Sophia Moseley, artist and writer, updates us on her recent projects, works and writings. Her last instalment from the middle of December 2013 can be found here.
I am in the midst of a bookbinding course at Book Works in Shoreditch – this tiny, chaotic bookmakers and publishers very near to Great Eastern Street, who specialise in collaborating with emerging artists to create new works and projects. The class is very small and is mainly made up of photographers and young artists. The course gives me a chance to envisage how I want to produce my own publications.
My second course, Furniture Making, at CASS, which is part of London Metropolitan University, takes place on a Friday. After one of these classes one day, I nipped across to the Whitechapel Gallery. I’d been waiting days for payday to come around, so I could spend an afternoon marvelling over the works of German Dada artist, Hannah Höch.
Previously only aware of her most famous works, which were produced during the Weimar period in Germany and depicted the failings of the Weimar Government. For the most part , their style and manner is very humorous. She reminds me very much of Louise Bourgeois, Dorothy Iannone and Yayoi Kusama, even Ray Johnson, because all of these artists are to me intrepid and inspiring, and represent something I would like to bring into my own work. I think it is a rare occasion when an exhibition fully captures all of your attention, but these are some of the few artists who have managed to so for me.
I find that although both my chosen courses appear as two separate entities, they actually capture and bring together all of my interests and the projects I am currently working on. I am very interested in the concept of appropriating everyday objects and spaces. To me, looking at the form of a publication and transferring it into the realm of these everyday, larger objects has become a huge source of entertainment for me.
Such fascinations makes my work in a public-facing job, as dull and frustrating as it can be as it’s not in line with my chosen profession, manageable. The job provides a great platform for observation, and for ideas and characters to be considered and pondered over. To such an extent, in fact, they have inspired me to start writing another collection of short fiction, poetry and prose entitled ‘KORWA’.
What is interesting about being a writer is that you have the ability to experiment with language and have free range as to how you depict a character and their dialogue, even if it means changing the spelling or arrangement of a word to illustrate an accent.
Jack Kerouac reminded me of this notion in The Portable Beat Reader (ed. by Ann Charters). The book collects writings from the most prominent writers of the Beat Generation – Kerouac being one of my favourite members of the movement. In his book Lonesome Traveller, he writes with such freedom and vigor, capturing the accents and characteristics of the cast in a much less regimental way than other authors I have read. Amongst other members of the Beat Generation, such as Allen Ginsberg and William Burroughs, Jack Kerouac is a pioneer in creating an abundance of the most beguiling tales.
Here is a sample text from my latest publication ‘KORWA’, which is currently under construction.
“Like puffed up frogs they moaned and writhed until the hunger that was
beneath their eyes leaped out at the nonplussed crowds, the vision of these
ungrown kids in uniforms and school bags and lunch boxes filled with
stinking brie and moulding prunes squawking with violent mouths to feed they
feast upon the baby bream with slapping lips and rotting breathe, they curl
their fingers at you in gest to scuttle and crawl beneath their putrid flesh..”
Article by Sophia Moseley