{"id":6535,"date":"2024-12-30T18:41:31","date_gmt":"2024-12-30T18:41:31","guid":{"rendered":"https:\/\/www.katherinaradeva.co.uk\/?p=6535"},"modified":"2024-12-30T18:41:31","modified_gmt":"2024-12-30T18:41:31","slug":"survival-is-the-ultimate-revenge","status":"publish","type":"post","link":"https:\/\/www.katherinaradeva.co.uk\/?p=6535","title":{"rendered":"Survival Is The Ultimate Revenge"},"content":{"rendered":"\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/www.katherinaradeva.co.uk\/wp-content\/uploads\/2024\/12\/PXL_20241228_151158655-scaled.jpg\"><img loading=\"lazy\" decoding=\"async\" width=\"771\" height=\"1024\" src=\"https:\/\/www.katherinaradeva.co.uk\/wp-content\/uploads\/2024\/12\/PXL_20241228_151158655-771x1024.jpg\" alt=\"\" class=\"wp-image-6536\" srcset=\"https:\/\/www.katherinaradeva.co.uk\/wp-content\/uploads\/2024\/12\/PXL_20241228_151158655-771x1024.jpg 771w, https:\/\/www.katherinaradeva.co.uk\/wp-content\/uploads\/2024\/12\/PXL_20241228_151158655-226x300.jpg 226w, https:\/\/www.katherinaradeva.co.uk\/wp-content\/uploads\/2024\/12\/PXL_20241228_151158655-768x1020.jpg 768w, https:\/\/www.katherinaradeva.co.uk\/wp-content\/uploads\/2024\/12\/PXL_20241228_151158655-1157x1536.jpg 1157w, https:\/\/www.katherinaradeva.co.uk\/wp-content\/uploads\/2024\/12\/PXL_20241228_151158655-1542x2048.jpg 1542w, https:\/\/www.katherinaradeva.co.uk\/wp-content\/uploads\/2024\/12\/PXL_20241228_151158655-scaled.jpg 1928w\" sizes=\"auto, (max-width: 767px) 89vw, (max-width: 1000px) 54vw, (max-width: 1071px) 543px, 580px\" \/><\/a><\/figure>\n\n\n\n<p>It\u2019s a hot day in July, (hot for Glasgow).<\/p>\n\n\n\n<p>I am doing work in the building and I take time to walk around Delaine Le Bas\u2019s exhibition. I don\u2019t know this artist but as I turn the corner and enter the vastness of her work &#8211; it\u2019s as if I have known it forever. It feels to me as if we are pals.<\/p>\n\n\n\n<p>It\u2019s a dreamy folky reality of all sorts &#8211; it\u2019s personal and it\u2019s political and it\u2019s monumental and the works sort of spill from each other. I love it. I feel like I am meeting a fellow artis sister. I feel that her work, like mine, deals with folk and belonging and heritage amongst other things. I find kinship and kindness in it and I feel like I belong amongst her worlds.<\/p>\n\n\n\n<p>And then, from the corner of my eye &#8211; I spot a yellow slogan tee &#8211; Survival Is The Ultimate Revenge and it speaks to me so deeply, I stop. I gaze at it. I remember hearing these words from my friend Sally when I was having a tough time at college as a teenage migrant to the UK. I remember hearing these words, alongside \u2018hold your nerve\u2019, and at fellow artists\u2019 events about careers. I remember reading bits of Joan Rivers \u2018Bouncing Back\u2019 yonks ago.<\/p>\n\n\n\n<p>I have naughty thoughts of bagzing the tee &#8211; obviously I don\u2019t but I want it so bad. I want it so bad because it comforts exactly how I feel at that moment. Still, I manage to take myself away from that particular artefact! And I take ages to see and stay and be with the work.<\/p>\n\n\n\n<p>It stays with me &#8211; that slogan. I think about doing an embroidery but I don\u2019t feel it\u2019s quite right. I take time to think what to make with it&#8230;how to do my own homage to that moment of time where I felt a real sense of belonging.<\/p>\n\n\n\n<p>I have a day dream about having a major solo and wanting to have that sense of spillage &#8211; blurring of form boundaries and all it fitting. But of course &#8211; like folk.<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>An aside &#8211; I started embroidering two years ago &#8211; at first it was part of therapy, a way to deal with psychological recovery &#8211; to calm, to slow, to be precise, to breathe, to take its time. Now &#8211; it&#8217;s a full blown obsession and works in their own right. I am particularly attracted to it being \u201cwomen\u2019s work\u201d and to the transcendence of class connotations with embroidery over the centuries. The working classes and the upper classes spend time with it &#8211; one mainly for function such as darning and the other &#8211; for beauty, and joy &#8211; both often while holding conversation.<\/li>\n\n\n\n<li>Another aside &#8211; early on in my embroidery I started to work with slogans.<\/li>\n<\/ul>\n\n\n\n<p>Banners! I think I am in love with that form! It\u2019s another \u201cwomen\u2019s work\u201d and another class pointer &#8211; of laboring classes, of unions, of marching, of demanding change. They can be very diy and they can be exquisite and they are deeply political. Like flags.&nbsp;<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>An aside &#8211; I have been embroidering banners with slogans. For me it\u2019s like layering the histories of women\u2019s work, of class, of heritage, of folk.<\/li>\n<\/ul>\n\n\n\n<p>I took time to plan Survival Is The Ultimate Revenge.<\/p>\n\n\n\n<p>I took time to think about what that really means for me and why it feels like belonging.&nbsp;<\/p>\n\n\n\n<p>I took time to sit with discomfort around the word \u201crevenge\u201d. It&#8217;s not one I use or relate to much &#8212; but when you think of it &#8211; in relation to the human suffering around current political wars &#8211; survival is the ultimate revenge.<\/p>\n\n\n\n<p>I took time to sit with the word \u201csurvival\u201d which is very much a part of my lexicon. I use it often in relation to the survival of the arts or my survival in the arts sector &#8212; I have noticed myself saying \u201cIf we survive that\u201d because it often feels a bit final &#8211; like we might not. There is fragility inherent in survival. I don\u2019t by the way doubt that art will survive &#8211; it will and I don\u2019t much doubt that the art in me will survive too, or that my survival will be entirely because of art, for as long as possible &#8212; which may not be long &#8211; this, none of us knows!<\/p>\n\n\n\n<p>I am reminded of a thing my dad has started saying- \u201cWe keep going until we can\u2019t go on any more\u201d. I relate to this deeply. Yes, another slogan.<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>An aside. Where I come from, we have a saying for every occasion. It\u2019s part of the folkloric lexicon which people use daily. For example \u201c Don\u2019t try and sell cucumbers to the cucumber grower\u201d or \u201cTerrible end rather than terrible without end\u201d or \u201cYou would rather be in people\u2019s mouths than at people\u2019s feet\u201d<\/li>\n<\/ul>\n\n\n\n<p>So, when I planned this banner &#8211; I wanted a banner within a banner on a stage! (Obvs, on a stage which is a symbol occuring in my work since circa 2005 when I began to imagine everything on a stage) With this one, I wanted my folk on top of another\u2019s folk which no doubt comes from another folk etc etc etc. Like a cultural depository. Like when you go to an archeological dig ( and thanks to my folks- I have been to many) you can see the layers of the land and you can see the cultural and domestic artefacts that defined humanity at that time.<\/p>\n\n\n\n<p>So&nbsp; I have begun to think about this work as defining. Kind of, as a bit special because of the artistic journey I have gone with it. And kind of because of the varied axis points to it and it &#8212; and I like that about it.<\/p>\n\n\n\n<p>So, dear pals, artist colleagues, people, animals and plants &#8212; near and far &#8211;&nbsp; for 2025, I wish you and I wish myself&nbsp; too \u201cSurvival Is The Ultimate Revenge! x<\/p>\n","protected":false},"excerpt":{"rendered":"<p>It\u2019s a hot day in July, (hot for Glasgow). I am doing work in the building and I take time to walk around Delaine Le Bas\u2019s exhibition. I don\u2019t know this artist but as I turn the corner and enter the vastness of her work &#8211; it\u2019s as if I have known it forever. It &hellip; <\/p>\n<p class=\"link-more\"><a href=\"https:\/\/www.katherinaradeva.co.uk\/?p=6535\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;Survival Is The Ultimate Revenge&#8221;<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-6535","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.katherinaradeva.co.uk\/index.php?rest_route=\/wp\/v2\/posts\/6535","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.katherinaradeva.co.uk\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.katherinaradeva.co.uk\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.katherinaradeva.co.uk\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.katherinaradeva.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=6535"}],"version-history":[{"count":1,"href":"https:\/\/www.katherinaradeva.co.uk\/index.php?rest_route=\/wp\/v2\/posts\/6535\/revisions"}],"predecessor-version":[{"id":6537,"href":"https:\/\/www.katherinaradeva.co.uk\/index.php?rest_route=\/wp\/v2\/posts\/6535\/revisions\/6537"}],"wp:attachment":[{"href":"https:\/\/www.katherinaradeva.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=6535"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.katherinaradeva.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=6535"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.katherinaradeva.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=6535"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}