PAULA DO PRADO
  • eguahé porá
  • exhibitions
    • quarai 2022
    • birth of sucuri 2022
    • a place where we can be together 2022
    • in the fibre of her being 2021
    • kuña/womxn 2021
    • pallay yuyay 2021
    • kalunga 2020
    • iyanla 2019
    • playdate 2018
    • lucky swag 2015
    • face to face 2014
    • odalisque 2014
    • sepiasiren 2012 *adult content*
    • mellorado 2012
    • adiafa/diyafa 2011
    • where yah from? 2010
    • rebirth 2008
    • I am...Black
  • zines + books
  • projects
    • everyday ceremony
    • Uruguay Indigenous Biennale 2023
    • design isolate 2020
    • meroogal 2020
    • heartstrings 2018
    • TOAF 2016 + 2017
  • interviews + talks
  • studio do prado
  • bio + cv
  • contact
  • eguahé porá
  • exhibitions
    • quarai 2022
    • birth of sucuri 2022
    • a place where we can be together 2022
    • in the fibre of her being 2021
    • kuña/womxn 2021
    • pallay yuyay 2021
    • kalunga 2020
    • iyanla 2019
    • playdate 2018
    • lucky swag 2015
    • face to face 2014
    • odalisque 2014
    • sepiasiren 2012 *adult content*
    • mellorado 2012
    • adiafa/diyafa 2011
    • where yah from? 2010
    • rebirth 2008
    • I am...Black
  • zines + books
  • projects
    • everyday ceremony
    • Uruguay Indigenous Biennale 2023
    • design isolate 2020
    • meroogal 2020
    • heartstrings 2018
    • TOAF 2016 + 2017
  • interviews + talks
  • studio do prado
  • bio + cv
  • contact

October 2018

1/9/2019

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The reality is I like not having to be anywhere in particular or having something specific to do. I like quiet productivity and organising my own day.  I like big gaps between 'events' or situations where I need to be very visible/interactive.  And so October was none of that. October was kids workshops at Woollahra and Paddington Libraries. It was winning a prize as part of the inaugural Seed Stitch Collective Contemporary Art Award hosted by the Australian Design Centre. It was being curated into an exhibition at Peacock Gallery by the wonderful Talia Smith. It was running a community art project at the Viva America Latina Festival at Lyne Park and running an intergenerational workshop as part of the Woollahra Small Sculpture Prize. Don't get me wrong, I love the interaction and meeting new people. I especially enjoy the feedback on people's interaction with my work or my ideas about process and making - especially kids.

But the flip side is that it is draining. It takes a mental and emotional toll because there's a lot of preparation that goes behind these events - scheduling delivery of artwork, organising child care, sending artwork details, installation, preparing materials, preparing workshop plans, the anticipation of how it will go: will people enjoy the workshop? Were there enough materials? Will they think it worthwhile? How could I do better? and so on.  It is an art form in itself to balance the desire to earn a living from what you love to do and also care for yourself in what can often feel like that constant hustle to create opportunities, to say yes to everything or else you'll miss out or worse you'll become invisible.  
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    Heartstrings

    A journal documenting my 2018 Woollahra Council Artist in Residence journey. Heartstrings is my community engagement project as part of the residency.

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  • eguahé porá
  • exhibitions
    • quarai 2022
    • birth of sucuri 2022
    • a place where we can be together 2022
    • in the fibre of her being 2021
    • kuña/womxn 2021
    • pallay yuyay 2021
    • kalunga 2020
    • iyanla 2019
    • playdate 2018
    • lucky swag 2015
    • face to face 2014
    • odalisque 2014
    • sepiasiren 2012 *adult content*
    • mellorado 2012
    • adiafa/diyafa 2011
    • where yah from? 2010
    • rebirth 2008
    • I am...Black
  • zines + books
  • projects
    • everyday ceremony
    • Uruguay Indigenous Biennale 2023
    • design isolate 2020
    • meroogal 2020
    • heartstrings 2018
    • TOAF 2016 + 2017
  • interviews + talks
  • studio do prado
  • bio + cv
  • contact