In May of this year I visited Simon Carroll in his new studio, while he was working on a major exhibition for Tate St Ives. Here I want to convey a flavour of his creative practice and of his approach to what he sees - not surprisingly - as an important moment in his development. Simon Carroll's studio is a revamped Nissen hut on a disused airfield that was an American Services base during the Second World War. Though unprepossessing from the outside it signifies a new beginning for him and inside the ample space hums with activity This is the stage where Carroll performs, in the absence of human audience, watched only by his dog, Murphy. The workshop is just as he wants it to be: not overly tidy, but with a place for everything; a dynamic construction (to quote Bachelard) which 'allows the poet to inhabit the universe', so that 'the universe comes to inhabit his house'. [1] Pew local people mow anything about him or his ceramics. When the RNLI crew from the building opposite helped him to move in they made no comment about what they saw - but he could guess what they thought from their bemused expressions. He rather likes the idea that he may shock some people.
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机译：今年5月，我在他为泰特·圣艾夫斯（Tate St Ives）进行大型展览的同时访问了西蒙·卡洛尔（Simon Carroll）的新工作室。在这里，我想表达他的创作实践和他对待他所看到的方法的风格-毫不奇怪-这是他发展中的重要时刻。西蒙·卡罗尔（Simon Carroll）的工作室是一栋经过翻新的尼森小屋，位于一处废弃的飞机场上，该飞机场是第二次世界大战期间的美国服务基地。尽管从外面说不出话来对他来说是一个新的开始，但在室内充满活力的嗡嗡声中却充满了活力。这是卡洛尔在没有观众的情况下仅由他的狗墨菲观看的舞台。就像他希望的那样，工作坊是：不是太整洁，而是所有的地方;一种动态的结构（引用巴切拉德的话），“使诗人可以居住在宇宙中”，从而“宇宙可以居住在他的房子里”。 [1]几位当地人割了他或他的陶器的任何东西。当来自对面大楼的RNLI机组人员帮助他搬进来时，他们对所看到的没有评论-但是他可以从困惑的表情中猜出他们的想法。他更喜欢这样的想法，他可能会吓到某些人。
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