You take the high brow and I'll take the low brow

Once upon a time - a time when hip was hop and art was smart - the artist in question was invited to present a popular TV series teaching children how to paint or draw or simply make things. This came about shortly after art school, a place considered high-brow and studiously post-modern, and at a time when the artist was represented already by a good gallery. By accepting, the artist in an instant travelled from one world to another - let us say from the high-brow to the low. The high - with its grimly trendy courtiers and ice-cold templates - continued bowing its head into interminably long essays written largely by Frenchmen, occasionally popping up again at soap operatic art openings, while the low rather charmingly opened out into a beautiful world full of children's faces, paint-splattered living rooms, as the artist laughed and smiled and played her way into the hearts of literally millions of little people, persuading them all to muck in, get down, be creative, and splash expressions across the room. Now, rather intriguingly, these two worlds have crystalized again, this time in the context of a growing body of new work: work, on many levels, about childhood; work, tangentially, in and out of discussion here - work, let's be frank, the artist hopes one day to exhibit. And this blog here, of course, is to chart, in part, the journey.