Long distance travel and the artist

Right now I’m sitting in Hong Kong airport trying to drown out the sounds of yelling children, people coughing and sneezing, departure alerts and all the other hubbub of airports. There is a small child staring at me over the back of her chair with a spoon in her mouth but I’m too tired to even smile at her.

I’ve been travelling for a long time. Since I left my hotel in St Petersburg, took the train back to Helsinki and got here has been around 28 hours I think. It’s hard to know because I’ve forgotten which time zone I’m in. When I’m sitting still I feel like I’m still moving; a combination of the swaying high-speed Allegro train and the first half of my long haul flights.

It’s curious talking to people in Europe about travel. When the learn I’ve come from NZ they invariably say “That’s a long way” and then make some sort of guess about how long the flights are. Ten hours, that’s a long way isn’t it? Try doubling that and adding a bit. It’s the same with my friends at Arteles who have come from the Americas, they’ve come on a long international flight, but nothing in comparison to travelling from the other side of the world.

The thing that really hit home to me on this trip was how much more accessible things are for artists in Europe and the Americas. Most of the other artist’s at Arteles have done other residencies and plan to do more in Europe and they are quite blasé about it because it’s so much easier logistically, financially and it is expected of young artists.

A very positive aspect of modern technology is the ability to collaborate long-distance. This is especially true for artists working in new media. The amount of value I can get from going on a residency is, I think, amplified because I am so aware of the fact that I am unable to do this sort of thing very often and that it is actually a huge privilege. With that in mind I don’t waste my time, I work hard and I try to see how I can work with other international artists.

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