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Wendy Daws: A touching story

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My mum has been on my mind a lot lately.

She has just returned home having spent weeks in hospital and then rehab, after she fell over and broke her hip.  We’re now thinking through what needs to be in place for her so that she can continue to live independently into her nineties.

Before her accident, during the lockdown, we used to joke with mum that she had been socially isolating for the last ten years!  And, actually, that’s not far from the truth. Macular degeneration has left her with very little vision and that, along with poor hearing, makes it difficult for her to recognise faces and to follow conversation in social spaces. So, she prefers to stay at home listening to her audio books and receiving the occasional visitor.

Wendy Daws
The isolation that some people with sight loss experience is something that Medway-based artist Wendy Daws has been thinking about for a long time. For nearly 15 years, Wendy has been working with groups of blind and partially sighted (BPS) people, as Lead Artist Volunteer for Kent Association for the Blind (KAB). https://www.kab.org.uk/  KAB is celebrating its centenary this year.

Wendy runs art groups in Medway https://www.facebook.com/KABmedwayartgroup/ and Gravesend https://www.facebook.com/KABGravesendArtGroup/ and before lockdown, was about to start a third group in Canterbury.

Wendy Daws: Copper, Latex, Canvas Blanket, 2003
Copper, latex and canvas blanket

Discovering the value of touch
By training, Wendy is a sculptor.  She grew up in Hoo in Kent, and after leaving school at 16, worked in a series of admin jobs, taking City & Guilds courses at night school. Uninspired by classes in book-keeping and shorthand, Wendy switched to pottery and sugar craft instead and then, aged 29, she left work altogether to go travelling. When she arrived back in the UK ten months later, Wendy was ready for a change.

‘I was determined not to go back into admin work,’ she remembers. ‘I wanted to do something more creative and be my own boss. I did a City & Guilds welding course and doing that convinced me that I just wanted to learn more.’

In 2003, after what she refers to as ‘three mad years hoovering up art courses and being very skint’, Wendy got a place at the University of Brighton to study for a degree in Three Dimensional Craft and Design. And in her 2nd year, she took an artist residency at Nagoya University of Fine Art in Japan.

Wendy Daws: Copper, wire, latex and canvas blanket, 2003
Copper, wire, latex and canvas blanket

‘I wanted to go to Japan because I was interested in Samurai armour,’ she explains. ‘I wanted to know how it was made, how all the elements are held together.’

While she was there, Wendy learnt an etching process, in which an image is transferred onto a copper plate and then put into acid, to leave a raised outline. It was a seminal experience for her.

‘I became really interested in the potential of that raised, tactile line,’ Wendy says. ‘It brought back memories of when I was about 14, on a school trip to the National Gallery. I was drawn to a luscious red cloak in one of the paintings. I remember reaching out my hand to touch it and being told off by one of the guards. And it got me thinking about how we’re not allowed to touch things in museums and art galleries – and I completely understand why we can’t – but I wondered, what if you’re blind, what is there in galleries for blind people?’

Wendy Daws: Copper and thread blanket, 2003
Copper and thread blanket

Back at university, Wendy developed the etching techniques she learnt in Japan and started to use them in her sculptures. She describes how she started to make miniature ‘blankets’ from little pieces of copper stitched together on latex.

‘They were quite tactile but they had holes in them, so you’d never be warm, you’d never be cosy,’ Wendy explains. ‘I lost my mum when I was 20 and, in hindsight, I think I was somehow trying to recreate a hug from her. Something to wrap myself up in.’

Another key influence on Wendy’s art at this time was the work of South African artist, Willem Boshoff, whose exhibition Blind Alphabet C was held at the Brighton and Hove Museum. https://www.willemboshoff.com/blind-alphabet-feature  It was groundbreaking show, designed to improve the accessibility of museums and art galleries to people with sight loss, and to help redress the discrimination they experience.

Wendy Daws: Cotton and thread blanket, 2003
Copper and thread blanket

Boshoff’s exhibition featured a series of lidded, black mesh shoeboxes, mounted on plinths. Inside each box was a carved wooden sculpture, inspired by an unusual word beginning with the letter ‘C’. For example, ‘cassidiform’, which means ‘helmet-like’ and cetacian , which means ‘whalelike’. The mesh box prevented fully sighted visitors seeing the contents. At best they might be able to make out blurred shapes. Detailed explanations of the contents were provided, but they were written in Braille. To appreciate the exhibits, sighted visitors had to rely on visually impaired guides and museum staff , who were on hand to help them.

The intention of the exhibition was to give sighted people an insight into how difficult it is for those with sight loss to appreciate public art. It also aimed to promote understanding of the ‘social model of disability’, where people are disabled by the barriers that society puts in their way, and to prompt discussions about how these barriers might be broken down.

‘I was absolutely gobsmacked by the exhibition,’ Wendy remembers. ‘It just embodied everything I’d been thinking about.’

Totally Touchable exhibition, Blake Gallery
Totally touchable art

So ignoring her tutor’s suggestion to explore Samurai armour from a feminine perspective in her dissertation, Wendy wrote about her new passion – the value of touch in art.  Her dissertation, The Value of Touch: Blind Alphabet C and Museum Approaches to the visually impaired visitor was published in 2004.

‘What I took away from my time at university, was a determination that any art that I made would be art that could be touched,’ Wendy remarks. ‘And if it can’t be touched, I’ll think, how can I make it accessible?’

Memory blankets

Wendy Daws: Memory Blanket, Acrylic and shadow, 2004
Memory Blanket ©Simon Sandys

After university, Wendy took a part-time job in Francis Iles’ art shop in Rochester, Kent https://francis-iles.com/ where she got to meet other local artists.

Now sharing a studio with illustrator Mark Barnes, https://www.facebook.com/MarkBarnesIllustration/ Wendy returned to etching, replacing the expensive copper etching technique she had used previously, with a cheaper alternative, using photocopied images on acetate.

‘I really liked the acetate with the black line, and just holding it up to the light to see the shadows it created,’ Wendy remembers. ‘So I went through lots of family photos and traced the outlines and started doing this shadow work with laser-cut clear acrylic. I’d then sew those together, in grids, in the same way that you’d make Samurai armour, except mine had gaps.

Wendy Daws: Memory Blanket, Acrylic and shadow, 2004
Memory Blanket ©Simon Sandys

‘You can’t see the shadow line until it is lit and then it is quite striking. The depth of it makes it look as if the photographic outlines have been drawn onto the wall with a pencil. And through studying the projected images, other people could discover stories of my family’s life.’

Wendy’s ‘memory blanket’ installation Memory was exhibited at Rochester Art Gallery, in 2008. This video combines time lapse and real time footage that documents the process. https://vimeo.com/15401562  The exhibition was a success but Wendy had begun to think about her future as an artist.

Wendy Daws: Memory Blanket, Acrylic and shadow, 2004
Memory Blanket ©Simon Sandys

‘I was really nervous about describing the detail of my memory blankets in writing because it was so personal, but I was happy to talk to people about it,’ Wendy explains. ‘So I was in the gallery a lot talking to people about my work, and there was this realisation that I didn’t just want to sell my own art, I also wanted to help others to make art.’

KAB Medway Art Group
It was about this time that Wendy started volunteering for Kent Association for the Blind and established the KAB Medway Art Group. The group, which meets regularly, attracts people with a range of visual impairments. They explore a variety of art forms – painting, sculpture, poetry, graffiti, print making – using different generic and specialist materials and techniques. They also visit exhibitions together, invite inspirational speakers and get involved in high-profile group art projects.

KAB Medway Art Group, Through Our Eyes, Royal Engineers Museum ©Gary WestonYou don’t need to be ‘arty’ to join in. Wendy starts everyone off gently, providing a cup of tea and a biscuit, sitting new members next to a ‘buddy’, and selecting materials and tasks where they are likely to succeed. In this way, she gradually integrates them into the group and builds their confidence.

When someone joins the group with existing artistic skills or transferrable practical skills, Wendy is quick to build on them. She tells of how she encouraged one man, a former  gas fitter, to use his welding skills to make copper pipe sculptures. A few years on, he is still a member of the art group, but he is also a successful sculptor, selling artwork created in his shed at home.

Wendy Daws: The Value of Touch. KAB Medway Art Group‘Over time I’ve seen everyone’s confidence grow,’ Wendy says. ‘Everyone is happy to pick up different materials and to try out different ways of using them – and to show me other ways of creating.’

‘[It has] opened the door to new ways of expressing ourselves – be it painting, poetry or music,’ says KAB Medway group member Brian. ‘Our first reactions have been “I can’t do that.” But thanks to the dedication of the artists involved we have found that we can do that… If you cannot paint small, paint large – use a 6” brush if need be!’

Wendy Daws: Clay carving Rochester Cathedral’s Baptismal Fresco ©Sara Norling
©Sara Norling

In 2010, keen to show off what the group could do, Wendy organised their first art exhibition Eyes Wide Open at Rochester Cathedral. They were given free rein to explore the cathedral in any way they chose. The artwork they created, inspired by their visit, was later displayed around the cathedral.

Following that exhibition, Wendy and the group received a commission to create a bronze tactile interpretation of Rochester Cathedral’s Baptismal Fresco by Sergei Fyodorov. The fresco, completed in 2004, was the first traditional fresco to be painted in an English church in eight hundred years. https://www.artandchristianity.org/sergei-fyodorov-st-john-the-baptists-frescoes

‘We ran workshops and studied the fresco to come up with ideas about what this tactile plate should look like,’ says Wendy. ‘Then I carved the fresco plate in clay, A2 size, and it was cast in bronze. And there it is, in front of the fresco, and it will be there forever more!’

By 2015, the KAB Medway Group had begun to get quite a name for themselves. They were invited to explore and respond artistically to the space at the Royal Engineers Museum in Gillingham https://www.re-museum.co.uk/ This too culminated with an exhibition at the museum called Through Our Eyes.

 

Wendy Daws: Value of TouchIn 2016, Wendy and the group took part in The Value of Touch, a collaborative sensory arts project with the Guildhall Museum in Rochester https://www.visitmedway.org/attractions/rochester-guildhall-museum-2132/ . This explored ways to make selected museum artefacts more accessible to BPS visitors.

After a series of object handling sessions led by one of the museum’s Collections Officers, the group created new artworks inspired by those objects. These were then displayed alongside the original artefacts, with accompanying large print and Braille guides.

That exhibition received more than 400,000 visitors in person and online.

Wendy Daws: Value of TouchThe unprecedented access to the museum exhibits had a profound effect on those involved in the project.

‘The whole project from the very beginning has been a wonderful discovery of the museum,’ one KAB Art Group member commented in the project report. ‘It’s been a privilege to have access to absolutely anything in the museum, we’ve only had to ask and we’ve been able to touch it, smell it, engage with all our senses, and this has led to such a rich exhibition for us.’

KAB Gravesend Art Group
Wendy Daws: KAB Gravesend Art Group 'Totally Touchable'As news of KAB Medway Art Group’s success spread, it prompted interest from BPS people in other parts of the county.

‘Some people from Gravesend said, “Hey that’s not fair! We want an Art Group too,”’ Wendy laughs. ‘But I couldn’t afford to volunteer in two towns so, together with Gravesham Borough Council, I wrote an Arts Council bid and we got some funding to do Totally Touchable, and that was the start of the KAB Gravesend Art Group.’

Wendy Daws: KAB Gravesend Art Group. Totally TouchableTotally Touchable (2016)  was an exhibition that gave the KAB Gravesend Art Group an opportunity to show the public their own ways of  making art. The group offered guided tours to sighted visitors, who were invited to wear ‘simulated spectacles’ or ‘sim specs’ so that they could view and handle the exhibits through the eyes of the people who created them.  You can hear from some of the artists and enjoy some of their artwork in this short video. https://vimeo.com/144599869

KAB Gravesend Art Group too has gone from strength to strength.

There is a statue of Pocahontas https://en.wikipedia.org/wiki/Pocahontas in the grounds of St George’s Church in Gravesend. In 2016, one year before the 400th anniversary of her death, KAB Gravesend Art Group collaborated with professional opera singer Tania Holland Williams and the RiverVoice community choir to present Reaching Out, an art exhibition and musical performance inspired by Pocahontas. This short video captures the project and the performance. https://vimeo.com/175844855

In 2017, Wendy was commissioned to create two bronze tactile interpretation panels of the Queen Victoria Diamond Jubilee commemorative statue in Gravesend market. As usual, she used the expertise of the Gravesend art group to  help come up with  the design.

‘I always try to find a way to include those often unheard in voices in whatever I’m doing,’ Wendy explains. ‘We visited the market when it was quiet and took moulds from the statue. We cast them in plaster and then the group decided what should be included in the bronze plaque, including the Braille that is part of it.’

Sensing culture
In 2018, Wendy applied for a commission to work with the Beaney House of Art and Knowledge in Canterbury, Kent https://canterburymuseums.co.uk/beaney/  as part of an HLF/RNIB funded project, Sensing Culture.

‘I was really keen to get involved with this project because it was everything my dissertation was about,’ Wendy enthuses.‘ It was about how to make the Beaney collections more accessible to BPS visitors, and by default, to all visitors.’

Sensing Culture. Image courtesy of The Beaney
©The Beaney

Out of that project, a third group, KAB Canterbury Art Group was born.

Highlights of the Sensing Culture  project and information about how galleries and museums can be made more accessible to visitors with sight loss can be found on the website  http://www.sensingculture.org.uk/.

The MESS ROOM
Wendy Daws: THE MESS ROOMWendy now shares a studio at Sun Pier House, in Chatham, with fellow artist Christopher Sacre http://christophersacre.com/website/Home.html and together, they have created the MESS ROOM, a not-for-profit organisation hosting artist-led projects, in partnership with local communities. http://www.messroom.org.uk/

‘Throughout my time working with blind and partially sighted people, I’ve always strived for us to have our own space, a studio where we can make a mess and leave our work here if we want to, instead of just being creative for two hours and then switching it off again,’ Wendy explains. ‘The MESS ROOM allows us to do just that.’

Wendy Daws: THE MESS ROOMWhile Wendy’s experience is with the BPS community, Christopher, who is deaf himself, specialises in working people with hearing loss. Last year, both communities collaborated on an art project exploring their experiences and identities, called My Self . The project and the exhibition of artwork, held at Sun Pier House, is documented in this short video. https://vimeo.com/373089157

Having her own studio at Sun Pier House has provided the space and opportunity Wendy needs to concentrate once again on her own career as an artist.

‘I get so embedded in finding opportunities for the groups, that my own artwork gets put to one side, so the aim in the future is that I do make more artwork for myself,’ she says.

Wendy Daws: THE MESS ROOM My Self project
My Self

The MESS ROOM has also provided space for the group workshops to evolve. Wendy and Christopher have started a new inclusive open arts day, Peer Arts, which, before lockdown, met every Friday at the MESS ROOM.

‘Peer Arts is a model of how things could happen,’ Wendy explains. ‘The only qualifying factor for coming to Peer Arts, is that you are a human. We want it to be completely inclusive. Absolutely anyone can join in. It’s a very relaxed day, and I plan to include this group too in other art projects that I do.’

 

Creativity in a time of coronavirus
The C-19 lockdown has brought a temporary end to Wendy’s group art activities, but not an end to her drive and creativity. She now has a new lockdown project Out of Sight Not Out of Mind, running in Gravesend, Medway and Canterbury. It is aimed at people with sight loss, and all generations will be invited to create artworks at home.

‘It’s a doorstep gallery,’ Wendy explains. ‘I’ll set up a Zoom account and contact everybody about making new artwork at home. If I need to take materials to them and give them a quick demo at the end of their path, I can do that.  At the end of their making, I’ll take a picture of them on their doorstep or through their window, holding their artwork. And then, later in the year, when the lockdown is lifted, we’ll have local physical exhibitions of the artworks.’

Wendy is also involved in two other projects at the moment and, if you want, you can get involved too.

She is now running workshops for the Creative Estuary team, on a theme of The Water Replies. https://creativeestuary.com/the-water-replies/ In this project, everyone living along the Thames Estuary is invited to keep a creative journal about what, for them, life is like living beside the Thames. There is no set format – journals can be completed with words, photos, drawings, collage, poetry, prose, lyrics and thoughts. There is still time to join in. So, if you would like to create your own journal, email info@cementfields.org and they will send you a blank journal, free of charge.

To inspire you, here is one created by Norma, which Wendy Shared on Facebook https://www.facebook.com/wendydawsart/videos/273768104042753/

And Wendy is also part of the creative team for the Fat Lady Opera’s current project ‘Persephone’s Dream’,  a digital/live hybrid opera that tells a story of withdrawal from the world. More details of how you can get involved in this project can be found on their website:  https://www.fatladyopera.com/persephone-s-dream

You can follow Wendy her activities and her groups and projects on social media

Wendy
Website: wendydaws.co.uk
Facebook: https://www.facebook.com/wendydawsart/
Instagram: https://www.instagram.com/wendy_daws/
Twitter: https://twitter.com/WendyDaws

THE MESS ROOM
Address:
Ground Floor, Sun Pier House, Medway Street, Chatham, Kent, ME4 4HF
Facebook  https://www.facebook.com/MessRoomMedway/
Instagram:  https://www.instagram.com/messroommedway/
Twitter:  https://twitter.com/messroommedway

KAB Medway and Gravesend Art Groups
Blog:  kabmedwayartgroup.wordpress.com

Duncan Grant: Portrait of my mum
Original – https://duncangrantartist.com/product/mum/
Print – https://duncangrantartist.com/product/mum-print/

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Luna Zsigo: Capturing emotional landscapes

Visit my gallery

Those of you that know me or who have been following me here or on social media, know that my day job (or more often my night job) is in construction on the roads. This involves a lot of time sitting in my van waiting for things to happen, and during that time, I doodle. I also doodle when I’m watching TV or listening to music. My Small Towns , for example start from a horizon line and I build out from that. In other ink drawings I’ll start with a ‘object’, say a mushroom or a shell, and expand the picture from there, never really knowing how the picture will turn out until it is finished.

Chatham-based artist Luna Zsigo describes doodling as a kind of ‘automatic drawing’. This is an approach to art that she, and many other artists before her have used as a starting point or creative stimulus for their art.

The key principle of automatic art is that the artist starts work with no preconceived idea of what the finished product will look like. Rather, the final artwork is inspired by dreams or emerges from the subconscious. The surrealists famously borrowed Sigmund Freud’s automatic drawing and writing techniques, which he used as psychoanalytic tools, to stimulate their art. They believed that creativity from deep within the subconscious was more powerful and authentic than that arising from conscious thought. They were also interested in dreams as expressions of unconscious feelings and desires.

Andre Masson automatic drawing
MoMA Andre Masson: Automatic drawing

MoMa (New York)  cites the work of French artist of Andre Masson (1896-1987) as examples of this approach to art.

[Masson] began automatic drawings with no preconceived subject or composition in mind. Like a medium channelling a spirit, he let his pen travel rapidly across the paper without conscious control. He soon found hints of images—fragmented bodies and objects—emerging from the abstract, lacelike web of pen marks. At times Masson elaborated on these with conscious changes or additions, but he left the traces of the rapidly drawn ink mostly intact.

Various forms of automatic art were also developed by other artists, e.g. Max Ernst  (surrealist collage, frottagegrattage) and Joan Miro. Later automatism played some part in the abstract expressionism of Jackson Pollock and others. Today it continues to inspire artists and over the past year has been a major influence for the artwork of Luna Zsigo.

After many years travelling and raising her family, Luna trained, as a mature student, in Art and Design at University for the Creative Arts in Rochester (whose alumni include Zandra Rhodes, Tracy Emin and Karen Millen). After graduating, Luna worked for eight years supporting students with disabilities to complete their creative studies. She now works as a freelance artist and has been re-employed by the university’s outreach department as a creative workshop tutor.

After leaving Art School, Luna’s early work focused on traditional portraiture, layering oil paint and glazes. ‘I’d always seen myself as a portrait painter and after college I went back to my comfort zone,’ she remembers. ‘I felt that I needed to prove to myself that I could still paint.’

While studying at University, Luna was inspired the glass work of Daniela Schoenbaechler. https://danielaschoenbaechler.com/work  She began painting quick acrylic portraits on acetate, fixing them to windows and photographing them against the dark skies. ‘Through this experimentation I found, interesting things beginning to happen in the negative space, where there was no paint,’ she explains. ‘Things would emerge, images I wasn’t expecting. It was as if I was looking beyond the physical self and into the emotional being, between the two worlds – it fascinated me then, and still does today.’

Luna Zsigo self-expression
Luna Zsigo: Self-expression through art

For a while after her studies, Luna continued painting portraits using traditional methods, but she felt constrained. She found she was painting the kind of art that people might want to display on their walls, rather than using her art to express herself. However, through discussions with a fellow artist, that changed. Luna realised that she could work differently, putting all of herself into her art. ‘These conversations gave me permission to express myself fully through making a mark – just putting my pencil on the paper and letting it move and having no idea where it was going to go or what it was doing,’ she explains. ‘My partner, showed me a video about automatic drawing, featuring a comic book artist called Moebius. https://en.wikipedia.org/wiki/Jean_Giraud Moebius used it as a discipline in his work. I hadn’t heard of automatic drawing until then, but I realised that that was what I was doing.’

Years previously, Luna had been fascinated by an artist and mystic called Hilma af Klint https://en.wikipedia.org/wiki/Hilma_af_Klint whose bold, colourful abstract paintings (1906-1915, but not exhibited until 1985, 50 years after her death) were generated through a process of automatic painting as part of her spiritual practice, and represented direct communication with the ‘divine’.

The pictures were painted directly through me, without any preliminary drawings, and with great force. I had no idea what the paintings were supposed to depict; nevertheless I worked swiftly and surely, without changing a single brush stroke – Hilma af Klint

Luna Zsigo: Primal Scream
Luna Zsigo: Primal Scream

‘Klint’s work stayed with me and I was really inspired by it,’ Luna recalls. ‘Throughout my life, I think I’ve learned to bury my difficult emotions – anger, hatred, jealousy, anxiety – but today if I am experiencing a difficult emotion and I don’t know what to do with it, I will just let the pencil move and as it moves I will just, very intuitively, go to the paints or the medium that I want to use and then all of a sudden, in front of me, I see things in the piece, the work starts to communicate with me, to tell a story.’

‘I believe that we all come from creation, therefore we must be creative and it is only the intellectual mind that gets in the way of that,’ she continues. ‘So if I allow the drawing just to form, with no expectation of what I’m going to draw, it’s a real freedom and I’m able to understand my own journey and express myself.’

Recently, Luna has tried to let go of everything she was taught about artistic technique to move completely into this new way of painting. ‘I wasn’t sure how it would be received by the public,’ she says. ‘But I was delighted to sell 20 paintings at a recent exhibition, so it seems that people connect to the work and it has some value.’

Luna Zsigo: Grandad portrait automatic drawing
Luna Zsigo: Grandad

Luna’s automatic drawings have different starting points. She still paints portraits but rather than focusing on a subject in front of her, or a photograph, she works from a remembered image, memories of the person, and the emotions associated with those memories. She draws a continuous line, with her eyes shut, to ‘bring the person through’. She also sometimes paints to music, allowing her hand to respond to the sounds she hears to form the final piece.

Luna Zsigo: Collaboration with Terry Lane 'The closer we are to death'
Luna Zsigo; Collaboration with Terry Lane

Luna recently collaborated with musician Terry Lane on his soundscape The closer we are to dying. ‘Some of Terry’s soundscapes were to do with war and through my automatic drawings I found myself going to a very dark places, not only visually but inside myself,’ Luna remembers. ‘I wondered what would happen if I repeated the same process with other types of music.’

Luna Zsigo: Painting to classical music
Luna Zsigo: Painting to classical music

Inspired by the synesthesia artists, Wassily Kandinsky https://www.tate.org.uk/art/artists/wassily-kandinsky-1382, Roy De Maistre https://www.tate.org.uk/art/artists/roy-de-maistre-1556, and Melissa McCracken https://mymodernmet.com/melissa-mccracken-synethesia-paintings/ who paints the ‘shape’ of music, Luna has produced pieces inspired by local musicians. ‘I went to see the City of Rochester Symphony Orchestra and I produced 4 or 5 drawings from that,’ she recalls. ‘They became paintings, and I couldn’t believe the imagery I got from that music.’

Luna Zsigo selfscape emotional journey
Luna Zsigo: Selfscape

 

Where automatic art tells a story of an emotional journey, Luna has coined the name ‘selfscape’. ‘It is a selfscape because it is a painting of my emotional landscape,’ she explains. ‘There was an initial thought behind the image on the left. When you are really frightened of doing something, there is a door. But then you push through that door and five other doors open. I feel that has been my journey, pushing through anxiety and self-doubt. As I do that, I move from dark to light, from anxiety to bliss and freedom. I push one door open and new doors appear, new opportunities arise, and so it goes on.’

Looking at the final painting, I said to Luna, ‘The journey from dark to light is powerful – but where are the doors?’
‘It was supposed to be doors but it ended up looking like a bridge!’ Luna laughs. ‘It doesn’t matter though, because it is a journey of self-discovery and you can name the artwork afterwards.’

Luna Zsigo: Explore and draw
Explore and draw

In 2017, Luna founded Explore and Draw https://www.lunazsigo.com/explore-and-draw/ an art group that  welcomes artists of all abilities to come together to create art. By collaborating with local businesses and heritage sites, Luna has facilitated workshops in stunning and interesting locations around Kent. Regular venues include Rochester Cathedral https://www.rochestercathedral.org/, Fort Luton https://en.wikipedia.org/wiki/Fort_Luton The Copper Rivet Distillery https://www.copperrivetdistillery.com/ The Cheese Room https://www.thecheeseroomrochester.co.uk/ As part of a Meet the artist events, where the group collaborates with and learns from other artists across artistic disciplines and boundaries, I led a workshop earlier this year on LV21, on the Thames, in Gravesend. https://duncangrantartist.com/2019/03/20/drawing-inspiration-from-the-thames/.

Luna Zsigo: Guilt 3
Luna Zsigo: Guilt 3

Explore and Draw has well over one hundred participants and Luna is taking the group with her on a journey of self-discovery to explore their creativity through experimentation with materials and processes, such as automatic drawing. ‘I will continue to use still life at some events as it is a fantastic tool to show people  technique, such as mapping and measuring, colour theory and composition,’ she explains. ‘It is also a mindful activity. It helps people to relax, to learn to draw what is in front of them, to have fun and make friends. But I’m also interested in giving people the freedom to explore and to begin to put the whole of themselves into their art.’

I am always really conscious of the power of these emotions though, because working in this way has been such a painful process for me,’ she reflects. ‘So I’m always careful  to make these days fun and to create a safe space. And people are enjoying the process and find it fascinating.’

They group started their foray into the unconscious by painting with materials where they had less control than they would normally have with traditional brushwork. ‘We used Brusho crystal watercolour paints which explode on the paper like fireworks and you can find images in those marks,’ Luna explains. They then went on to paint with music, as Luna had done – she hired a string quartet to play while the group drew. Next year she is planning an automatic drawing workshop around vibration and sound, featuring a gong.’

Luna Zsigo: Thoughts
Thoughts

‘Life isn’t easy,’ Luna concludes. ‘Everyone has light and darkness in them and we all go through trauma at some point in our lives, so these paintings talk to people on lots of different levels. I can look at a painting and appreciate the artist’s technical ability but if I see a picture that stirs my emotion, that’s the picture I will remember. That’s the picture I want to buy.’

If you would like to hear from Luna herself, she is giving a public talk entitled Selfscapes for the Rochester and West Kent Art Society at Sun Pier House in Medway on 15th January 2020 from 7-9.30pm.

Tickets are also now available for the next Explore and draw – Lunar event at Rochester Cathedral in February 2020. The workshop will explore the ‘Museum of the Moon’ installation https://www.ticketsource.co.uk/whats-on/rochester/rochester-cathedral/explore/2020-02-19/10:30/t-jpzxgd And there are lots of other exciting events planned for 2020. More details will be announced on Luna’s website and Facebook page soon:
https://www.lunazsigo.com
https://www.facebook.com/exploreanddrawmedway/

You can also follow Luna on Instagram: artist.luna