Making the film for 'DaDa Fest 10 International'

The film maker Mark Morreau and I were commissioned by 'Dada Fest 10 International' to create a film of me drawing music. Mark and I decided to film me, with time lapse, from above, capturing my movements and the drawing as it emerged around me. There was also another camera at 'ground level' to record my facial expressions. Below are photos of the making of the film, which will be shown on BBC Big Screens Nationally from the 18th of November until the 3rd of December, so wrap up warm, find a giant outdoor telly near you and enjoy!
BBC Big Screens Locations
DaDaVisions New Films
Mark Morreau
Naomi Kendrick Music Drawings on flickr

The venue for filming was http://www.skylightcircusarts.com/ a lovely big space full of circus paraphernalia

The big set up, making my usual preparations for drawing look effortless

Essential items, the heater, and a boombox to play the hip hop compilation album I would later draw twice.

 

The beautiful crisp white and enormous paper, rolled out and waiting for me. Tempting and intimidating all at once

A 'mock' music drawing used to test the exposure on the cameras.

The genius 'Genie', with mark using it to secure one of the cameras 4 metres above my head

Just after completing drawing one

Given the large scale of the finished drawings I recommend you view them big, by following the links below

LARGE VERSION 'Hip Hop for DaDa 1'
LARGE VERSION 'Hip Hop for DaDa 2' 

 'Hip Hop for DaDa 1' 262cm x 276cm

'Hip Hop for DaDa 2' 256cm x 237cm

Neon Ska Trees and a Dirty Rainbow

'Neon Ska Tree' Ska full album music drawing, 134 x173cm

Arts Council Funding & Dada Film
A bit of good news in a bad climate! The summer of admin and furious drawing seems to have paid off, ACE have accepted my application to develop my practice, with a focus on music drawings. This includes the funds to carry out a participatory Music Drawing event at 'Band on The Wall' in collaboration with the general public, musicians, dancers and using silent disco equipment. The Event will be on January the 27th 2011, watch this space for details!

I have also been commissioned by 'Dada Fest 10 International' to make a short film in collaboration with filmmaker Mark Morreau. Mark, who interestingly has amounst his broad experience, filmed many circus performers, will be filming me from above and ‘ground level’ as I draw an album length drawing of a selection of hip hop. The film will be shown Thursday 18 November – Friday 3 December on BBC Big Screens Nationally.
http://bandonthewall.org/
DadaVisions link

Drawing with a Dancer

Playing with music drawing and dance (One) from Naomi Kendrick on Vimeo.

Dancer Gemma Connell and I have been exploring links between drawing music and dancing. We have drawn music together, so Gemma can understand how it works, and for me to discover more about how people respond to drawing music. My response to seeing Gemma dance in the film above was to say "How you look is what is happening in my head when I draw" I do not imagine myself to be dancing, or try to. Watching Gemma is like a visualization of how I feel when drawing, she looks as if she is consumed by sound, where in fact her discipline means she is the one, if deceptively, in control.

Talking to Gemma has revealed a strong shared understanding, in terms of the mental processes found in both disciplines. It seems there are crossovers in the language you can use to describe both dancing and drawing. Gemma also said that from her perspective as a dancer it was “Amazing” as through drawing a song, rather than just 'hearing it' she had really listened, and learnt the song straight away. Usually she has to hear something several times before being able to create a dance around it, and even suggested dancers should use this as a method.
Dancer Gemma Connell

'Untitled' Full album drawing, 'Plastic Beach' by The Gorillaz 89 x 114cm

New Drawings

'Brian Eno track 1 part 1' A1 aprox

During a recent conversation, in which I was trying to get over the hurdle of articulating the process and defining what music drawing is. I used the expression ‘hand to mouth’ a very sensory sounding term though with negative connotations. Perhaps it is my dyslexic processing but this term still feels like it fits. Drawing music forces mind, body and meaning, to pull together and work simultaneously.
I am expressing something through making a visual artwork though my 'subject', sound, has no visual form. What I am actually drawing is the experience of listening, what that evokes in me. I am in effect removing symbolism. Instead of using familiar imagery to represent my emotional state and experience of something I am drawing it directly, in real time, 'hand to mouth'. Sometimes drawings don't 'work', after wards I can recognize in a drawing where I have lost focus or chosen materials unwisely. This is where vision comes back to the fore, and repeat drawing and careful editing become an important part of the process.

'Hallelujah, Jeff Buckley' A1 aprox

The drawings I have been doing over the summer have fallen in to two categories, 'individual song'' and 'full album'. The 'Individual songs' are by their nature faster, which can be thrilling. And I tend to work on a smaller scale, making the most of the limited number of marks one song can 'hold'

The ‘full album’ drawings are much more physical, often exhausting to do. I position myself on the floor in the center of a huge piece of paper, and draw along, around and between myself whilst focusing on an hour of music. There are current arguments within the music industry for listening to whole albums rather than individual tracks, as the itunes generation tends to do, the same debate could be applied to my drawing process. Working with an entire album is more like going to a concert, or club night. You become absorbed by the whole, rather than a series of individual items. I begin to merge with the drawing, visually if you were to watch me do it, but also in the resulting drawing which reveals the bodily experience that occurred during its making. This is an aspect of my drawing that I have found people are particularly interested in. I am not a dancer or performer but people are drawn to the idea of seeing me in the act. Interestingly for me, when in that act (and as my participants have and will find) you have little awareness of your outer appearance. The place in which you draw is entirely inside yourself.

'Untitled' whole album drawing 'Stories from the city, stories from the sea' by PJ Harvey. 135 x 175cm

'Dirty Rainbow' Whole album drawing 'Panic Prevention' Jamie T, 135 x 170cm

To see all recent drawings...
Naomi Kendrick Music Drawings link

Photography by Andrew Brooks
http://www.andrewbrooksphotography.com/

Twitter & Facebook Music Drawing Requests – Send me your songs!

Twitter Music Drawing request - 'Debaser' by The Pixies

I have recently become a tweeter, unsure of having anything useful to say I came up with a way of making use of it, that has now become a new method of participation for music drawing. People send me a tweet, or face book comment with a song or album they would like me to draw. I find the music on spotify, draw it, and if successful tweet or facebook a photo of the drawing back.

Twitter Music Drawing request - 'Frankie's Gun' by The Felice Brothers

At times it has felt particularly exciting, like the fastest ever commission or exhibition when I have been able to draw and send the photo back within an hour. However life then takes over and now I have quite a backlog to get through, but my tweet is my bond and they will get drawn. It has also been a great way of sourcing new music to draw, and in the cases where I know the person who has sent the request, has provided an interesting insight. Whilst drawing someone’s song I find myself thinking about why they chose it. This pondered meaning merges with my own newly formed, or existing attachment, to the song whist I draw.

If you would like to give me a music drawing request just send me the title of a song or album link to facebook, twitter, or leave a comment here!
http://twitter.com/NaomiKendrick

And to see more drawings...
Naomi Kendrick Music Drawings

Manchester Weekender & AND Festival

Thanks to the vibrant creative hub that is Manchester I have been able to see/hear a few things recently, as part of ‘The Manchester Weekender’ that have left me very inspired. The first was ‘Kryso & Kashiwagi…in the mix’ a performance at 'The Whitworth Gallery' in which Artist Naomi Kashiwagi and DJ Matthew Kryso performed an amazing set combining the artist use of wind up gramophones with turntables.

Unfortunately my obsession with music does not extend to the technical side of things, and I get the feeling if you knew more about this and how each source of sound was made you would be more awe struck by the set. However I loved it, because it sounded good. It made me want to jump in front of them and draw it, just as it made others nod their heads and tap feet - as much movement as felt acceptable in a gallery rather than club setting. This unusual setting enabled a very indulgent observation of the two performers. Had we been in a club we would have been lost in our own worlds, as it was we got to see the lost in theirs. This like every other live performance I have seen captivated me, the music takes over their faces, in concentration, and their bodies through compulsive bum wiggling and head nodding throughout.

Also brilliant, and part of 'AND Festival' 'The face visualiser' and 'Shrink' by Lawrence Malstaf, whose artist's talk revealed a fascinating body of sensory and participatory work. We also heard from the participants he had 'shrink wrapped' moments ago, it seems the best experience of the night, to everyone's surprise, was theirs.

Follow the links below for more info
Artist Naomi Kashiwagi
AND Festival 'The Face Visualiser'
Artist Lawrence Malstaf

'Making Conversation' - Workshop Profile

'Speed dating' with sensory questions

'What is Making Conversation?'
‘Making Conversation’ is a series of workshops that I run at ‘Manchester Art Gallery’ roughly three times a year. The workshops take place once a week in three-week blocks. For the first week we visit the current exhibition, discuss our personal responses to it, and the wider issues the work touches on. The participants then discuss what they would like to make in response to their experience of the exhibition, including any new techniques they would like to try. Over the subsequent two weeks the participants create work, often collaboratively, and I help facilitate this. I will also introduce some short activities that link in with themes the participants have chosen to explore. Over the course of 'Making Conversation' the work participants have produced has varied enormously, for example: performance, creative writing, photography, sculpture, drawing, digital art.

Creating sound art with dictaphones inspired by Bruce Nauman's 'Raw Materials'

"We Love Naomi" from Naomi Kendrick on Vimeo.

How it works
I plan each ‘Making Conversation’ by combining the themes and art forms present in the current exhibition with my own focus on muli sensory and self-directional experience, which is present across my entire art practice.  I provide audio description as we go around the exhibition and whenever else required. I use other sensory methods, such as sound effects, objects, taste and smell to provide further, multiple ways in to the themes of the exhibition. I take care not to influence the opinions of participants when it comes to their views of the exhibition and decisions about what to make, and encourage volunteers working with me to do the same. My role is to build the confidence of participants, introducing them to new materials and techniques and ultimately to facilitate independent creativity and group discussion.

Generating random questions with a dictionairy for mail art

Open Doors = Great Conversation
I established the workshops in 2006 with the invaluable encouragement and support of the Adult Learning Manager at the gallery, Meg Parnell, and more recently her job share colleague, Kate Day. ‘Making Conversation’ was originally aimed at local visually impaired and blind people.
Over the past couple of years Meg, Kate and I have actively worked to broaden the Making Conversation audience. This has not just been about increased numbers, but specifically to advertise it as ‘open to all’. Our reason for this, successful, shift in marketing is our shared belief (with ‘Making Conversation’ participants) that audiences should not be separated out because of a disability or social ‘category’ but rather should be free to select their events because of personal interest. There are for example people who attend the Galleries programmed audio described tours, but do not come to ‘Making Conversation’, both offer a sensory approach to the exhibition, but, and it sounds obvious, some people want to make and some just want to listen.

‘Making Conversation’ now consists of an established group of regulars who have been coming since 2006 and new participants; together they make up a diverse group of visually impaired, blind and sighted people with a relationship to art that varies from the professional to very limited previous contact. Meg and Kate advertise the workshops through gallery publicity, including a notice in the exhibition space, through ‘Henshaws’ (a local organisation for blind and visually impaired people) and by contacting regulars directly by phone or e-mail.

What it’s like for us
The diversity and enthusiasm of ‘Making Conversation’s’ participants makes it hectic to run at times but also a great social situation, full of rich discussion and personal discovery. That goes for me as much as for the participants. The feedback we have had from participants themselves has been very positive; here is some feedback from Gary a participant since day one of ‘Making Conversation’.

‘Over the workshop lifetime I have found participation fun and a relaxed atmosphere, a wonderful opportunity to meet like-minded individuals who equally share an  interest  in the exhibitions and artwork at Manchester Art Gallery, who provide a valuable social amenity.
And an excellent opportunity to develop social and communication skills bringing together groups of individuals from diverse backgrounds who in many cases feel excluded from society and therefore unable to participate in activities non-disabled members of the public take for granted.
I feel that the Making Conversation workshop’ is also an excellent opportunity for disabled (particularly the visually impaired like myself) to gain equal access to not only physical exhibits and artefacts but also actual human contact and discussion, in order to interpret the exhibits in a unique perspective.
I undertake voluntary work twice a week on a regular basis at The Imperial War Museum and the Making Conversation workshop’ give me an excellent opportunity to relax and enjoy my hobby activity in a stress free zone’

All images are from 'Making Conversation' Sept 10, working with the exhibition 'Recorders'
To see more examples of 'Making Conversation' follow Manchester Art Gallery's flickr links below
Making Conversation June 2010
Making Conversation February 2010
Making Conversation July 2009

Shadow work

Participants create work to interact with the exhibition 'Recorders'

Participants create work to interact with the exhibition 'Recorders'

Participants create work to interact with the exhibition 'Recorders'

‘Hands On’ – Practice Sharing & Creative Consulting

What is ‘Hands On’?
I have been selected to work for ‘Hands On’ a project created by Access to Heritage (part of Liverpool Mencap) Managed by Artist Ticky Lowe, who increase opportunities for people with learning disabilities to create and access art in and around Liverpool. Links to Access to Heritage and other projects I have carried out with Ticky.
http://accesstoheritageticky.blogspot.com/
http://getclosertowildflowerseeds.blogspot.com/
http://tickylowe.com/banquet-0
http://tickylowe.com/puddings

Access to Heritage - Naomi Kendrick - Get closer to wildflower seeds

‘Hands On’ focuses on day centres in Knowsley for people with learning disabilities and aims to introduce support staff and their “clients” to new creative activities and give them the confidence and inspiration to continue using their new found skills them selves. This is also an opportunity for myself and the other artists to increase our experience of working with people with learning disabilities.

Access to Heritage - Naomi Kendrick - Banquet

My Practice Sharing & Creative Consulting
This project along with one in development at Fabrica Gallery, Brighton. Sees the realisation of my desire to share my experience and methods in creating multi sensory, self-directed workshops and participatory events for diverse audiences. This work grows out of more informal mentoring, where by arts professionals and recent graduates have consulted me and participated in my workshops as a way of increasing their own understanding of working with diverse audiences. It enables me to draw on methods discovered in an aspect of my own training, with Cemea (centre for active education methods) France. As well as my recent M.A by research through practice ‘What is a multi sensory and participatory arts practice?’ 2009.
Cemea link 
 

What I will do during ‘Hands On’
My role in ‘Hands On’ is to co – run training for support staff, including providing them with a workshop and then carrying out a further 10 workshops for “clients” and support staff together. I recently had my first day of work on the project, where I joined the two other artists working on the project, and Access To Heritage at a day centre. Here we were given an over view of the project, discussed what needs to be addressed during training, with Jerry and June, two fantastic support workers. And had the indulgent experience of participating (for a change!) in a workshop ourselves, along side people from the daycentre – an affirmation that the most effective method of finding out is to participate.

I found our discussions with Jerry and June the support workers particularly useful, and was keen to contribute to them. We discussed, from the perspective of artists and support workers the following;

-What our roles where within a workshop situation
-What are responsibilities were and were not
-What works and doesn’t work in a workshop involving artists and support workers
-How we would engage the support workers and build their confidence to use creative activities in their work on a regular basis
-Support workers potentially enjoying a workshop ‘too much’ by creating something for themselves and rather than enabling the ‘client’ to do so
-Support workers finding ‘creative solutions’ within an activity rather than worrying about right and wrong
-The importance of everyone involved knowing what will take place prior to a workshop and evaluating afterwards -ground rules for the training such as not using jargon, there are no silly questions.
And much more…

The spoon dolly I made during the 'Hands On' workshop

The “Art” issue
Though most support workers are open to the idea of visiting arts venues and doing arts activities, part of the training we will provide has to take into consideration those who are less confident with the term ‘art’ and are worried about ‘right and wrong’ or what is achievable within this. I find it interesting that this crosses over with my experience of working alongside arts professionals. Here the right and wrong aspect is more likely, though not exclusively, to reference ‘types’ of workshop participants, namely what is the ‘correct’ way to engage people with disabilities in a gallery? Confidence building and the engagement of everyone involved in a workshop, appear to be key.

I am now full of ideas for my forthcoming workshop for support workers.  I realise I will need to show the breadth of what constitutes an art activity & engagement, to demonstrate that activities just need to be tried, to really know what works. And most importantly of all encourage creative and often intuitive thinking to find the right path, within a set of circumstances involving individual participants, that will differ every time - for this reason alone there really can be no right or wrong.

In preparation for my forthcoming training workshop for support staff for the 'Hands On' project, I have been asked, by support staff June and Gerry, to identify the 'good' and 'bad' experiences I have had carrying out workshops for with people who have learning disabilities. This information will be used for discussion during the workshop.

Good

• Working with fantastic participants and seeing them enjoying themselves through making/experiencing art

• Participants showing me new things about materials, whether they are appealing, not appealing, and how many things they can be used for/turned into. (this is particularly good for me as I use lots of different multi sensory materials in my own work and I can get an insight into how people will respond to them)

• Discovering more about each participants personality as they discover new materials and make things.

• Working with great support staff/group leaders who understand and support what I am trying to achieve in the workshops (particularly the importance of process i.e exploring materials and objects as well as the actual making)

• Working with great support staff/group leaders who find creative solutions (using their knowledge of the participant) that help participants to get the most out of their time with me.

• Working with great support staff/group leaders who communicate what participants are interested in, like or dislike, enabling me to have a better working relationship with that participant.

• Support staff/Group leaders being confident in asking me questions about the activities I am running during the workshop.

Bad

• Sometimes groups are late/have to leave early without much notice so I have to adjust the workshop content quickly.

• Not knowing the specific needs/interests of a new group of participants

• Support staff/group leaders making work 'for' the participant or just for themselves, instead of assisting the participant in the making process.

• Support staff/group leaders thinking there is a right or wrong for participants making art work and being fixed on the idea of a 'finished product' rather than the value of process (making and exploring materials etc)

• Support staff/group leaders leaving me alone in a room