Emily Speed
Emily Speed is a sculptor, artist and a maker of books working in Liverpool. Her work explores the temporary and the transient through reference to architecture and the body. She examines buildings both literally and metaphorically, as physical shelters and as containers for memory, bound with the history of their occupiers. Her work is often lonely and isolated with a seemingly short life – Shelters offering the briefest respite and storage to hold only the lightest items. Art Feast caught up with Emily to talk about her current and future projects and her time at The Yorkshire Sculpture Park.
Your show at Yorkshire Sculpture Park (YSP) – has been a big success on all accounts –could you tell us a little bit about how this came about and how the experiences have shaped you as an artist?
During 2009/2010 I was the Feiweles Bursary holder with YSP, which means spending around 70 days in schools (of all kinds) around Wakefield. The bursary is intended for an artist to gain experience in education as well as using their practice to work on arts projects with young people. The bursary is also intended to provide training for teachers. It was an exhausting, intense year, but I learned SO much! Sarah Coulson, the curator I worked with at the park, saw my work during the interview process and she kept her beady eye on me. Sometime in 2010 they offered me a show at the park and I worked closely with Sarah from that point.
I guess it’s obvious from the outside that the exhibition has been a big step for me, but in fact, it’s really altered everything. I made a list for Sarah about what the results from the show have been and that was quite amazing to think about, not just in terms of resulting work or other exhibitions, but personally as well.
So what’s next for 2012?
2012 is looking pretty exciting already. I’m in a group show Topophobia opening at Danielle Arnaud in January, and it will then tour to the Bluecoat and Spacex, Exeter. I’m also the next artist to tackle the external wall commission for Open Eye Gallery, which will be a totally different way of working for me, so although it’ll be quite a subtle intervention, it’s still a big challenge. I’ve really enjoyed having to think in a slightly uncomfortable way. I’m off to the States next summer for Camp Out – an exhibition at Laumeier Sculpture Park – St Louis and I’ll be making some work to be performed on-site there. There are rumblings of other things, but I’d better not mention them until they’re ready!
How do you find Liverpool as a place to work from – is there enough opportunity here for artists trying to establish themselves?
Inside Emilys Studio
I came to Liverpool post MA from London, so initially I was ecstatic at the work/life balance. I could work two-three days a week to pay all my bills and that included a studio! A pigeon-shit encrusted studio, but I didn’t care at the time. For me this was quite a transformation, so it felt incredibly easy to make work here and the lack of stress (financially) was very liberating. As time’s gone on I do find that I miss the saturation of art in London, but I make regular trips and maybe even see more exhibitions than I did whilst living there. Next year will be the first time (aside from the Liverpool Art Prize) that I’ve really worked with any of the non artist-led galleries in Liverpool and generally, the majority of my work is outside the city. I would say there is a ceiling here, because there are only so many times you can exhibit or be commissioned in any small city. However, for artists at an early stage in their career it’s a great place to be – great networks and artist-led activity and there’s got to be a better chance of being seen in a smaller place.
Do you feel it’s harder to gain artistic standing working in Liverpool instead of London?
I hope not. I certainly don’t think artists have to live/work in London to be successful. Things like the Northern Art Prize prove that there are many really successful artists working outside of the capital. Networks can be really important to getting your work seen and developing working relationships, but the right kind aren’t going to happen at boozy openings anyway, you might as well be in your (regional) studio making some work.
Is there enough formal discourse in the city regarding art? How do you think this could be improved?
I feel quite lucky that I have critical friends on tap at Royal Standard (my studio group) and that the artists there are all committed and interested in art generally. A group of us just did a crit swap with Suite Studios in Salford, so I’m looking forward to their return visit in February. There’s obviously a big shift when the Biennial comes to town and brings great speakers into Liverpool, so I do wish there were some more events like that during the odd years in between. But I suppose, like exhibitions, I expect to travel to seminars and talks; I don’t expect Liverpool to provide me with everything I need.
Recently I’ve been inviting people to the studio to look at my work, both curators and other artists. It never occurred to me to do that before I worked with Sarah from YSP, but aside from the obvious time constraints, people are interested to see new work. I think we have to instigate these things ourselves sometimes.
Since you have been practicing in Liverpool have you seen a shift in culture?
Inside Emilys Studio
I only arrived in the city at the end of 2007 so I guess I’ve seen things go a little quieter, especially since 2008. News this year has been worrying for the art scene, with cuts to some venues, the Bluecoat losing some of their specialist programming staff and the loss of CUC and Ceri Hand. Graduate retention is probably a huge part of that too; it seems like there was some retention a couple of years ago – 05/06 where really energetic groups of graduates were coming out of John Moores and setting up spaces, like Red Wire and Royal Standard for example. I haven’t really felt that energy since I’ve been here but Juan Cruz seems to be making a big difference at LJMU so I hope artists will decide to stay on in the city in the next few years.
Ceri Hand recently announced she would be moving from her Liverpool gallery – what impact do you think this will have on Liverpool as a whole?
I’m really sad Ceri is leaving and I wrote an entry on my a-n blog about it when she announced her decision. But, it’s great that she’s doing well enough to warrant a move and I’m sure she’ll go from strength to strength in London. I think Ceri’s influence has probably gone deeper in Liverpool than people might think – as well as gallery business she’s been incredibly generous with her knowledge and advice. Ceri has opened up the mystery of galleries a little for me and she’s just really energetic and enthusiastic too, which is always nice to be around.
You took part in the the Cooperative during last year’s Biennial. Do you feel this enabled better communication between artists working in Liverpool?
I’m not sure – like a lot of artist-led things, this was run on a shoestring and decisions had to be made quite last minute. I guess, as is often the case, there were a few people doing a ton of work so it wasn’t really a cooperative in that sense. I enjoyed my week in there, but you can only do so much in 5 days. The quick turnover also meant I missed lots of the work on display, so I can’t judge it properly if I’m completely honest. The live performance side of the Cooperative certainly seemed to be stronger than the visual arts though. But, I do think it’s important that artists organise these kinds of things – you only find out what’s going to work and what people are interested in through trying. Being next to the Biennial base was great, it felt like the project had good support and lots of visitors were coming in to the space, even if they didn’t always understand what it was!
Inside Emilys Studio
How do the books you make relate to the work you produce?
The books are as much a part of my work as the sculpture or drawing for example. I often make a book to be part of an exhibition or installation so it become like a detail of the work. I’ve been interested in artists’ books since my BA really. Gordon Brennan, who was one of my tutors at Edinburgh, introduced me to Atlas publications and I was smitten.
Do you have any favourites Zines/ artists books produced within the city?
Café Royal is consistently great and there’s always good printed matter coming out of The Royal Standard like the Drawing Paper or Bike Mag. I noticed a new one the other day – mentioned on Seven Streets – made about Liverpool’s Georgian Quarter, so I shall be keeping an eye out for that. Artists’ Books are a bit different to zines for me and I don’t see a lot of them in Liverpool. I have organised a couple of book fairs here, but I’m not really convinced that Liverpool has a big enough audience for them. Hopefully the Bluecoat’s new annual book fair event, being in the middle of the city, will bring a new audience.
Thank you Emily !
More information about Emily can be found on her website here