Sara Barker, Nature-Builder 2012
A crescendo of activities last week sent me into a swirl of excitement and anxiety. I began to attack my drawings with vicious stroke movements and discovered the slow and formal sketches before had pigeon holed me into a specific format. My sojourn in this European space enables me to discover and consider other ways of material usage in drawing methods.
Last week Tuesday evening I was invited by Australian artist Lora Nikolova to the Women to Watch UK: Metal, art exhibition at the PHILLIPS art gallery on Berkeley Square, London. After we had signed up on line for the assuming free show, we went to see the works of artists Claire Barclay, Sara Barker, Rana Begum (a Chelsea College of art Alumni) and Alison Wilding, all members of the National Museum of Women in the Arts.
I was curious about the conceptualization of the work produced by the artists and noticed the dichotomy between my conceptual interest and what was presented before me. The artists have an invested interest in materials and how they interface with each other and space. The pieces made of metal were accessorized with fabric, Plexiglas, wood and paints and displayed a feminine representation of strength and sensibility in the use of materials to create form, geometrical shapes and narrative in a male dominated metal work space.
Assimilating and regurgitating the information after the artist talk; I contemplated on the use of materials, and brought the discussion with my presentation to the students from Sotheby who visited Chelsea’s MA studio last Thursday morning. One of the questions asked to me was, If you were to have a solo show what would be the title? After a pause I looked at the materials on the wall and responded, Ashes after Decolonization.
My work has a pattern of juxtaposing past and present events; however the use of materials is another consideration on the apex of my study at Chelsea College of Arts.
Ancel Daniel, Ashes after Decolonisation, Charcoal Drawing Process