You are delicate enough, you are strong enough, 1510 x 2020mm, pastel, charcoal, graphite on paper, 2016
In 2017 I started teaching my own classes, in my own way. It’s really all about process, permission, and expression. I will teach you skills and techniques, but it’s more than that. It’s the privilege of being a guide for you to find you own way of drawing, through a series of guided exercises and experiments. I love it, and it feels like another part of my practice to develop the teaching I’ve been doing in a tertiary context for the last 7 years, into something that is much more Sian shaped. Interested? Get in touch because I’m running a range of classes this year. The first one is here:
Here’s some drawing from the last class…
And here’s some feedback:
“There was a LOT of ideas and methods covered that I’d never have thought of alone, and have been able to take at least a chunk of that away and apply to what I do away from the classes. I have attended beginner drawing classes before where I was shown techniques like measuring, line, value, etc, and that is all extremely important and valuable, and needs tons of practice (for me at least). What you put into this course was the part that turns mechanical lifeless drawings into something personal, something intimate, and eventually something of real value. That’s not possible to read in a book, no amount of words would cover it as well as 4 short sessions did, and I’m sure that is only the beginning. What worked for me was that the approach of this class was so different to others on offer.”
It is the last day of 2017 here in Aotearoa, New Zealand, and as usual, I am taking some time to reflect on this year. Usually I do this with pen and paper, but this year I thought I’d share it with you here.
It’s been a year of big change, with some serious illness (five bouts of flu) meaning a lot of time spent at home, thinking and developing new ways of working that aren’t quite so draining energetically. A lot of that has been drawing energy that I’ve been expending far outside of myself, back in; a process of gathering everything closer.
Body is a mighty teacher, and this year she has shown me that the support and appreciation I need will come through continuing to build a practice that brings people together in various ways through expressive art making. At the beginning of the year I spent a week inviting people to come and be drawn on one long 10 metre piece of paper at Toi Tu in Auckland. Conversations, relationships, connections…
This work was part of an exhibition that showed a range of works that I’ve been developing around intimacy, starting with drawing myself, then developing systems to support fully informed consent around other drawing other peoples’ stories and images. How to ask properly, respect and honour the gift of people letting you look, listen and be together.
My next project was to ritually let go of my role as a contract lecturer at Massey School of Fine Arts, where I have been for the last 7 years teaching drawing, sculpture and making processes. I wanted to honour the relationships I have valued, as well as give a significant gift to the students, particularly those grappling with issues around gender identity, cultural identity, and sexualities. The show ‘Te Aho Mano / A Thousand Strands, showed work from my Asia New Zealand residency in Bengaluru, India, as well as new work and collaborations with Anahera Gildea and Leilani A L’iga Pua. You can hear those here:
Anahera and I ran workshops where students and staff were invited to discuss what they are working on, what helps them to say what they need, and what holds them back. These conversations mainly focused on feminism and how we can stick together, as well as new models for critique.
Full disclosure and acknowledgement has been a theme for me for some time, and in the show I included my book collection of inspirational and foundational writers for me. I was delighted that the books were re-ordered every time I cam into the show, telling me that people were using the comfy seats and having a read.
I was determined to honour and finish We Don’t Have to Be The Building in 2017, which I did by taking the works to Auckland as posters with the help of Pride and Phantom Billstickers.
With the support of many of you pre-purchasing copies, I also made a publication about the project, including colour posters of the final work, lots of reflection on the process, and an essay by Ellie-Lee Duncan. Thank-you to everyone who made this possible, including Creative Communities funding and The Armstrong and Arthur Charitable Trust for Lesbians.
The publication was launched in November at the HELP fundraising exhibition, where I also spoke and showed works in support of the cause of supporting survivors of sexual violence. As part of the week I ran a drawing workshop upstairs at Thistle Hall where we used drawing to express some of our feelings and responses to the #metoo campaign.
As part of my work revolution, I’ve brought my teaching practice closer to my art practice, and begun teaching my own workshops. I was delighted to be funded by Toi Poneke to trial a six week Queer and Trans* drawing class, building community and creativity together.
The success of this told me to keep going, and two more rounds have been supported by Rainbow Wellington, one still to come in 2018!
I’ve also been teaching at Gordon Harris my Expressive Drawing class, which I will run again in 2018, along with Life drawing at Toi Poneke, and Where do you get your ideas from? Excuse the glare, all the drawings were proudly hung in the front window of the shop!
Some drawings found their homes with buyers, including these ones:
And some others featured in art awards around the country, including the Parkin Drawing Award;
So that’s some highlights! In 2018 I am looking forward to more teaching, developing new collaborative workshops and relationships. I will be working on some commissions, some exciting shows, and ways to keep sharing my practice. Happy new year, may it bring you everything you need.
This drawing was selected for the 2017 Parkin Drawing award, and is currently being exhibited at The Academy of Fine Arts on Wellington waterfront. All the finalists are here: