Too poorly to work
This is a drawing about connections. It's assembled from many smaller panels, most of them redrawn from early 20th century photographs. They're portraits - not quite formal, something in between studio work and snapshots. Many of them are women, in everyday clothes - knee length skirts, more hats than you would expect today. The panels group diagramatically, force-directed nodes spreading from central points; heavier lines arc across the map, annotated with block lettering. The notes connect the portraits - lived with, lover of, owned property, comissioned, fought with... The whole drawing is a tracing of the relationships between the people in the photographs, an unexpected network of creative queer lives. https://www.are.na/kim-plowright/demimonde
Studio Cactus (Imagined collaboration with GROW)
All You Need
Cold Salt Water
How might I... stay vulnerable and honest? work out who my audience is? stop my drawings feeling slick? turn poor images in to treasures? learn how to read fucking Foucault? use humour to make tragedy palatable? decide who I am addressing in my work? hide my true intentions behind humour? make a drawing that I'm happy to sell? find a language that is personal to me? have a career when it's already too late? make drawings that feel weird or uncanny? show something surprising to my audience? stop myself being tempted to smoke again? make a drawing good enough to win a prize? play with the idea of lesbian (dyke) camp? stop killing drawings by overworking them? explore the way that I think, using images? keep charcoal drawings lively and gestural? turn smutty jokes in to something valuable? treat pornographic images in a feminist way? turn treasure in to ridiculous smutty jokes? combine images and text in an interesting way? make drawings that are about genuine feelings? thing about the way we learn desire, visually? feel my way through a relationship to a sitter? start making clear decisions about my direction? draw objects in a way that feels like portraiture? turn shameful impulses in to something digestible? draw from pornography without seeming out-to-shock? admit that my work is rather meaningless, by design? continue to be evasive about the content of my work? make drawings from photographs that don't feel flat? make drawings that are simultaneously funny and sad? make drawings that make other people feel something? set myself some clear goals for the next month of work? use all the images I see in a day to make something new? use theory to support myself rather than undermining me? work in partnership with people to make work about them? find the courage to post this list as a work in progress? make drawings that acknowledge their art historical roots? use text in drawings in a way that doesn't feel derivative? make peace with the fact my drawings always turn out 'nice'? use curation and collection to create a biased training set? use simple code tools to introduce chance in to my drawings? pick one of these questions to make a drawing with, tomorrow? subvert the male gaze whilst still satisfying my own desires? use interviews and video to create quiet, personal portraits? discover how to use autoethnography to tell universal stories? find the courage to make ten really explicit drawings of dicks? reconcile my different drawing styles in to something cohesive? make a drawing of that old keyboard that feels like a landscape? notice when my writing is drifting to the right on dotted paper? make images of words where the meaning is nonsensical or singsong? investigate the connections between things, rather than the things? find someone brave enough to try collaborating on reflexive portraits? feel legitimate as a queer artist whilst in a heterosexual relationship?
Fifty-seven current concerns (sorted by length)
Tools: home-made pens, hand ground ink.
Mother Of Demos