Untitled Document

International Artists Workshops based on the triangle model

The Triangle International Artists workshops are part of a wider picture of workshops and residencies leading to an exchange of ideas and practice between artists. Triangle Arts Trust acts as a facilitator in this worldwide artist run enterprise. The Workshops are not so much part of an organisation, as a movement that depends on a huge amount of voluntary effort by the participating artists themselves. Triangle Workshops provide a counter balance to the prevailing emphasis in the western art world on product and marketing by providing a space where creativity and process can develop.

Over 2000 practising artists have attended Triangle Workshops over the past 18 years.

The Workshops achieve the following objectives:

provide the possibility of the exchange of practice and ideas amongst artists.
offer the opportunity for artists to experiment and explore.
create confidence and confirm a sense of vocation amongst artists - particularly in Africa where the task of maintaining a consistent practice needs great determination and perseverance.
support the creative process encouraging the development of high quality work from each individual artist and involve the public and community in this art making process.

In the course of 1998-2001 new workshops have been established in Uganda, Nigeria, Trinidad, Venezuela, Pakistan, Curaçao. Plans are underway for new workshops in Sri Lanka, Argentina, Bolivia and Martinique.

The workshops are a co-operative venture between artists. Each workshop brings together a group of twenty to twenty-five artists in a working situation from a variety of cultures and backgrounds.

At the workshop artists have the opportunity to work uninterrupted and the artists are encouraged to be experimental and develop new ideas and practices. The workshops are usually sited in relatively remote locations so as to contain the energy of the event

VALIDITY

It is tempting to attribute a major part of the value of the workshops to the impact they make with the public and the practical contacts, which help further the careers of the participants. It is true that the open day and exhibition of work at the end of a workshop does bring a wider public closer to the process of making art and artists often find gallery owners or museum curators interested in their work. The workshops generate an extraordinary range of activities beyond the experience of the actual event. Personal friendships develop, creating opportunities that would not otherwise be realised, often leading to studio swaps or recommendations to educational institutions for degree and other courses.

But the reason why so many artists invest so much energy and time into the Triangle workshop movement is in fact more closely related to the stimulus to the creative process which artists need and find in the workshops.

The opportunity to work free of every day distractions for an uninterrupted period is often described by artists as paradise. It is well to bear in mind the very difficult circumstances in which art is made in developing countries where there is often a lack of working space and materials. Artists also need the freedom and metaphorical space in which to develop their creative abilities in a situation that is not determined by aesthetic dogmas imported from Europe and America or by the necessities of the market which often drives artists to make objects for the tourist trade. While the workshops cannot provide the complete answer to these problems they have made a substantial difference by helping artists to establish the own identity and develop their creative abilities so that the quality of work made is demonstrably of a higher order on account of the workshop experience. This is particularly the case in places where artists have been isolated from the rest of the world.

SOCIAL IMPLICATIONS

While development of the artist's creativity is the prime function of the workshops they do bring together artists in the belief that what is said through art can be independent of the market. They create networks of artists in which friendships endure beyond the period the workshop; artists visit each otherÕs studios and often exchange visits across country borders. The workshops have provided the catalyst for a series of residency programmes where this process is extended. Successful international residency programmes have been set up at the Bag Factory in Johannesburg, Greatmore Studios in Capetown and at the Gasworks in London. Kuona Trust in Kenya has been hosting international artists over the past 3 years and Khoj in Delhi initiated a programme in November 2000. Caribbean Contemporary Arts (CCA) in Trinidad also takes part in this network with the international residency programme.

"The stimulus of working with artists of different cultures and different countries, particularly within Africa, has proved a source of inspiration and energy which has been communicated through a wide cross section of opinion in countries concerned. Through the work shown at open days and the exhibitions, which have attracted a diverse audience, the public has been aware of the potential of art to move and inspire. The profile of the workshops has become established in this way which in turn has help fund not only the workshops but also other enterprises in the cultural field."

Robert Loder, co-founder, Triangle Arts Trust

Comments from artists who have participated in workshops based on the triangle model:

"The fact that this initiative takes into account opinions and expectations of what we as artists can say about how the dynamics of the workshop [work] was very important. This kind of participation guarantees a true confrontation and space where artists can meet to discuss and exchange ideas."

Alexander Gerdel, La Llama International Artists’ Workshop, Venezuela

"Isolating oneself from the daily routine and being with artists 24 hours a day makes you, as creator, revise your work and compare it to that of others.

…it allows you to see the world outside your margins and to return to it with a more ample vision. The exchange of ideas and endless talks after meals (which can only take place when one is living together), the openness of the artists to collaborate with the work of others as well as the intervention of spaces by the artists, the people from the Hacienda and the relationships that were established with the town of Tácata, making the workshop go beyond the 20 participating artists, all this was important."

Raquel Schwartz, La Llama International Artists’ Workshop, Venezuela

"The time pressure initiated a whirlpool of creativity and intense actions"

Paul Duncan, UK

"The idea of leaving my home and being far away from familiar disturbances was to me an experience which allowed ample time for concentration, creativity"

Peter Isuge, Uganda

"La Llama gave me the opportunity to participate in a workshop that was enriching in all senses: the sharing with others and the ties developed between artists, the environment and the exchange of ideas that contribute to develop and create new projects. We all had a chance to establish and create contacts that will certainly become new possibilities."

Marylee Coll, La Llama International Artists’ Workshop, Venezuela

"I love the idea of going into an environment not having any pre-conceived notion of what I would create. For me the end result must come out of being mindful each movement of the process and en-Joy-ing the journey every step of the way."

Mica Marsh, big River International Artists’ Workshop, Trinidad

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arts trust
	International Artists Workshops based on the triangle model The Triangle International Artists workshops are part of a wider picture of workshops and residencies leading to an exchange of ideas and practice between artists. Triangle Arts Trust acts as a facilitator in this worldwide artist run enterprise. The Workshops are not so much part of an organisation, as a movement that depends on a huge amount of voluntary effort by the participating artists themselves. Triangle Workshops provide a counter balance to the prevailing emphasis in the western art world on product and marketing by providing a space where creativity and process can develop. Over 2000 practising artists have attended Triangle Workshops over the past 18 years. The Workshops achieve the following objectives: provide the possibility of the exchange of practice and ideas amongst artists. offer the opportunity for artists to experiment and explore. create confidence and confirm a sense of vocation amongst artists - particularly in Africa where the task of maintaining a consistent practice needs great determination and perseverance. support the creative process encouraging the development of high quality work from each individual artist and involve the public and community in this art making process. In the course of 1998-2001 new workshops have been established in Uganda, Nigeria, Trinidad, Venezuela, Pakistan, Curaçao. Plans are underway for new workshops in Sri Lanka, Argentina, Bolivia and Martinique. The workshops are a co-operative venture between artists. Each workshop brings together a group of twenty to twenty-five artists in a working situation from a variety of cultures and backgrounds. At the workshop artists have the opportunity to work uninterrupted and the artists are encouraged to be experimental and develop new ideas and practices. The workshops are usually sited in relatively remote locations so as to contain the energy of the event VALIDITY It is tempting to attribute a major part of the value of the workshops to the impact they make with the public and the practical contacts, which help further the careers of the participants. It is true that the open day and exhibition of work at the end of a workshop does bring a wider public closer to the process of making art and artists often find gallery owners or museum curators interested in their work. The workshops generate an extraordinary range of activities beyond the experience of the actual event. Personal friendships develop, creating opportunities that would not otherwise be realised, often leading to studio swaps or recommendations to educational institutions for degree and other courses. But the reason why so many artists invest so much energy and time into the Triangle workshop movement is in fact more closely related to the stimulus to the creative process which artists need and find in the workshops. The opportunity to work free of every day distractions for an uninterrupted period is often described by artists as paradise. It is well to bear in mind the very difficult circumstances in which art is made in developing countries where there is often a lack of working space and materials. Artists also need the freedom and metaphorical space in which to develop their creative abilities in a situation that is not determined by aesthetic dogmas imported from Europe and America or by the necessities of the market which often drives artists to make objects for the tourist trade. While the workshops cannot provide the complete answer to these problems they have made a substantial difference by helping artists to establish the own identity and develop their creative abilities so that the quality of work made is demonstrably of a higher order on account of the workshop experience. This is particularly the case in places where artists have been isolated from the rest of the world. SOCIAL IMPLICATIONS While development of the artist's creativity is the prime function of the workshops they do bring together artists in the belief that what is said through art can be independent of the market. They create networks of artists in which friendships endure beyond the period the workshop; artists visit each otherÕs studios and often exchange visits across country borders. The workshops have provided the catalyst for a series of residency programmes where this process is extended. Successful international residency programmes have been set up at the Bag Factory in Johannesburg, Greatmore Studios in Capetown and at the Gasworks in London. Kuona Trust in Kenya has been hosting international artists over the past 3 years and Khoj in Delhi initiated a programme in November 2000. Caribbean Contemporary Arts (CCA) in Trinidad also takes part in this network with the international residency programme. "The stimulus of working with artists of different cultures and different countries, particularly within Africa, has proved a source of inspiration and energy which has been communicated through a wide cross section of opinion in countries concerned. Through the work shown at open days and the exhibitions, which have attracted a diverse audience, the public has been aware of the potential of art to move and inspire. The profile of the workshops has become established in this way which in turn has help fund not only the workshops but also other enterprises in the cultural field." Robert Loder, co-founder, Triangle Arts Trust Comments from artists who have participated in workshops based on the triangle model: "The fact that this initiative takes into account opinions and expectations of what we as artists can say about how the dynamics of the workshop [work] was very important. This kind of participation guarantees a true confrontation and space where artists can meet to discuss and exchange ideas." Alexander Gerdel, La Llama International Artists’ Workshop, Venezuela "Isolating oneself from the daily routine and being with artists 24 hours a day makes you, as creator, revise your work and compare it to that of others. …it allows you to see the world outside your margins and to return to it with a more ample vision. The exchange of ideas and endless talks after meals (which can only take place when one is living together), the openness of the artists to collaborate with the work of others as well as the intervention of spaces by the artists, the people from the Hacienda and the relationships that were established with the town of Tácata, making the workshop go beyond the 20 participating artists, all this was important." Raquel Schwartz, La Llama International Artists’ Workshop, Venezuela "The time pressure initiated a whirlpool of creativity and intense actions" Paul Duncan, UK "The idea of leaving my home and being far away from familiar disturbances was to me an experience which allowed ample time for concentration, creativity" Peter Isuge, Uganda "La Llama gave me the opportunity to participate in a workshop that was enriching in all senses: the sharing with others and the ties developed between artists, the environment and the exchange of ideas that contribute to develop and create new projects. We all had a chance to establish and create contacts that will certainly become new possibilities." Marylee Coll, La Llama International Artists’ Workshop, Venezuela "I love the idea of going into an environment not having any pre-conceived notion of what I would create. For me the end result must come out of being mindful each movement of the process and en-Joy-ing the journey every step of the way." Mica Marsh, big River International Artists’ Workshop, Trinidad (top)