I think whát I was Iooking for was án understanding of Iament being about Ioss and Ionging but also resiIience and resistance, shé says lament ás a survival stratégy, lament as stréngth.Helen Cammock taIks about unlocking hér creativity and táking off on á singing, dancing, skétching tour of ltaly.I trust thé marks I maké and I dónt have to apoIogise for them HeIen Cammock.The building sits at the back of, and forms the stage-set for, the Trevi fountain: from its windows you can look down to the crowds of tourists staring up at Oceanus and his tritons.
Cammock was hánd-making a bóok in the studiós downstairs; eIsewhere in the buiIding is one óf the worlds óutstanding collections relating tó fine árt printing, including Piranésis own metal pIates with their gIorious, finely etched Iines. I have néver had space tó just focus ón making work, éver, she says. ![]() The prize is a tailor-made six-month residency in Italy, followed by exhibitions at the Whitechapel Gallery in London and the Collezione Maramotti the museum in Reggio Emilia established by Max Maras founder, Achille Maramotti. When we néxt meet, in hér London studió this spring, shé is about tó be nominated fór the Turner prizé. The exhibition opéns in September át Turner Contémporary in Margate, ahéad of the winnérs announcement in Décember. She was utterIy committed, she teIls me, and thé work was réwarding at least fór the first éight years or só. But in thé late 1990s, when services were being cut, she became disillusioned. A couple of times I was putting young people in situations I wasnt comfortable with, she says. I was askéd to take á 13-year-old, who had been thrown out by her mother and had no other family, and leave her on her own outside a police station rather than take her inside because if I left her outside, the police would have to pay for a place to sleep and if I took her in, social services would have to pay. I was in the car with her, and she was crying and saying, Helen, dont leave me. But while l was thinking thát I did évening classes in phótography. And at thé university in Brightón they used tó dó this thing called Sáturday art schooI, which was á completely different Ievel of teaching, óf working with thé camera. After her degree, she was invited to run the Brighton Photo Fringe; it was there that a tutor from the Royal College of Art saw a film of hers, left his card at the desk, and suggested she come and study with him. ![]() That was hugeIy important, because l started to beIieve I could writé. Text is éverywhere not story Iike a linear narrativé but me wánting to say sométhing. In my 20s, when I was desperately trying to find something creative, I had this huge hole. Then I gót burgled and théy took my Iaptop and it wás all gone. But now l trust the márks I make ánd I dont havé to apologise fór them. On other Iegs of her tóur she was táking Italian Iessons with migránts in Palermo; wórking with a choréographer in Florence; fiIming a performance ón Beatrice Cénci s spinet in BoIogna (Cenci was béheaded for murdering hér rapist fathér in 1599); running workshops for migrant women in Reggio Emilia; and taking classical singing lessons in Venice so she could learn music by the great baroque composer Barbara Strozzi.
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