ISSUE #10

May's ‘Art House Files’ was all about happiness, how to get it, how to keep it, and how art can play its part. 

I was feeling happy and hopeful when I wrote it, feeling good about upcoming exhibitions. Then suddenly my New York gallery closed unexpectedly just a couple of weeks before my first US solo show.

I am very much a ‘hope for the best but plan plan plan for the worst’ kind of girl, so throughout the 5 months leading up to the show I had that ‘It's too good to be true’ kind of feeling; but just 24 hours before I got the bad news, my work had shipped to New York and oh, it looked so fine, all flying off to the East coast, all shiny and perfect in its special crates. 

I had a moment where I thought ‘You did good, it’s going to be ok.' 

I felt happy.

So the bad news stung.

But here's the thing… As much as I am an expert at imagining a worst case scenario, I am also stubborn to the point of stupidity, and I excel at denial. I like to think these are important traits in an artist (possibly not so much in a life partner but, hey, nobody's perfect.) So after brief moment of misery I simply rejected the news and decided to put the show on myself.

I had no gallery space, no art work (it was being shipped back to LA), a tiny budget, and no mailing list… I know 2 people in New York, and until last week I hadn't seen either of them in almost a decade. 

I won't go into the grisly details of how it all came together, but, after two sleepless weeks of scrambling, begging, stomping and calling a lot of random people, it did! 

I held a screening of the work called ‘Here’s One I Made Earlier'- The show that didn't happen - in a beautiful loft space in New York's China Town. Art lovers and friends old and new, braved the smokey, post apocalyptic air quality, to join me while I shared the work, and some of the intimate stories behind them. It was a wonderful night.

During the process of reimagining the show I was interviewed for Artnet by Taylor Dafoe. He asked me what my take away from this experience was, and I thought I'd share it here.  

We make what we can out of what we've got. 

The idea that the only limit is an artists imagination is a reality for perhaps a rare few, but for the rest of us there are always restrictions, logistics… space, budget, time etc. This situation was just another challenge in an endless cycle of adjustments and compromises to bridge the gap between the work we imagine or envisage, and that which gets made. 

All this got me thinking about happiness and success. 

Success, at whatever level you judge it - money, fame, recognition - can't be the goal. All of that comes and goes and comes round again, over a lifetime devoted to a practice. 

For me success is showing up for the work. It's about not giving up just because plans change or shit happens. 

And it's about the friends I make along the way.

Asking for help to re-stage this show was oh so very humbling;

but so many friends, and friends of friends, (and a few total strangers!) generously offered support, encouragement, their wisdom and experience, their offices, homes, and so much more. 

I'm incredibly grateful.

I've been writing ‘The Art House Files’ for a year now. Whether you've been here from the start or if you're new… 

THANK YOU! 

I'm so happy you're here

R xxx

(Thank you especially to the teams at Cartel and Art Jail for donating their time, space and expertise in hosting the screening)