I have been thinking of the costume pieces in African pattern by Yinka Shobinare, so intelligently referencing and subverting and revising history and art history, whilst maintaining the integrity of the source material.
Also recently saw an exhibition at the Freud Museum, London, by Alice Anderson. I personally really enjoy the placing and juxtaposition of contemporary art within museum or historical settings, and I found her threads and wrappings, unravelling and mattes of dolls hair and webs very effective within the context of a repository of psychoanalysis, which is in itself a stifling and oppressive atmosphere.
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| Alice Anderson. Housebound. 2011 |
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| Alice Anderson. Mother Doll 2010. Daughter Doll 2008. |
There are ways of employing material and fabric which alter meaning.
I got out my rather neglected video camera and looked through it at the fabrics I have been using. Looking through a lens, looking, searching for what I can see and seek out there, I look for a truth. I am looking to see if I can capture through there the way I want to see these fabrics, the metallic history, the woven ideas, more than a cosmetic surface layer of lighting and shading.
I am so used to looking through cameras over years, and imagining how a thing would look through a camera. It's framing, focusing, choosing, using everything I have learned. There is something I have found there, a way of videoing which shows, magnifies, changes, reveals, distorts, all at the same time. I will do one more session of filming in better light, and then collate it, neaten it up a little. It is material and not material - showing what it is, but more, how I want to look at it.
27th April 2011
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