Raimi Gbadamosi's report

Raimi Gbadamosi

Objectives: an in depth artist's statement about the practice undertaken during the residency

The main objective I set myself as the residency started was to write a story a day. This was important to me, I did not want a completely open-ended situation. I sought some order before the possibility of complete freedom. The other objective was to learn as much as possible, to look closely at all that was new to me, and I knew there was lot to learn. It was too easy for me to assume I had a handle on things based on the myths and narratives available to me. Realising I would live and work alongside other artists also made me aware of peculiarities my own practice brought into focus when it came into contact with others. It was also a time to engage solely with others and art, I knew I was here to interrogate my practice as completely as possible, Recognising this privilege of time and means helped me both focus on making and relaxing into the comfort of new experiences I knew would, and wanted to unfold.

I gradually came to focus on The Investiture of The Republic as a means to an end. It allowed me to explore the manufacture of objects while scrutinising the political structures that now surrounded me.

Alongside this I dedicated myself to writing a story a day, trying to keep my promise to myself alive, this allowed me to look at each day with a level of objectivity, I was able to assess my experiences, at least the experience I decided to latch on at that moment. It was the collection of fragments which produced the impetus for new thoughts and considerations.

Conclusions and achievements: extent to which the residency was successful, contribution of work to theoretical and/or practical knowledge, significance for the artist, personal evaluation of outcome, including unsuccessful as well as successful elements, contribution to the artist's development.

Looking back on the residency, I found my time extremely expanded, I guess this is another way of saying that I achieved more than I imagined I would, and this is not contradicting my deliberate lack of projection as stated above. I did write my stories, published a book: A Story For Every Other Day, produce a series of drawings, made a limited edition print, took part in The Lizard Lounge performance, produced medals for The Investiture of The Republic, had the Investiture, gave talks, and this was just the studio based activity. Meeting with new artists, breakfast debates (where conceptual concerns were thoroughly thrashed out), and midnight discussions (where private and pressing questions were aired and resolutions were mooted). Seeing a new city as a ’local’ was an education in itself, discovering the sublime whist seeking the standard is always exciting. I was able to throw myself into an exciting and vigorous art-world; I had the time, inclination and energy. This was incredibly developmental for me, It helped me address my own practice as an existing entity that required time and effort to nurture. The pressures of living have the effect of making a host of pressures central to one’s existence, and the residency helped reset my priorities.

It was disconcerting at points when I found myself needing to address new departures, I needed to convince myself of the sanity and ‘correctness’ of my experiments, realising that it was only in pushing towards the possibility of failure that I would make any inroads into the opportunity the residency was, and represented. Discussing ideas with one’s peers as a continuum (rather than a singular or sporadic incident) was very useful in extending concepts. Taking ideas to bits in a ‘safe’ environment, being able to honestly share anxieties were very successful aspects of the residency for me. Knowing there was a number of committed people propping up my ‘adventures’ helped immensely. There was so much to learn at the beginning of the residency, as banal as getting across the city, that knowing there was ready help at all times made explorations easier to envisage.

Taking the performance element of my practice to the fore was great for me, this is one thing that sticks in my head, to hold an audience on the strength of the immediate helped to assert in me that there is value in the concerns radiating inside me. I know that often one’s own obsessions do not necessarily stand as communal concerns.

Even while understanding the rationale behind the duration of the residency, it still feels like a short period. There was so much to confront in a short space of time, and this includes the self, that six weeks flew by it seems. Perhaps it would feel the same way after eight or twelve weeks, but one would know internally that there has been a goodly period to engage. On the other hand there is nothing like pressure to release the best in the self.

Publications and dissemination: Please do send us samples of any publicity that may result as a consequence of the residency. In addition do keep us posted on projects that may develop out of or link to the work done during the KHOJ residency.

The artist's future plans.

I am working on two commissions; one with the Arnolfini in Bristol, and the City Museum and Art Gallery in Plymouth. As well I am working on a curatorial project in South Africa. I am planning another Investiture of The Republic in London, which is a direct consequence of the residency.

Residency Report:

I felt the ‘coming down’ period after the show was too short, all of a sudden there was time and space to put all the ideas and influences of the residency to use, but rushing around took the fore.

Raimi Gbadamosi