As I have discussed many times before in posts on productivity, focus and managing workloads at university, the space that you work in can have an enormous impact on the work you create, and how that work comes about. Previously, I have discussed this in terms of writing essays, documenting my practice in a sketchbook, or reading and note taking. Although these are in themselves important processes, they were all linked to my life as a student, and now, with my degree show over and my confirmed first class degree tucked safely under my hat – allow me a little smugness if you will – I am beginning to embark on my life as an artist outside of university, and the space in which I will paint, and learn and grow and create will be vitally important.
This has led me to consider studio spaces; where and how mine will exist, how artists use theirs, what constitutes a studio, and why a space for creativity is so important. In this blog post I will be discussing the studio spaces of contemporary painters, examining the function of a studio space and considering how my current studio will evolve over the next few months.
During university, I was lucky enough to have various, large, well lit, accessible studio spaces, with plenty of wall space, close by sinks and the freedom to make as much mess as required! Now that I have left university and am heading out into the big wide world, I am not quite so blessed with such a space, however I am lucky enough to have a large enough bedroom to accommodate a dedicated studio corner, while still giving me enough room for a bed. As a first studio, I know even this is quite a privilege, and many extremely successful painters began their careers painting at dining room tables, on their kitchen floors on in their sheds. One such artist who now boasts a stunning pink studio is Ekaterina Popova, whose gorgeous watercolour and oil interior still life works cannot be missed. Popova regularly discusses how she painted on her bedroom floor for years, before slowly moving from spare room, to small studio, to the amazing space she now works in. This perfectly resonates with my previous discussions on working spaces and creativity; how although it can be helpful to have a separate ‘work’ environment, you also have to work with what you have and let your practice grow even if you aren’t working in a white-walled warehoused with assistants and endless supplies! Not only are her candyfloss walls a work of art in their own right, she is also a testament to the dedication it takes to ‘make it’ as an artist, and her studio shows the way in which a creative space can also be personalised and homely.
Another of my favourite artists with an enviable studio space is Venetia Berry, whose London studio shows how she keeps inspiration close at hand in the form of postcards, clippings and photos, peppering the walls amongst her works, and the must haves like a kettle and toaster, nestled between her ink pots and paintbrushes. In an interview with Venice Beach House, Berry explains how she has a “wall full of artists who inspire [her] in the studio” she also discusses how she finds going to exhibitions and seeing other people’s work so helpful to her creative process, once again reflecting the notion of a dedicated work space, but inspiration and motivation being supplied from all areas of life. I really love how both Berry and Popova have incorporated a sofa or chair into their studio space, so that they can be comfortable while they work, or eat, sleep and exist in their studio.
As with any career or position, the notion of a traditional or correct way of operating is often assumed. This is also the case with studios, and particularly in researching famous artists studios, I found much of the commentary was focused on whether it was a ‘traditional’ painting space, or whether the studio was what the writer expected of that artist. I find it so interesting that an artists work can somehow suggest how they may arrange their studio of how their process may influence the type of space they work in. When we think of artists like Picasso and Dali, we imagine their paint splattered walls, plethora of easels and reference drawings, bare floors, stark lighting and few home comforts. But just as the paint smeared smock, wooden palettes and human anatomy models now feel archaic for a painters studio, the contemporary art world is also showing us that there are no set rules for how a studio should look or operate. Some artists like Tracey Emin still do maintain a fairly ‘tradtional’ studio set up, while others who work with digital mediums require no studio at all and simply work with their laptop in any location. As a painter, a certain amount of wall and floor space is pretty important, yet I believe the key to a successful studio is a space that aids creativity, is inspirational, comfortable and exciting. I hope my new studio will fulfil these criteria, and I can’t wait to share my little corner of painting with you all, but for now you will just have to keep an eye on my social media for some sneak peeks, and enjoy some images of my future studio dreams…
