All in all I think it would be hard for me to complain too much about how my life has been affected by COVID-19. Of course, there is the isolation and distance of family and friends, which has been particularly felt relative to the very youngest and very oldest members of my family, but my circumstances haven’t been fundamentally altered as I’m sure many others have.
My studio is in my home and the pandemic and related lockdown restrictions have enabled more time for me to spend working in there. This luxury of time (luxury seems like a strange word to use!) as well as the real uncertainty of public outcomes (at best), or the absolute loss of public outcomes (at worst), of my work has liberated the studio and made the process of making a very present experience. The studio became not a space to produce an outcome, but a space where the act of making is the only part of my work that matters. As a result of this I spent a lot of this time introducing and experimenting with new materials and techniques to enable an expanse and growth that I can’t imagine having happened without the extraordinary months that this extreme experience has facilitated.
With the generous and continued support of my gallery here in Australia, Murray White Room, through the pandemic we have made plans that were realised as virtual projects, made plans that pivoted to be virtual projects, and made plans that are still unable to be realised. All of this is what it has to be. In the meantime (for however long it continues to be) I am grateful and privileged to have had the studio to occupy these strange times.
+ The Knot / Meet the Ripper Alasdair McLuckie, 2020. acrylic and gouache on linen. 76.5 x 56 cm.
Author/s: Alasdair McLuckie