Artist Anne Hardy – In the Studio and on the River | TateShots

I construct environments that you enter
into Kind of an envelope, if you like which you can then be inside I don’t have a routine to the day really,
sometimes I might be sound editing sometimes I might be working with quite
big physical processes downstairs I often work with new materials
or try things out to see what they might do I always have to touch everything myself It’s very much about the process and it’s the process isn’t something which I can
delegate to someone else because a lot of the decisions are very intuitive So these are the first test pieces to
check if it works technically If this works then we’re
gonna pull some really big ones I just collect a lot of things in the
beginning, I’m not really interested in things that already display their value It’s about how things come together that become something interesting A lot of the things I work with are the leftover materials They’re leftover things that
haven’t really got a particular purpose or use so they’re free to become
anything And I think the bits of space that I’m interested in are also like that
they’re the leftover pieces of space Like if you think of the city a bit like
the sea and then you have these eddies and corners where things get stuck and get
left or the tide goes out and things are left there And I think the materials I
work with are those kind of things which are in a way, I think of a bit like
the unconscious – of the collective unconscious of the city somehow It’s like our memories or our – It’s like all the things that you
have deep in your head, you don’t really look at them most of the time but they
form you as a person This is as much as my studio as my
the studio is a studio It feels very peaceful doesn’t it in a way but as soon as you put
headphones on when you’re recording you just hear so much stuff These places I really like the actual
studio in terms of the thinking space and… gathering space I suppose because
they’re full of unexpected encounters or accidents or things that you don’t
anticipate Drifting down here it’s quite meditative Drifting’s like a really
nice sensation isn’t it because you’re making progress but it’s also out of
your control To get everything done there needs to be
quite a clear structure but then within that I like to allow processes to run
their course and to allow accidents to happen I can’t ever say exactly
what something will be until it’s finished and that will only
happen in situ I’ve often observed the work at a distance to see how
people relate to it, how they react to it how they move through it I went in one
day in one of the gallery guards, he said: ‘You can’t believe what I saw yesterday,
there was a 16-year-old girl weightlifting with your concrete. I can’t
believe that this happened’ And he was shocked because it was a gallery and he was like people know that they shouldn’t touch things in the
gallery And that’s true but in another way I was quite thrilled by that
reaction because the fact that she’d done that meant that she had totally embraced –
she didn’t feel like she was in Hayward Gallery anymore I guess everything that I do might be focused towards creating this
particular atmosphere So you can of course see an image of it and you can
read about it but you can’t really understand what it is unless you’re
within it and that’s the main thing about this works It’s the feeling of being in them

9 thoughts on “Artist Anne Hardy – In the Studio and on the River | TateShots

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