Every time I look through the amount of work I’ve produced, which in digitally accessible form is mostly since 2006, I realize what an insane person I’ve been. If I could afford to take a few years off, it might do me some good, but on some level, I must feel that I have to be productive and ‘perfect’ in order to be worthy. Sad.
I’ve always loved and been fascinated by London, as well as it being the city of my birth and the place where I live and work. I almost view it as a friend who is constantly present and in whose company I can never feel truly dejected or alone. For me, this kind of relationship lends the city human characteristics and I thought it might be fascinating to explore what these characteristics might be and how they contribute to the overall image and identity of the city.
I began to think about relations between architects and artists on a visit to Paris. In areas like Montparnasse, there’s a concentration of stylish studio-houses around the Parc Montsouris, many of them designed by architects like Le Corbusier, Perret and Lurçat. Twentieth-century architects are often said to have ignored their clients’ wishes in order to pursue their own ideas. But could that be true in buildings which accommodated particular needs and ways of working? They made me wonder about the importance of the artist-client, and whether the studios built for them actually represented a joint project.
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