Combining motherhood with running the workshop
|Clip Title||Combining motherhood with running the workshop|
|Interviewee Name||Sheena McGregor|
|Interviewee Role||Founding member of Glasgow Print Studio in 1972 and ran the workshop in the first premises, alongside Beth Fisher.|
|Interviewer Name||Kerry Patterson|
|Interview Date||12 June 2013|
|Clip Length||2 minutes 27 seconds|
SM: I was actually expecting my first baby, who was born in seventy-three, which I think might have been the year it opened.
KP: Seventy-two -
SM: Ah right, well –
KP: - we have here.
SM: Yeah, well we must have opened the year before – I think I remember all that winter being quite pregnant. No, it must have been the spring. I remember wearing dungarees and a lot of painting, then Josie was born in September. And I’m being completely naïve, and Beth [Fisher] asks me would I start in January because by that time she was pregnant. And, thinking it would be absolutely no bother having a baby in the workshop but of course, it’s not quite like that. But my daughter spent a lot of time in the rag box, ‘cause that was the safest place for her.
KP: Yeah so, Beth- Beth was explaining that the two of you kind of split the duties really in-
SM: We did.
KP: - running it.
SM: Well she – I remember we had baby bouncers so we could [both laugh] put those babies in rag boxes and in baby bouncers and, just to try let us work. Ah, and it was very kind of alternative and hippy-ish in those days. But it was very much about trying to keep working as a, you know, a new mother. And trying to keep in touch with the art world which - it was difficult.
KP: I mean, Beth was kind of seeming to say that people were a bit kind of scathing about the fact that you were two women with, with babies –
SM: Very much so.
KP: And maybe were a bit surprised, at least –
KP: - that you managed to kind of keep it going.
SM: Yeah. We did.
KP: So you were kind of coming up against a bit of opposition then.
SM: Yeah, it was, I suppose it was a much more masculine time in the art world. I was quite surprised to see the [most recent Glasgow School of Art] degree show - how many women painters there are now. Even in the Art School there was a kind of resistance to women in fine art I think. We were supposed to be in the embroidery and weaving department. Colouring in, in a corner. It was a good, a good time.
KP: So how long were you involved with the Print Studio for?
SM: It was probably about three years, but then uh, no I was paying someone to look after my little girl and I did feel that I’d rather be with her at that point. And I think, I didn’t really enjoy being a technical assistant very much. It kind of put me off prints. There was so much, um, donkey work in cleaning up after other people so I started painting because I think painting’s much easier when you’ve got a small child, so I moved more into painting. But I think I rejoined [the Print Studio] a few years ago but then I ended up um, being made the director of the wee charity I work for, you know I trained as an art therapist? So I- I kind of went in a really, another direction. But I do miss the prints and the- the smell - the smell brings back memories, you know. And I do love prints