Date: 15th Mar 2012 Tutor: Emma Bulley
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Reflection on outcomes since last tutorial
We discussed my piece of writing, the response to Stallabrass, and the rigidity of his view and dense style of writing. It’s good to have to think through and articulate ideas to counter such opinionated bombardment of language. It’s sometimes difficult to pinpoint what one objects to, and such a short piece of writing tends to polarise thought and lack the very subtlety found lacking in the script. Stallabrass has one view, but it is not necessarily the view.
I especially feel the title must match content, being a book reviewer. It extends to art.
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Current projected aims and outcomes
Looked at current work on exploratory project, video projection onto material, surface, TVs. Discussed projecting moving image onto TV playing moving image – this really interests me, and seems like a solution I was searching for last year for showing multiple works. There is so much to this – it forces the viewer to look in a different way, so shift focus, and therefore access different parts of vision and the mind. It brings in more layers of meaning and juxtaposition. It belies apparent randomness, as I think not everything will work well this way – that’s what to trial – seeing how many layers work best, which types of moving image, and so on.
I’m thinking of altering my plans for the exploratory project, and not make a finished piece of work. I feel I am working on a longer piece of work – my MA piece in a way. Emma suggested applying the question – what it the discipline behind this, and at this point. I will make works along the way, steps, and keep up making more immediate works, like the riveted tins. Not everything needs to long and rambling – lighter pieces, spare. I think I get that. Think Cornelia Parker.
I will show work in exhibition at the next opportunity with TV and projection together. Talked about my preferences for showing, considering the possibilities of multiscreens and various installations. Cannot always get choice, and in fact often show work in non ideal situations, however, make work which is adaptable to different conditions, and maximise opportunities to show when they come along.
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Discussion and recommendations
Talked of my increasing thinking about using appropriated imagery in moving image – reframing vintage footage. It’s so enjoyable when Mathias Muller or Christian Marclay do it. We don’t always make the kind of work we enjoy looking at – or indeed write the novels we love to read. Enjoyabilty is key, but when we make work we delve for something deeper to find our own form. I have been collecting stills from some months – photos I take of old films on TV – something is growing with them, a form I am seeking. I want to merge these still with my own footage, and want to give this the time, without making a finite piece of work as yet.
Artists Emma mentioned:
George Saxon video artist. Apart from a few clips on Vimeo, there is really nothing else on the internet about him, and the links there go dead. Experimental, use of body like Marina Abramovic, but disengaging.
Shirin Neshat - Iranian artist reminded me both of Sophie Calle and Mona Hatoum – use of script onto body.
Cathy de Monchaux - sculptor using materials such as velvet and steel.
Shirin Neshat - Iranian artist reminded me both of Sophie Calle and Mona Hatoum – use of script onto body.
Cathy de Monchaux - sculptor using materials such as velvet and steel.
Reflection
What is the discipline behind this. This is the question and approach I take from this tutorial, to apply to work at different stages – I adopt this question.
Note to self – a reminder to review previous tutorial notes for insights, reminders, and to research mentioned artists more.
15th March 2012
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