Many artists, (this blogpost was inspired by Russell Petherbridge) talk about the thing to do being to get a body of work 'out there', but how do you get a body of work without being able to work in your own studio. Indipendent studio practice is so important for example this morning I made this scetch, while I think it works visually the materials and the precariority of the balance is slightly irritating for playing, since because its so much faster and produces better sounding results, I don't use any connecting tapes or glues, only kinetics and vector tensions and friction to keep things in place before I start making a tied version. Something like this would be impossible at home, the sculpture in image measures 230 x 140 x 140. So it just feels a bit dangerous, which can of course be good for the spirit.
What would be the most impossible aspect of the studio is not to make such an object but to store it. With sizes of studios obviously varying, according to the means and needs of artists. Which means I can leave it be and come back to it much later, this I have found to be the real key to consistency in labor time, because the more time I spend honing my practices the better I become at going places with those ideas, but also seeing if they actually are any good. Xenakis famously said that he leaves all his scetches, his uncertainties in his studio, there is a cultural context to this, but the positive point is that we give way for the emergence of long term development in our persons and allow the changing positions of our politics and identities to self reflect off our own work.