1. Marking things to return to is a good reminder that not everything has to be good or of quality. It's better to make a lot and discover something good amongst it all. Quantity is perhaps just as important as quality... 

"Inspiration exists, but it has to find you working"

2. The off-cuts and scraps that are left when stretching a canvas are too plentiful and beautiful to go in the bin. I found a hardback book titled 'Gee's Bend' in a charity shop on Skegness seafront, which changed my view on textile, quilting, craft, art, abstraction and geometric patterns. I plan to make a large, tonal piece from these scraps of canvas and linen, inspired by Martha Tuttle and the Gee's Bend movement.

3. Collage shares many of the same processes as quilting - both offering the maker a level of satisfaction that comes from making separate elements come together. The pieces either work or they don't, thus removing some of the decision-making and agonising from the process. I collect images - torn from magazines and newspapers - and so I began to make hybrid creatures to use as a starting point for small paintings. More freeing than painting from a straight image, this offers more creative licence when the starting point is already 'incorrect'. 

4. Lee Simmonds 'Into Yonderland' at Kristin Hjellegjerde, London Bridge. 

A small exhibition in bold tones - this exhibition felt chic and concise. Dream-like scenes painted in atmospheric colours; Simmonds does not clearly distinguish the background and foreground, and so the eye can travel in whichever direction it likes, gathering information rather than following a narrative.

5. Bird skull, found on the beach in Inverness

N.B Sanya Kantarovsky

6. 'Not Without My Ghosts: The Artist As Medium' Drawing Room.

Ann LisLegaard's drawings - made during hypnotic sessions - were the highlight of this group show, connecting most strongly with my sense of what it is to 'divine' for ideas, or to find creative inspiration. Unconscious mark-making, creative freedom and a lack of inhibition give energy to Lislegaard's drawings. A neat experiment, by drawing under hypnosis, Lislegaard surely hoped to find the images, icons, symbols and themes at the core of her own work.

7. Anna Glantz 'Baby Grand' at The Approach

Painted 'at the onset of her thirties' these works are not motivated by the artists own complex personal history, instead they seem experimental and referential - a collage of ideas and images.

The style, subjects and colour palette mutate from one painting to the next, with few repeated motifs to connect them. There is a sense of serenity despite their surreal qualities - these kooky scenes are unanchored from reality. Imaginings rather than reenactments, each painting feels like a passing thought and a glimpse into the artists psyche.

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