatives but I found it a very readable account of this interesting period in art history. If you've ever wondered where a lot of our contemporary ideas about artists come from, this book provides many of the answers. Highly recommended.

Other Artists
Two artists inspired by animals this week:

Matt Cummings makes amazing sculptures of animals that manage to capture the essence of the animal without being slavishly realistic.

I'm loving these rabbit prints by Kyoko Imazu, especially the more sinister ones. If I had any money at all, I'd buy one.

Cool Things
Sister Diane's video 7 Crafting Supplies I'm No Longer Allowed To Buy to buy made me laugh hysterically. Total comedy of recognition.

I'm currently enjoying Marisa's blog, New Dress A Day, which features daily remaking of thrifted clothing. I don’t always like her finished items but I’m amazed that she looks at some of those hideous dresses and thinks, ‘hell yeah, I can make something with this 1980’s shiny polyester peach number!’ It’s a lesson in creativity, for sure.

If you like things in jars, you'll like this, if you don't like dead things, you won't.

If you've not been listening to John T. Unger's podcast, Art Heroes Radio, you need to remedy that asap. All the ones I've listened to have been interesting but the one on pricing is especially valuable.

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Old slips hanging from old bones. Drawings like dried blood. Worn fabric and harsh stitches.

Like many in the art world, I feel the need to pay tribute to the redoubtable Louise Bourgeois, who died this week aged 98.

I’m not sure when I first became aware of her work but the first time I saw it in person was at her 1998 solo show in The Serpentine in London. It was such a visceral experience that I had to leave half way through for some fresh air. I had to go and sit on a bench in the park for about half an hour before I could look at the rest of it: I’d never had such an intense physical reaction to an exhibition before and I was rocked to my core for some time afterwards.

Several years later in Edinburgh’s Fruitmarket Gallery, I was captivated by her stacked fabric sculptures made from striped mattress ticking and vitrines containing small, crudely stitched pink figures.


Louise Bourgeois, Temper Tantrum, 2000

I didn’t always like her work, it could be disturbing in its blobbiness and overt sexuality – she wasn’t always at home to subtlety - but I was rarely unaffected by it. I am particularly fond of her drawings, which have a delightful freshness and lightness of line.

Louise Bourgeois Untitled Drawing
Louise Bourgeois, Untitled Drawing from mid-1960's


Louise Bourgeois, Feet

Her uncompromising commitment to her art also inspired. Like all the best artists, she didn’t seem to care what people thought of her work. She had the courage of her convictions: if she wanted to use metal, she used metal, if she wanted to sew scraps of worn pink flannel, she just cracked on and did it. We can all take a lesson from that.

And as someone who didn't get my art degree until I was in my 30’s, Bourgeois has always given me hope that I'm not too old to have a successful art career. I hope I'm still making brave, radical new work when I'm an old age pensioner!

So rock on, Louise – I don’t believe in an afterlife but I hope you’re hanging out with Robert Mapplethorpe somewhere, waving a big penis sculpture at us all and giggling.

Robert Mapplethorpe photographic portrait of Louise Bourgeois
Robert Mapplethorpe, Louise Bourgeois, 1982

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This is a short round-up post because I keep thinking of things that aren't enough to do a whole post on. Plus it occurred to me that doing regular updates like this might prevent me being quite so perfectionist and therefore slow about my blogging.

Health Shit
It’s ME/CFS Awareness week and I was going to write something deep and meaningful about it but I’m still in the midst of the worst crash I’ve had in several years and I couldn't be bothered. I'm getting blood tests done to check whether something else is going on because it's been about a month and I'm not getting any better.

If I had written a post, it would have been about how small your world becomes when you have this illness. How unreliable you feel. How hard it is to plan. And how much grief and loss there is. But I have no spare energy for depressing writing about my depressing illness.

I have ME/CFS. It sucks. Next.

Other people wrote some smart stuff though:
Michael Nobbs
Newly Nerfed
RachelCreative and a moving post from her husband.

Why You Should Listen To Your Mother

So you know that thing your mother told you about not touching plugs or light switches with wet hands in case you electrocute yourself?

Totally true.

Since I’d managed to get to the age of 42 without this ever happening to me despite not being super cautious about it, I thought it was a bit of an exaggeration but no, it really can happen.

Fortunately it was only a very small electric shock, so I’m not dead. Which is good because dying whilst preparing baked potatoes would be a bloody stupid way to go.

Books

I’ve been on a roll with reading lately, mostly because it’s one of the few things - apart from crocheting granny squares - that I’m able to do at the moment.

If you like crime novels, I thoroughly recommend Ann Cleeves, particularly her stunning Shetland Quartet. I just finished the last book in the series and I’m still reeling from it. I’ve also been enjoying Ariana Franklin's medieval murder mysteries.

If science fiction is more your thing, Kaaron Warren’s book Walking The Tree is strange but compelling. I also enjoyed both of Eugene Byrne books but particularly Things Unborn, a police procedural set in a Britain where some of the dead have been inexplicably resurrected.

I’ve also just started Stitching For Victory by Suzanne Griffith, a fascinating exploration of the diverse and vital role textiles played in World War Two Britain.

Exhibitions

Last week I had a fun day out with the Textile Forum South West group at the very excellent Stroud International Textile Festival. I particularly loved Kate Blee's piece, Stroud Red.

Stroud Red by Kate Blee
Kate Blee, Stroud Red

I also adored Bethany Mitchell's work combing yarn with ink and pencil drawings.

The festival is on until the 23rd May. If you do manage to go, Mills Cafe does lovely soup and very nice cakes.

That Dieting Thing
I'm still doing Slimming World. I've only got three pesky pounds to go until I get my Two Stone award but the last two months have been hopeless because I've been shilly-shallying and uncommitted. Amazingly enough, the diet doesn't work if you don't stick to it! Who knew? But I'm pleased that I've maintained my existing weight loss and I'm slowly becoming motivated again, so hopefully this plateau will soon be over.

Chickens
The chickens are well. Thankfully they've settled their initial differences and now get along just fine, although Colette is a complete drama queen and kvetches loudly about the slightest little thing. More video soon.

Art
Still sewing sequins on an apron. Lalalalala...

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“Art is beautiful but it is hard, like a religion without a purpose.”
Gunter Brus

Close up photograph of artist Kirsty Hall performing Pin Ritual 01
Kirsty Hall: Performing Pin Ritual, Dec 2003

People who aren’t working in a creative profession often think that what we do is easy, fun, glamorous or exciting. And it can be all of those things. But it’s also a time-consuming, brain-melting obsession that will eat your life.

It is not ‘five minutes, boom, you’re done, sit back and drink a martini’ - that is not how the creative process goes for even the most talented people. Techniques take time to learn and perfect. You make mistakes. Then you make bigger mistakes and have to start over. Even once you’ve learnt your craft, it’s twisty: you fret, you fiddle and things go wrong. You can pick away at a problem for months or years with no guarantee that you’ll ever crack it.

Sure, some people make it look easy but I’d bet my granny’s pension that they’re working hard when your back is turned. They’re dreaming their way into a role; they’re thinking about their sculpture on their lunch break; they’re drawing for hours every day.

So you need to enjoy the process of what you do. Because that’s what you’re going to be doing all day.

Photograph by Kirsty Hall of red thread and needle
Kirsty Hall: Red thread and needle, May 2008

If you plan to make hats for a living, you’d better love plittering around with felt and feathers. If you’re going to carve wood, you’d better not be allergic to sawdust. If you want to act, you’d better be able to put up with hanging out with other actors, learning lines and spending lots of time waiting around.

Now, obviously no one loves every single thing about their job but if you dislike most of your process, then you’re in the wrong creative field or are using the wrong medium.

I know this sounds stupid but I see a lot of young artists making this mistake. They’re naturally great at video but instead try to make sculptures because they feel they ‘should’. Or they have a talent for colour but feel guilty that it’s ‘too easy’, so they chose to work in monochrome even through they secretly long to pick up that tube of orange.

If you call yourself an artist but find yourself making excuses to write instead of making art, you might really be a writer. If you find oils endlessly frustrating but make watercolours for fun on your days off, you may be using the wrong kind of paint. If you hate having clay under your fingernails, making pots is not for you.

I’m not saying that you shouldn’t challenge yourself by exploring new areas. Nor am I saying that everything needs to be easy – it won’t be. I’m saying that you absolutely must have a deep and abiding love for the actual processes of your craft. You need to be able to think, “Oh wow, sewing sequins on this apron is still kind of great, even through I’ve been doing it for a year & I’m kind of bored now”.

Photograph of cream sequins by Kirsty Hall
Kirsty Hall: Close up of sequins, Oct 2009

Because a lot of the time you will be frustrated, stuck or thoroughly fed up and in my experience, if you don’t have that core passion for your daily reality, then you will quit.

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Photograph by Johnny Grim. Used under Creative Commons license

I recently wrote about why there's no excuse for artists not to have websites. If you're still working on yours, here are a few things to avoid like the plague.

1. Overuse of Flash

I'm not a big fan of Flash - it can be useful when used sparingly but it's frequently overdone or used inappropriately. Web designers can start acting like puppies on crack when they get their paws on Flash. You need to smack them firmly with a rolled up newspaper.*

There are other good reasons for avoiding Flash. The web is increasingly moving over to HTML5, so a site that’s designed in Flash now is highly likely to need redesigning in a couple of years. Flash often doesn't work on mobile devices, including iPhones and iPads. Apple have said that they won't integrate Flash into those platforms. Microsoft have also come out in support of HTML5.

Even if your visitors are capable of viewing Flash, it often slows a site down considerably - I do not care how pretty your site is, if it takes several minutes to load, you've lost me.

*Fret not, it's hyperbole. I do not advocate violence against web designers. Or puppies. Or crack addicts.

2. Choosing Form Over Function

Unless your site is an actual art project and a pretentious design is vital part of your evil plan, please resist the urge to overcomplicate things.

I do not want to chase small objects around the screen. I do not want to have to guess what your obscure labels mean. I do not want to search in vain for photographs of your work. You are not a pirate constructing a fiendish puzzle to protect your buried treasure, so knock it off!

Again, this is usually more of a problem with professionally designed sites because the rest of us simply don't have the skills to complicate things in this way. I have a theory that web designers hear the word 'artist' and immediately start cackling like mad scientists thinking about all the crazy things they can get away with.

I don't want to sound as though I'm picking on web designers - most of them do wonderful work - but I have seen a lot of art websites rendered unusable through 'clever' design. Remember: just because you can do something, doesn’t mean you should. People visiting your website don't care how 'arty' your site looks, they just want to find out about your work quickly and easily. Simple, functional and elegant wins out over complex and difficult to use every single time.

ETA: Artist and web designer iamANT pointed out that it's actually often artist clients who demand bizarre and 'creative' sites. If this is you, stop it, you silly artist! Listen to your designer when they tell you that strangely animated Flash sites are a bad idea. They are trained in their field. You are not.

3. Illegibility

It sounds painfully obvious but if you want people to read your site then you need to make it readable.

Large blocks of text are hard to read, so break it up with paragraphs and photographs.

Do not use colours with too much or too little contrast. In particular, be very careful of white text on a black background. This has been popping up all over the web recently like a bad case of shingles and I think it's appalling. I find it painful to read and 9 times out of 10, I simply click away. If you must use white on black, there are things you can do to make it more legible.

Do not use hard to read fonts or text that's too small. Websites are increasingly being read on mobile phones and small text that won't enlarge is one of the major problems. If you're on WordPress, there are various plugins that will make your site compatible with mobile devices. I'm currently testing out Mobilize by Mippin.

4. Clutter

White space is your friend, people.

Busy backgrounds and animated adverts do not enhance anyone's browsing experience. And you don't need to put hundreds of buttons, banners and widgets on your blog sidebar either.

I understand, I do. We’ve all been there. There are all sorts of cute widgets and plugins out there wriggling provocatively at you and promising to show you a good time if you'll just take them home. The temptation to tell people what you’re reading; what you’re twittering; how many fans you have on Facebook; what the weather is like where you are and when you last ate cornflakes is enormous. You could fill your entire blog with sidebar widgets. Unfortunately many people do.

But the human brain can only parse so much information at once: you need to be selective or none of the information will register. I've visited blogs where it's hard to focus on the actual blog post because it's lost in a sea of visual clutter. You need to prioritise & put the most important stuff at the top, especially things you want your visitors to actually DO. These ‘calls to action’ should be clear. If you want people to sign up to your mailing list, don’t make them hunt for it. If you want people to buy your products, make it easy to do so. If you want them to look at your art, direct them to it. And then get rid of as much else as humanly possible.

If you need further help optimising your website, I highly recommend a coaching session with Catherine Caine from Be Awesome Online.

And if you still feel the need to tell people about your breakfast cereal of choice, write a FAQ page.

5. Music

Apparently some artists think that my appreciation of their art will be deepened by tinny elevator music suddenly erupting from my speakers. They are very wrong.

Look, it could be my favourite piece of music in the whole wide world but I still don't want it to start up when your site loads for the very simple reason that I'm usually already listening to music while browsing.

Nothing will make me leave your site faster than music that starts automatically. It also makes me want to hunt you down and stab you but we won't go there...

6. Lousy Content

Are your photographs good enough? Are they properly labelled and easy to navigate? Do they load quickly enough? Is it obvious what things are? Avoid blurry or badly lit photos wherever possible (I do know that photography conditions in exhibitions are sometimes less than ideal but do your best).

What's your writing like? Unless you know you're speaking to an exclusively art audience, don't use art jargon. Use your spellchecker. Read through your stuff before you hit publish. Make a decent stab at using correct grammar, although you can get away with writing that's technically incorrect on a blog because a more conversational style is common in blogging.

Oh, and don't be boring or no one will read it. You have to sign up to a mailing list to get it but I found this free guide to writing 'non-sucky copy' from Laura Belgray of The Talking Shrimp useful.

7. Being Secretive

Do you belong to a secret spy organisation where your identity must be protected at all costs? No, you (probably) do not!

If you’re trying to promote yourself with a blog and/or a website, then you need to reveal something about yourself. Like, say, your name. You don't have to reveal everything but an 'about me' page is a must. Arts business coach Alyson B. Stanfield recommends having a good photograph of yourself too.

A lot of artists also make it far harder than it needs to be for people to contact them. Claire Platt pointed out in the comments that even simple contact information like an email address is often missing.

Get more help
If you'd like more information about building your online presence, check out the free resources section.

I am also available for online consulting if you need one-on-one help.


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I am in the midst of a rather intense CFS crash & can't concentrate on writing. I was stressing out about tumbleweeds blowing through the blog, when I thought 'wait a minute, I've got tons of old writing I could reuse'. So here's a slightly edited piece from my college years. It seemed apt to publish a piece about Still Life at a time when my life is essentially standing still.

Still Life - written 1st July 2001

I have come to realise that much of what I make is actually Still Life. My photographs, in particular, definitely have a Still Life sensibility. I am looking at small things, like hot raspberries on the beach or the reflection in a bowl of water and saying that they are small, yet very important.

photograph by Kirsty Hall of reflection in a bowl containing salt water
Kirsty Hall: Salt Bowl Reflection, May 2006

It seems to me that that is what most Still Lives do: they take things and set them apart. Still Life demands that we really look at the flagon of wine and the apple, or the bowl of cherries, or the lifeless carcasses. It ponders the flowers, the glass and the tablecloth. It makes us see the texture of everyday life and forces the realisation that actually these things are amazing. The bread we eat, the soft cheese, the pile of fruit, the luscious cakes, the humble or grand spread. This is what keeps us alive after all. This is what nourishes us.

Photograph by Kirsty Hall of bread, cheese and sun-dried tomato
Kirsty Hall: Bread, cheese & sun-dried tomato, Dec 2008

Of course, we also need vast epic pictures of the imagination and portraits that force us to look at our frail human bodies. We need art to consider many things. But it seems sad to me that Still Life should so long have been considered to be the least important subject when it also deals with life and death. To me, mortality seems a vital component of many Still Lives. Those flowers will soon be dead: they are just caught for a moment in time. Caught at the point of perfection? Or perhaps already weeping their petals onto the rough-hewn table or perfect lace. That food will spoil or be devoured by a hoard of hungry mouths. Even that fine glass goblet will eventually be broken or lost. The table itself will be consumed by history. Who knows what happened to the musical instruments, the sheet music or the pile of books? They are lost to us except for the contained, still, captured image.

Photograph by Kirsty Hall of a dead tulip against a wall
Kirsty Hall: Dead Tulip, Feb 2008

It is that quality of stillness that I love about Still Life. More and more my work has been edging towards stillness; not actual silence but definitely quietness. I think I am looking for contemplation and the mysterious void. Stillness is a quality that I associate strongly with the colour white, which is perhaps why my work has contained so much paleness in the last two years. I am searching for that perfect moment perhaps, that moment of clarity and stillness?

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Sorry for the radio silence - those of you who follow me on Twitter will know I was busy making and installing a brand new piece for an exhibition last week. Then I had to stay in my pyjamas for four days because exhibitions turn me into a zombie artist. Braaaaiiinnnnns (ahh, I feel better after that).

'52 drawings' in progress
Kirsty Hall: '52 Drawings For Claire & Camilla', March 2010

'52' was a group show curated by Camilla Stacey and Claire Platt, who work together under the moniker, Calm Air All Ice. Instead of just putting on a show of their own work, they decided it would be far easier to invite 50 of their favourite artists to show with them in Room212. Did I mention that Rooom212 is the smallest gallery in Bristol.

And in my infinite wisdom, I decided five days before the show to do 52 little drawings, coat them in wax so they could be seen from both sides, tie them all together with bits of thread and then suspend them in the window. Instead of doing something utterly crazy and unthinkable like just framing a couple of pieces that might possibly sell!

I'm blaming Camilla for this madness because she foolishly mentioned in passing that she was hoping I'd do a sculptural window piece.

Also, it seemed like a good idea at the time.

These things often do.

The drawings fell somewhere between realism and abstraction...
'52 drawings' in progress
Kirsty Hall: '52 Drawings For Claire & Camilla', March 2010

...and referred to maps, diagrams, aerial photography, archaeology and suchlike things.
'52 drawings' in progress
Kirsty Hall: '52 Drawings For Claire & Camilla', March 2010

For inspiration I looked at two of my favourite books, The Landscape Of Man by Geoffrey Jellicoe and Susan Jellicoe and Anno's Journey by Mitsumasa Anno.

I'm very into torn edges at the moment...
'52 drawings' in progress
Kirsty Hall: '52 Drawings For Claire & Camilla', March 2010

...and I find it freeing to draw on non-rectangular pieces of paper.
'52 drawings' in progress
Kirsty Hall: '52 Drawings For Claire & Camilla', March 2010

The drawings were easy - tying them together and getting them to hang properly was the tricky bit!
'52 drawings'
Kirsty Hall: '52 Drawings For Claire & Camilla', March 2010

Although I got the work up on time, I was quite mind-bogglingly disorganised about this show. I didn't do a mail-out for it and I didn't go back and get better photos because I collapsed with exhaustion afterwards. I'm feeling quite cross with myself about those two things. I'm trying to work out how I can do better in the future because if I'm being truthful, documentation and mail-outs are always a bit of a problem for me. I need better systems. Or a minion.

I did enjoy making the piece though. Even though it was a bit last minute, it was fun to have a break from the sequin apron (which is still trundling along like some relentless World War One tank) and I enjoyed actually completing a piece in less than a week. I'm still too close to it to know if it was any good or not but hey, I liked it.

The rest of the show was lovely - Claire and Camilla did a stunning job of hanging a huge number of pieces and there was a lot of good quality work. You can read a good review of the show here and there's also a series of mini-interviews with most of the artists over at the Calm Air All Ice blog. I bought a small piece by Cathy Cullis and would happily have bought works by several other artists if I'd had the money.