In the now thirty conversations that the BK podcast It can also be different rich, many themes come along. One of the recurring topics is the studio, the space itself and how it affects the work and the working. What can be said about this topic?
In Critique of pure reason (1781), Immanuel Kant argues that space and time are not objective properties of reality, but structuring frameworks by which humans order perceptions. With this in mind, the artist's workspace can also be seen as a framework that influences how experiences are processed and translated into artistic production.
One of the many things that stood out was that all the visual artists working there made small work
While searching for information about the influence of space on the creative process, I recall a visit to a studio building in an old industrial town in northern England. Dilapidated, damp and drafty factory halls had been converted, using pallets, cupboards and boxes as partitions, into small (largely unheated) workspaces for many dozens of artists. One of the many things that stood out was that all the visual artists working there made small work: small paintings, small sculptures and video or other digital work. Space to store a lot of material and to make large work was simply not there.
Traditionally, the studio has been described as a messy, chaotic or improvised workplace. So much for the cliché image. Of course, the appearance of studios varies as much as the art created in those studios. But is there a relationship between the space and the art created in that space? What is the importance and role of that space? Theoretical underpinnings can be found in several disciplines. Below, I focus on the disciplines of environmental psychology, cognitive science and architectural theory, where space is seen as a factor that co-directs action.
Is there a relationship between space and the art created in that space?
Design and scale of a studio can guide the type of work that emerges. Within environmental psychology, physical characteristics of a space, such as light, ceiling height and noise level, have been shown to influence concentration, creativity and problem-solving abilities. For example, a high space is more often associated with abstract thinking, while lower spaces invite more detail-oriented work.
The theory of embodied cognition emphasizes that thinking arises from interaction with the environment. In this sense, the creative process is a physical activity: moving, reaching and handling materials are integral parts of thinking. The physical properties of a space, and therefore a workspace, influence thinking and the creative process, this applies not only to the workspace itself, but also to the outdoor space. Many famous thinkers and creators - such as Artistoteles, Virginia Woolf, Hannah Arendt, Kant, Annie Dillard, Darwin, Cézanne, Monet and Nietsche - are known to have liked and regularly taken a walk in the outdoor space in order to think and work better.
In architectural theory, space is increasingly understood as a dynamic set of relationships among objects, bodies and actions. The artist's workspace can be seen as a composition of elements - tools, materials, furnishings and layout - that collectively shape the creative process. According to this theory, the positioning of objects and the organization of space guide the choices to be made; moreover, they make certain actions more likely than others.
The physical properties of a space influence thinking and the creative process.
An example: a ceramic artist has the clay up for grabs at the beginning of the making process, making the threshold to start low. If the turntable is then located in the back of the room, it may cause the maker to have to move through the space for a bit before moving from idea to execution. That movement may include a moment of contemplation, which influences the subsequent process and work.
The socioeconomic context of the workspace also plays a role in the making process. Access to space, flexibility of use and degree of autonomy influence what and how is produced. Temporary or shared workspaces - something many artists face - often lead to shorter work cycles and faster decision-making, while permanent studios provide space for long-term development.
Temporary or shared workspaces often lead to shorter work cycles and faster decision-making.
Thus, the physical studio is not a neutral, random background for the creative process of artists. On the contrary, it is a determining factor within that creative process and influences not only the end result, but also the method and conditions under which work is created. Having and making workspaces available goes to the heart of artistic production. And thus the availability of studios remains an important and essential concern within cultural policy at all policy levels.
English 
Dutch