JANUARY 2012: EMILY SPEED

EMILY SPEED makes works about the places we inhabit and the ways in which we inhabit them.  Her shelters range from large scale constructed architectural sculptures to tiny plaster egg-shaped forms to wearable, performance-based works.

She recently had a solo exhibition at Yorkshire Sculpture Park and is working towards several projects including Topophobia, a touring group touring show launching at Danielle Arnaud, a solo project at a domestic space in London and a major sculpture commission for the new Open Eye gallery in Liverpool.  

What are you working on at the moment?
I’m just finishing a new work for Topophobia, the show at Danielle Arnaud in January 2012. Immediately after that I’ll be doing a solo project at Hartington Road Gallery – a little lighter, (although it continues to build on the research that has gone into my ‘Star Fort’ work for Topophobia) with some one-off utilitarian domestic objects alongside drawings. In March I’ll be adding a new, huge, sculptural commission to Topophobia when it comes to the Bluecoat in Liverpool as well as undertaking the outdoor wall commission for the new Open Eye gallery.

What is your most significant project so far?
Significant depends on the viewpoint – but I guess the most obvious event is the MAKE SHIFT exhibition at Yorkshire Sculpture Park; my first solo show as well as being an amazing venue and supportive opportunity to make some new work. In terms of my practice, Inhabitant still stands out for me as a breakthrough piece, made during a very quiet and fairly low-pressure residency that resulted in me having the time, space and confidence to make this work that I felt very strongly about.

What’s the most difficult thing you have ever done?
In my art life (my personal-life answer would be different!), I have found my recent forays into performing difficult and terrifying, but often the scariest things are the ones that are most worth doing. I hope that soon I will be used to it and not feel so much trepidation (unlikely). I wonder though, if every project you’re doing seems like the most difficult thing at the time – it can be hard to maintain perspective when you get very involved in a piece of work. As an artist you’re always making yourself vulnerable by putting your work into the world, so it’s never especially easy.

Where do you find the inspiration for new work?
There are often times, usually after finishing a big project, when I think I’ll never have any ideas ever again. But, travelling can be great for the mind; flying, trains, driving, sleep and new environments all seem to give my mind a rest and some time to work through things, so there is definitely an argument for having time off occasionally. All kinds of things can trigger ideas though – a nice set of bricks, a book, conversations, films etc. I also find that work breeds work and often getting very engrossed in one piece will lead to all kinds of other ideas. Sometimes my things can take up to 18 months to go from thought to realisation, but if an idea sticks that long, then I know it’s worth doing.

Your work relates strongly to particular buildings or architecture and the way we inhabit them.  Is there a certain place that has continually interested you?
I like the slippery places of literature. Ones that you imagine but can never grasp completely. In House of Leaves by Mark Z. Daniewleski for example, there is a house that is bigger on the inside than out, and it keeps growing. Flatland and Invisible Cities have similarly impossible properties that I love. I did spend a year or two in Japan after University and I think that’s probably had a big influence – the intimacy and modesty of tea houses appeal to me as well as the spaces in Japanese homes, such as alcoves, which are purposefully left empty.

Which other artists do you admire?
I have a mix of long-term favourites and new (to me) discoveries; Gordon Matta-Clark, Doris Salcedo, Richard Tuttle, Phyllida Barlow, Valie Export, Lucy Gunning, Ian Kiaer, Alice Channer, Becky Beasley and Hayley Newman.

Who has influenced you most?
My Grandfather; an architect, encourager and firm believer in me. A tutor at Edinburgh also had an unexpectedly big influence on me in a very short space of time, Gordon Brennan. He introduced me to Italo Calvino, artists’ books and scaffolding planks.

Where is your favourite place to work?
Any modest clean and quiet space away from my usual clutter (I am incredibly messy) – boat shed, empty room, a cabin or similar. I have almost got my studio to the point where I love it too, so that’s definitely progress. Ultimately, residencies have been the most fruitful times for me, so those work spaces remain favourites.

What’s the best advice anyone ever gave you?
That generosity between peers is much better than competition, for everyone.