Whether it was me or someone I knew travelling, distant separations and long periods of time have been a major part of my past year and this was the initial inspiration for the work I have produced up until now. Although I have touched on other subjects and ideas, the underlying notion behind my work is that of ‘the moments in between’. This originated from obvious thoughts about “a cut in time” and “space of existence” when someone is no longer physically spending time with you. Despite new technology ‘bringing people closer together’, the facts are “you can only be with someone when you are with them” therefor when talking on the phone or on facetime, there is no real, solid evidence that you are actually connecting with them – because you are not. As of this, through image making of different sorts, I have explored the constant overlapping of interaction a mother may have with a child compared to the singular interaction of two strangers meeting for one time only. The idea of this ‘gap’ then developed through to performance art where I attempt to experience the void of getting lost and what it meant for objects being taken from the lost place. My intention was to make work that highlights these gaps in our understanding, actions, perception and conscious beliefs, then push their boundaries. I still have much to explore and build upon and have moved through many different circles of thought to get here. I recognise my work would benefit from being a more refined concept earlier on to leave me more time for scrutiny, rather than brushing over other ideas with little relevance.
New to studying fine art, my earliest work took a familiar form of painting, collage, photography and drawing but my first attempt at video art led to more video plus performance. I have discovered that the involvement of the body, essence of human and movement are of more interest to me than the arguably stationary presence and resulting flat image of say painting. I can connect to work much better if it is more sensually stimulating, then feel more in tune and involved with what I am trying to communicate. Saying this, since my first visit to the workshop, I’ve hardly left. Casting, woodwork and welding have all become the processes I’ve used to make my most recent works. I’ve never used machinery like this before and have begun creating sculptures. Some of the sculptures I’ve made however have not been developed in anyway or revisited. Working in this intuitive way has been letting the work itself evoke future ideas but at the same time I abandon work I may have only just finished. I could be overlooking great potential for development so from now I will take more care with reflection and not jump to the next thing if I haven’t considered the possibilities of what is right in front of me.
In terms of imagination, my starting point was quite simple and direct: being away from someone means physical space and being with someone implies wholeness. This directly informed the grid like paintings and weaving I touched on at the very beginning. Alongside, I made images by visually simplifying experiences and moments from photos as a form of documentation which did have more complex associations with psychology of information and perception of the viewer. Visual explanation of events was a key theme. But I found it quite restricting as the point of it was simplification and documentation of moments so taking it further kind of felt defeatist and a uninteresting. But, the relevance of the gap regained its importance and thanks to a major study of John Cage’s work, for example 4’33” where a pianist walks up to a piano in the gallery space, expected to play the instrument however captures the audience and sends them spiralling into an in between of understanding left with ‘nothing’ when he walks away having not played a single note. My imagination became angled more towards the potential of discovering and creating voids. I became fascinated with lost places of nonexistence but how they must exist if we can call them moments or places. These complex ideas grew into video and performance. If I compare the direct approach I had when painting grids compared to the video piece I did about capturing ‘moments between the functions’ like blinking, finding the radio station and the role of the hinge in a door. I can see the evolution of form and media as well as a more concise objective and outcome; even if my technological understanding was poor.
I have thrown myself into all ways of working and am slowly discovering what media I’m most attracted to which is currently performance and sculpture. Simultaneously, I still find myself struggling to balance my practice with research; I get myself lost in theories and ideas, write masses about artists and their concepts but don’t really know what to do with it. Following this in depth reflection, I will get more focused on coordinating conceptual research with physical work.
Discovering that work like John Cage’s 4’33” performance exists and is celebrated was hugely influential, plus relevant to my ideas of void and the nothing in gaps. Prior again, a quote from the book ‘Trickster makes this world’ by Lewis Hyde about artist Rebecca Horn, fed me the first example of a ‘space in between’ when stating that there is a place neither leading out nor leading in to the door and this is the place of “the hinge”; the “in between of two identified functions” and an element so often forgotten. The hinge related considerably to my research on the theory of phenomenology which was established by German philosopher, Edmund Husserl. Although it is difficult to define phenomenology, it “is considered to be oriented on discovery” and associates with ideas of experience and ‘aboutness’. In phenomenology, there are theories about retention and pretention. “Retention is not a representation or memory but a presentation of a temporarily extended present.” A concept about nothing but an observation of the way our conscious experience works between the present and the future and highlights the space between them.
I can see how my ideas have been solely gyrating around philosophy and psychology with little relevance to contemporary issues or debates. Yet recently, in sculpture I’ve used found and organic materials so thoughts of climate change and our natural environment have arisen. Since watching the American Presidential debates, seeing their outcome and watching the documentary by Leonardo DiCaprio called ‘Before the Flood’, I have begun to address concerns with the lack of attention the natural world will receive in the coming years. I have so far only begun to support this within the materials I am using, location of video and performance and journal research on artists’ Tania Kovats and Richard Long. As of my lack of alliance with the contemporary world, social and political issues, I know to combine my ideas with critical concerns in the future and I predict these may have a lot to do with effect of climate change and future of our planet.
The journal has played an important part of my practise since the summer when I learnt of the universe in a box project, and it has been a very useful clarification and research tool. I note down everything from visiting artist talks, art history lectures, screenings, artist studies and some reflection. My journal is like a long string of ideas, every quote or idea I’ve found interesting is gathered here, along with informative but regrettably not as clearer reflection as I thought I’d done. I have reflected on my work and my progress however after re reading my journals, it is not organised or obvious. Discovering that most of my reflection and decision making was done in my head and whatever idea or thing that came after is what I’d write down. I see how I have often told the reader my thoughts on concepts and new ideas but only rarely looked back on previous ones. Separately, I have made a blog to present the video and performance work I have been doing and after each post I do provide a paragraph of reflection. Typing thoughts up feels more formal and precise; it’s easier to articulate myself, implying it may be useful to use an online format as a journal or for reflection in the future.
Using technology more and admittedly not having used the studio due to space, led me into all the kinds of media that a studio space wasn’t needed for like video, performance and doing sculpture in the workshops. But I have been in the workshop almost every day for the last 3 weeks and before that was planning and making videos and performances. I enjoy the freedom on the course and the easy, encouraged access to things like the workshop and have been using the library often as well. However one thing I am struggling with is the technical side of video and sound editing, I believe there is a course run to help student with computer editing software which I will join in January. I know that if I had a better technical understanding and access to professional software then the overall quality of my video work would improve. Along similar lines, over the break I’d like to improve my professional presence as an artist all together whether that’s through documentation of work, online presence, more directly and confidently contextualising my practise and being generally more aware of the contemporary world all together.