Myriad. Paradoxical Objects:
http://eleanormacfarlane.blogspot.co.uk/2013/05/myriad-paradoxical-objects.html
Myriad. Paradoxical Objects
I often abstract and then layer imagery to offer the viewer multiple aspects and meanings. I am interested in the paradoxical edges between areas of art, the solid nature of film, the objectness of images, the feel of sound.
As well as the statement and images about the work, this is the artist statement / bio I have written for it:
Eleanor MacFarlane
I am an artist and writer with a First-class degree in Fine Art and an almost completed MA. I review art exhibitions, books and culture. Recently an Artistic Assessor in Visual Arts for the Arts Council, I am an Arts Mentor for the Koestler Trust, working with artist exoffenders. I have a popup, theViewergallery, for artist projects, explorations of moving image, and the ongoing drawing theLongLine.
In my art practice I make moving image, creating beautiful insights, and also love constructing art contraptions. I am currently developing a 24 hour audio visual piece to be shown at Bank Street Arts, Sheffield, in 2014.
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This is one occasion where I had to keep to a word count and consider the audience, so it is not my usual artist statement. Such things often have to adapt and be edited for different uses.
30th May 2013
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Group Exercise formal Feedback. 3rd June 2013
My notes for others:
Jennifer
It’s a really well written and interesting statement which
hangs together intellectually – but it’s quite long for a statement – more of
an exhibition essay. Some really thoughtful ideas about lens paradigms. Perhaps
a highly edited version to grasp quickly?
Jo
Good to have a phrase to describe the painting practice – the edge of possibility. It makes people
think that way about your work and see the paintings through that lens.
Interestingly doesn’t describe what actually goes on in the paintings – the
dynamics, the ambiguous threat, etc.
Sarah
It’s a little hard to understand on first reading – some
specific words. A lot of answers and defining of work – is there space for
viewers to interpret differently? Something open?
Clare
Describes works in progress, making in process, thoughts in
progress. Matches the unresolved suggested nature of the images – feel like the
artist could really know the whole story and only gives clues, rather than
letting the entire meaning lay with the viewer?
Alexa
It strikes it may be possible to write the entire statement
in the style of the paintings and the literature mentioned – towards the end
the statement is more prose-like, like the literature mentioned, and captivates
as the images do through the right tone of imagination.
James
Really concise and interesting – frames the ideas of the
work. It explains how to look at the work and see what the artist intends.
Amelia
Statement rings as true of the artist’s voice. Could easily be edited smaller and more
concisely without losing any meaning or key phrases. Allows viewer to interpret
work. Crusty is a good word to have in a statement.
Simon
Description of previous work, stars, etc, not really
relevant to these images. Beautifully written allowing viewer to ponder the
idea – but phrase sticks – rarely we see
what is beneath the surface as not ringing true!
And from the group:
Alexa
Duality, descriptive – explanation of ideas and visuals. I
like the personal preferences and ‘I am interested in’. Layering is visible in
the work. Statement is quite evocative which complements the work. Briefness of
statement leaves ambiguity which is also reflected in the work. I like that you
have included work which has now ‘moved on’ – it seems apt for the tone of the
statement.
Clare
Images on slides 4,5 and 6 appear most closely linked to the idea of ambiguity/layers of implied meaning. The images on slides 3-7 I think aren't on skeleton leaves? But the last 2 images give more of a sense of how the multiple layers of images and material qualities will work and add much more to the images than them simply being digital images. I might like a bit of information about why skeleton leaves – not too much, but enough to give me a way in. You write about the delicate aspect of the skeleton leaves – but only in material terms – I'm interested in whether there is also a conceptual link.
James
I don’t know what a skeleton leaf is which makes it difficult to imagine what your work actually is or looks like.
I understand that the idea is layering and that comes across very well and there is some visuals that I make there.
I’m not sure what you mean by “the feel of sound.”?
Jennifer
I’d like to see there be a more definite statement as to why you’ve chosen skeleton leaves.
What duality does this create? Can you put a few more ideas in here.
If you chose to expand the statement in length, knowing more about the choice of imagery and forms may be relevant. Why the eye? Why the book format?
Some more information about how this work connects to other parts of your practice would be interesting also. I’d rather see this information than the second part of this piece of writing which reads like a bio.
Jo
Brilliant statement! Very concise.. As always work is incredible so intimate and intelligent well thought out, I love this new work the all seeing eye, third eye and the images are stunning!!
You sound confident and very academic. Also very enthusiastic, you can tell that you work within the artistic world, and you have that all important self believe in yourself.
Sarah
-Interesting title for body of work; title reflects the content well
-Title: ‘Myriad’ ensures the piece transcends categorisation & ‘Paradoxical’ argues every potential criticism
-Work made for sale, so audience was in mind.
-Book as frame, looks good from front, careful of weighted connotations of using book perhaps; book as frame is intriguing and demonstrated that the paradox referred to in the title is successfully embedded in the work itself.
Caroline
Work for art fair.
Object/image, good clear communicative statement, appropriate to context. Interesting to point out layering – is this needed, its pretty obvious in the work? Would be interesting to know why you are using eyes. Altogether pitched well for mixed audience - as it is an art fair, maybe consider mention of art movements you are interested in/draw from.
Biog: clear although would people want to know what the Koestler trust is?
Excellent idea to flag up the MA Show work and to give people a taste of the continuum of your practice and also that there are other show you are in that they can go to see.
- Reading out is difficult, but the emphasis get across.
- Will the audience take time on the statement?
- Writing for different audiences and contexts.
- Content - have a strong connection between the words and the images.
- Drawing in - connect or repel the audience.
- In gallery - a different curation.
Reflection
The exercise was certainly interesting, with several different approaches. I rather like the fast paced recording of initial impressions - it's like gathering points from which to review. It's difficult not to sound too curt and critical when it's so fast and immediate - making points without mediating in explanatory language.
Sarah got it right by interpreting Paradoxical as a get out clause against potential criticism - I like the catch-all which allows for a variety of approaches while gathering all together in some conceptual basket, creating potential links.
I may think about Caroline's suggestion to mention art movements I'm interested in. I get the point, to flag areas and signpost ideas, and it's a great shorthand for artistic direction, but I have rarely seen it done well in statements. On the contrary, I often find it rather offputting, and a bit of a cop-out rather than defining one's own terms and language. also, you just may not know the artists referred to, and so the exercise becomes exclusive rather than inclusive and enlightening.
24th June 2013
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