Take a look at the Lockdown Series: a new series of small paintings on paper which reflect on positive messages coming out of the current Covid-19 crisis.
Exhibition Announcement! Visit Walmer Castle in Kent to see my show Trailblazers.
Trailblazers is a new participatory artwork – the exciting outcome of my project working with young people who are supported by Kent Refugee Action Network (KRAN).
29th February – 19th April 2020
Kingsdown Road, Walmer, Deal, Kent, CT14 7LJ
This project has been funded by a National Lottery Arts Council Project grant and National Lottery Heritage Funding, and forms part of English Heritage’s Re-Discovering Walmer’s Lost Pleasure Grounds project.
If you are in London this weekend you can see my new artwork Family on show at Desperate Artwives Open House.
Exhibition Dates: 6th-7th and 13th-14th October, 11am – 6pm.
Location: 28 Jaggard Way, Wandsworth, SW12 8SG
The exhibition, Women Space, is a collaboration between Platform 1 Gallery and Desperate Artwives More information at: https://www.joycmartindale.com
Find out more about the artwork: https://joycmartindale.com/family/
THE CYCLE Part 1, 21st April 2018 – a perfect day! 12 South London exhibitions by bike topped off with great company, and tea, curry and beer at the end. Such a brilliant way to map the city, see and discuss art, and develop communal knowledge 👍.
The Itinerary included:
- Heni Project Space (Hayward Gallery), Southbank Adapt to Survive: Notes from the Future.
- Copperfield Gallery, Borough Ra di Martino: Poor Poor Jerry
- White Cube, Bermondsey Beatriz Milhazes: Rio Azul
- VITRINE, Bermondsey Hanae Wilke: Close Quarters
- Matt’s Gallery, Bermondsey Alison Turnbull: If Mimicry Minded
- Assembly Point, Peckham Lilah Fowler: nth nature
- Hannah Barry, Peckham Wasp
- South London Gallery, Peckham Magali Reus: As Mist, Description
- CGP London, Southwark Megan Broadmeadow: Seek- Pray-Advance, Episode 1: Eyes Only
I’m proud to support International Women’s Day and add my voice to the growing movement campaigning for an end to violence against women and children worldwide.
I cut off a smallish piece from a section of fishing net I found on the beach. The diamond lattice is broken in places and the nylon threads are frayed and tired. I hold the piece in my hands and consider its flimsiness, then I take a long length of red cotton caulking and wrap it round and round the netting and keep going until the structure is covered and begins to plumpen. I select a couple of my children’s old t-shirts – they’re too worn to wear or pass on and I have held on to them wondering about how to extend their life. I cut them into strips and begin to bind them tightly around the caulking. It’s February and chilly in the studio and I sit hunched over at my desk. The cold makes my movements small and concentrated but I work quickly as I consider my next move. The colours of the fabrics clash with one another: All the better, I think – something to work against. I keep wrapping the strips of fabric until I have something of density to work into – something that enticingly feels as wrong as it does right.
I can’t think straight – I’m losing it – My head is going to fall off – I can’t do this – I must do this – I’m a lousy mother – I’m tired – I feel dizzy – I need to be quiet – I can’t keep talking, talking, talking – I, I, I. Too many I’s – Not enough I. I have to stop – Just for a bit – Get it together – Let everything stop moving – whirling inside me.
How do I help myself get through this?
Whilst making “Don’t Stop, Keep Going”, I have been reflecting on a serious and hard to admit to issue: the tightrope one can feel one is walking as a mother of young children; when exhaustion, sleep deprivation and the need for a break – however short – becomes overwhelming and abnormal notions begin to infiltrate – self doubts and idiotic thoughts that you wouldn’t be having if you could just get a bit more sleep and have a little time alone.
When my children first started school the exhaustion persisted and everything continued to feel like a crazy juggling act. I noticed that when I was very tired I could still work but that my approach was different – it was very much a case of head down and working obsessively on small singular tasks. At first I thought this might be a problem but then, with this piece, I decided to work with it and channel those sensations of the mind and body short-circuiting, which were countered by the self-will to persevere, into the work.