MPR Comments and Response

Yesterday we had the silent crit of everyone’s mid point reviews. It was a long day and I am glad I had prepared my comments and questions, there was a lot going on and seven minutes for commentary after viewing each presentation made it almost mandatory that responses should be prepared. 

Below is the studio based discussion as audio and transcript followed by the written Skype comments from online students. 

I felt that I gained a great deal in thinking of the work of others and the responses I gave in writing can be found here.

The whole video of the day can be found here.

I found the comments thought provoking, affirming, and stimulating; in time I shall respond to them, in the meantime…

 

Sound file of the studio comments

Transcript

Edited for clarity endeavouring to maintain content.

Ben:
These sculptures remind of video games such as [inaudible] group simulations that focus around evolution. I don’t know if they would be any use. There are lots of simulations on line that kind of simulate evolution and a lot of creatures end up looking like that. So, if he is looking going more into digital that might be quite useful.   

Dannii:
I really like the ideas that he is exploring the alternative the alternative forms of creation. There is one particular image in there that resonates with me it brings together all of his ideas in a single image that’s got ceramics in a bowl with different combinations of materials that it speaks [of] anthropology, archaeology and science fiction. The fact that they are made out of ceramics has this ambiguity about whether they are from the past or not or whether they are future artefacts, the way they look is quite science fiction. It holds you in this wonder space where you don’t know where these objects exist in time and space and that for me was the most powerful out of all the images.

Ed:
I’ve got a question which is, is there a way of imagining an ecosystem in which these fictional beings have an interrelationship

Jonathan: what, like in a whole universe, similar to what Ben said [ about] simulations… a whole environment 

Ed: Because I mean they have an organic style and if you were to put several of them on a table together, as has been suggested in some of the images we saw where you start to try and work out how they feed off one another or how they co-habit, that could be a useful tool in…research.

Ed:
I was wonder, suddenly there were two churches in there and then everything went back to the organic, you see that there was a church and then a mosque then it was…  we’re back, we’re back to the fluidity of form… like there is an existential angst to his work that is represented in the faces crying out from this [inaudible] thing… maybe I’m misreading

Dannii:
They seem more like sacred artefacts that have been displayed they are very different, they are   much more ordered, elegant, symmetrical they were very very different from the other more organic [inaudible]

Ed:
There was one large sculpture that had the kind of almost Jewish candle, almost, form, ceremonial form

Dannii:
That’s the culture that’s connected to the organic life forms that’s the human culture that’s evolved from the same environment that these other organisms have evolved from that’s the link between the [two] that’s the human culture relative to the…

Ed:
These might just be the narratives we develop [as] the audience and maybe it should stay on video.

 Betty:
There’s an artist that Alexis might find interesting called Marguerite Humeau, she’s French she’s quite young, she had a room in Tate Britain quite recently and she calls herself the Indian Jones of Google Times.  She makes sculptures of animals or things that could have been but hadn’t been so she’s worked with scientists and all that but she displays them very differently to how Alexis shows his work. It is very slick it’s almost like you’re in a designer store but she incorporates sound into her work as well. It might be someone you could look at, Alexis.

Dannii:
It made me think, what about, a lot about the legacy of life forms and what they leave behind […] because ceramics is one of those things they leave behind because it is so durable but maybe the thing that we leave behind is plastic everywhere maybe there is this plastic after that, maybe explore materials and explore and contrasts things like plastics and other materials with ceramics.

Ed:
There are lots of different… I think the thing is with his work it just touches on so many different areas and you almost want to say, alright, go for the archaeology, go for the anthropology.

Jonathan:
[Jonathan reads the second half of Pav’s comment adding] at this time in the course it still quite big and broad

Ed: and speculative and that’s fine.

Will:
You can tell the way he’s thinking in quite a dense way, I actually would like it if he went full on maximalist and maybe really immersed in this whole room of objects not necessarily interconnected.

Danni: Like the British Museum          

Ed: Like a Hieronymus Bosch triptych or something like that, where you have an overwhelming deluge of material

Will:  I think I would go that way because that’s where his head is at with it and embrace the quantity then the role of [inaudible]

Donald: I think, when you look at pictures of his studio, he’s doing that anyway

Will: That’s what I said, it looks like the Chapman Brother’s studio, there is so much stuff in there, l really like that.

Ed: Well, the Chapman Brothers definitely reference Bosch, ‘Hell and Fucking Hell’ are like three-dimensional Heironymus Bosch triptychs there is a conscious appropriation of that.

Dannii:
I was wondering whether [he’d] be interested in trying in a practical process way to explore the edge-lands of his work, particularly in ecology where the sea meets the land and we have this incredible explosion of creativity whether his singular practices he can bring them together and they can almost cross-pollinate each other and what that would turn into

Ed: Hybrid. He is all hybrids, everything he is doing is a hybrid of one thing or another. I guess it does cross-pollinate. The question is how the ideas cross pollinate in curatorial [setting].

Betty:
How important is that people understand his work because I think I would need to take away his artist’s statement and spend a couple of hours before I could understand all the ideas that he is trying to articulate and does that matter. Do you care if someone just takes your work at a very face value…

Dannii: I don’t know, I think there is a possibility to discover the language into something much clearer and purer with a more simple language that can make it much easier and accessible, just simply using more common words for example

Ed: So you are asking him to be less literary

Dannii: He is using very specific words to articulate himself

Ed: It is very sophisticated

Dannii: He could be a bit more generalist in his language and then I think more people could potentially could [noise] the work.

Ed: But I think presenting it in a gallery setting could be poetry that he indulges in rather than prose in order to actually make sense of…

Leah:
I have read this text for a very long time because the words, the English is quite hard for me. But I quite like the idea of inversion of methodology and cross-fertilising, it’s quite interesting for me, but I am trying to figure out the meaning, it is the same meaning in Chinese, when I saw his work I just could not find these things in his work, this is my question.

 

Skype Chat Comments

ASH:
My favorite piece in your works shown in the video is the one using face as the core element. I can even hear of something from the picture as the opening mouth is so noticeable. I would recommend you to check the Radio Tower at the Tate Modern, maybe you can put a speaker inside the pot then it will works as the ‘voice’ of man?
Video mapping works really well.
Old time room is much better than white cube way of exhibiting.

Friederike:
Alexis I really liked the idea that nature in choas creates new forms of life and so does the artist. It really made me think of evolution in an instant way. Evolution seems always so slow, but in reality the creation of new forms happens all the time, you made that connection for me, which is so simple, but somehow did not occur to me like that before.

Christopher:
I am fascinated by the way you transform your sculptures from being still life to a machine of emission. I’m curious to eventually encounter the ways in which you integrate digital mediums within your more tangible work.

Matt:
Relationship between drawing and sculpting reminiscent of Henry Moore – organic similarities, connectivity and fluency in form and growth. ‘The digital as an entity that is separate and encroaching on us’ – i am interested in this notion relating back to conversation we had during low residency – is this something which you could push or consider in terms of how that relates to your feelings about evolution and states of nature – what is ‘natural’? It is something that has a label of belonging to a category and a construct – do we percieve the encroaching digital as a shadow that follows us and belonging to its own dimension in some manner? Is technology threatening? If so why – isnt it that if anything we are our own threat – we gave constructed and clung to a fixed idea of what constitutes ‘wilderness’ or the ‘default’ – I wonder whether intentionally provoking those concerns and shaping a voice for them might be constructive

Aristotle:
Brilliantly written as always. It leaves me with a feeling of awe and admiration. It takes me somewhere whery primal and very deep at the same time. Eerie and drawing at the same time. Very dense in theoretical information, maybe a bit too much. I would like to see more physical examples of work currently in progress and any struggles relating to that.

Pav:
You have developed a sound reportage on your intellectual enquiry into the Universe. Your practice and research have resulted in the production of quirky and diverse work, which is based on a broad theoretical framework. Your video has strong documentary qualities and provides an erudite and detailed record of your approach in a clean and highly aesthetic manner.
However, I felt that the contextual element was underplayed. There was a sense of confusion regarding your research question and the overall focus. Your creative intentions remain ambiguous and undefined. Is it possible to produce work about the dynamics and complexities of our holistic existence?
Can your project be about “everything”

Michelle:
Alexis – Ethereal and Primordial and appearing almost religious and evolutionary bringing lots of ideas and philosophies together. Seemingly precious objects appear as though they are from a past time.

Christopher:
A taxonomy

ASH:
and i think you can even use some echo in your sound work as mythology is included in your contextual research so i guess using echo might be able to imitate the ancient voice. i hope this advice would be useful

Taiyo:
Alex’s work reminds me of a documentary of nhk. It talked about life was developed by accident cross accidents which is just like a miracle. And most life was came from ocean and I feel like through your work I can imagine how they develop…

Kelda:
The idea of fragility and permanence and your interest in an evolving society stand out to me. Though I found the overall video quite confusing as there was so much in it! Lots of great ideas in there… Maybe it need honing down a bit moving forward?

Grappling with the Angel

Jacob Wrestling with the Angel: Jacob Epstein, alabaster (in Tate Britain)

 

The Jacob of Genesis wrestled with the angel, some say with God, taming a vengeful angry deity and forging a new relationship between humankind and divinity. I see this divinity as the all encompassing material universe made flesh in a dream as Malakh. 

After completing the Mid Point Review I woke to a new realisation, that of grappling with a multitude of ideas trying to reduce them to a single point with a focused coherence of some sort. It did go through my mind to do the Tantra thing and make a painting symbolic of this synthesis into a whole: a point for meditation. However, my nature would not allow me to settle on such a solution. You see, I view the world as a continuum panning vertically from the infinite to the infinitesimal and horizontally across the fastness of time and space. The world is a whole simple single entity and it is a complex of interrelated elements divisible and united. Reality is smooth and simultaneous, granular and causal. This duality is not a matter of indecision but of phenomenological understanding. 

So the problem I was wrestling with can be summed up as, do I present a single work that tries to represent a multitude, issues, subjects, material solutions and approaches, a symbolic sign or do I present, what I call in the MPR, a compendium of interrelated works, each able to stand on its own? The former requires a silencing-out of ideas, the latter risking to appear disordered and confused. If I am to be honest, the minimalist approach does not satisfy my nature however elegant it might appear. I am a mongrel of ideas and influences, philosophically and genetically heterozygous .

In an attempt to resolve this problem I am lead to ask of myself, what is the glue that would bind the works if I were to take the second path? I have already gone over this in a much earlier post. I also hinted at the answer in the MPR where I have written, words are the labels of my thoughts. This is at least partially true. I am not a good speaker but I enjoy the act of putting ideas into words the semantics of language and their syntax. Much of my understanding of the world is worked out with labels, shuffled and shunted in my mind until they fall into place only to be moved again and again. I am talking semiotics here; touched on in the previous post Significance and Meaning.

Having settled on my general direction and that is not to have to create a single work, however holistic it might be, and that words are the narrative glue that binds their content, I start to think about the relationships between the works. In so doing, they start to take shape in my mind, decisions have a rational and an intuitive element: working with Dionysian impulse and Apollonian restraint towards a balancing and rebalancing a weaving of interrelations, invisible lines of tension that burgeon into some physical form in each part.

But do I explain these relationship in words or should they be left to be uncovered, discovered, debated and vulnerable to misunderstanding. I must leave this to the receiver but the trick is to leave sufficient breadcrumbs for way into the wood to be made accesible. A catalogue or a statement, a performance or poetry, for now that question can be left unanswered, there is time for that to develop and mature.

Now for some content. The very provisional titles with which I refer to each principle work, yes there are also small morsels I plan to sow in the interstices, are significant as monikers for the links being forged. Hermaphroditus deals with gender, language and religion through the channel of myth. Logos/Oracle again inspired by the myths deals, as logos alludes, with the disruption of language and understanding through biological and geological metaphors of the gut and the cavern: the devouring of reason and dissemination of ambiguity and ambivalence. Language links these two works but the third installation is unspoken, the absence of word. Shadowland translates the three-dimensional world into two dimensions, constantly reiterating in analogue and digital means the simplification of form, altering its meaning. Whereas Hermaphroditus unfolds and Logos confounds, Shadowlands simplifies and in so doing creates another narrative. 

The trilogy of unfolding, confounding and simplification represents in some way how I see this project. An attempt to simplify and synthesise entanglements through unfolding. The nature of interpretation and mutation of meaning links the works and suggest further works. Is this not the essence of myth? As I write I start to draw together the elements I outlined in the project proposal and as I do so other considerations start to fall in place, considerations such as the aesthetics of each piece. This starts to look less important and somewhat superficial. However, it is still important as a means of conveying a sense defined by the thoughts that go into the work. 

Finally, there is the fourth element, the antecedent to all three which for now must remain undisclosed lest I should abandon its making and disappoint myself. It is a relic of times past and gives context within my own practice, what you might make of it is not for me to say. 

I now feel renewed, on the threshold of a dawn having wrestled the angel. Like in a dream I did not realise I was in quite such a struggle. This realisation has come with the Low Residency and the MPR. There is much planning and preparation, experimentation and workings out. The projects are ambitious in meaning and in making and I cannot afford to leave things to sort themselves out. I cleared a path but it is yet to be trodden and tested. It is now time to take the next step… and keep writing. 

Significance and Meaning and the Mid Point Review

Having completed my Mid Point Review video, I sat back and thought about it, what does it communicate, how would it be seen by my peers? The video touches on some of my current research and development, nothing concrete as yet, no final work(s) to show or indicate their latent presence. Ideas and thoughts strung together, loosely milling in my brain taking up positions, making connections, only to be shaken up again. 

I was struck by the coherency of the other presentations, how singular and linear, how focused on a single target. In Michelle’s video, she talks about the small history, not found in books, encapsulated in conversations and daily actions. This made me think that I deal with large history, quite a different proposition. But at a point the two must meet. Where does the individual become society and vice versa? This is something I think about a lot; the tension between the small and the large. I would be interested in following this line of thinking further in my work. 

Held in all that is said and done lie two things, meaning and significance. These are words often used synonymously. Both convey information but in subtly, or perhaps not, different ways. They can convey roughly the same information with very different implications. Meaning is about the information contained within something and how it is represented, it is symbolic. What is the meaning of, ‘a thirst for knowledge’? The desire to know more about things. Significance on the other hand is more about the relevance or importance of the contained meaning, its impact or consequences: your thirst for knowledge in this research is significant to what you might find. 

Both ideas work with information but in different ways, symbolic versus causal.  What I am saying here is that my work deals with both the symbolism, the semantics of something and its consequence. Another example arises out of the question, what is the meaning of your work, what is it about?  I have plenty of answers to this but are they significant, will they affect the person or just switch them off. This ties in with the conversation had with Pav during the group presentations on the second day of the Residency. I have to be interested in the meaning, it is one of the things that sustains my interest in what I do. However, it is more relevant to be talking about the significance of the work: how does it affect the receiver. And for this, a conversation needs to open and remain open. I cannot tell what the significance of a work will be. I can work with significant matter, but how it affects someone else, that needs to be part of an exchange.  

This brings back to mind Anderson’s idea of art, ‘culturally significance meaning, skilfully encoded in a sensuous, affecting medium’. It is ‘significant’ that he deliberately uses the two words in his anthropological summation. The meaning is encoded through a medium that both affects and is perceived phenomenologically, not just semantically. The skill lies in how effective the artist is in doing this. The point then becomes, how significant is the meaning and all that is done with it, to others?

I have some ideas as with Hermaphroditus and Logos.

Mid Point Review

The Mid Point Review is a moment for revision and evaluation of what I have done so far and give some sort of indication as to where I am going. I do not intend for the MPR to be a literal description of how I work but rather a summation of my philosophical approach and how it has developed during this period. I see it more as a document of inspiration, an indication of where I am heading. Five minutes would not be enough to unpack the lineage of the activities, their provenance, let alone the detailed methods, materials and so on, these reside in the blog itself and elsewhere.

A transcript of the video is included below and can also be found here


Transcript


I started this course asking myself, how I might bring together the disparate areas of my practice.

Previously I had dealt with this concern by accepting the variety and differences between outcomes while focusing on core ideas which I expressed and connected but not necessarily in overt ways.

Since October, I have engaged in a period of research and reflection; evolving and synthesising,  deepening roots through a series of sequential stages as well as more intuitive, simultaneous orchestrations of video, photography, drawing, sound, sculpture, illustration and text.

The different means of expression and transformation I employ, affect facets of my practice in different ways addressing interests that lie in the domains of natural and human activity, science and the humanities, domains which are normally separated but which are nonetheless deeply connected.

The blog itself plays a critical role in the elaboration and synthesis of ideas and solutions as well as serving as a document for retrospection.

Each path I take articulates a different way of seeing. I embrace this multiplicity as I do the complexity of human society which in turn I see as a reflection of the natural world.

David Wengrow furnishes an insight into how composite cultural ideas and forms arise from the plurality of evolved societies. As a society becomes increasingly complex, with a multiplicity of world views, religions, writing, trade and so on, the idea of composites such as imaginary creatures and complex works of art proliferates.

An analogy can be made between this cultural phenomenon and nature’s way of  ‘experimenting’ with body plans and life strategies in new and changing environments, as it did during the Cambrian explosion about 5 00 million years ago.

Navigating this ecology of ideas where relationships are often assimilated, sublated and hidden behind a chaotic order, I look for correlations between natural and cultural processes and how new rules of engagement emerge and overlay preceding ones.

This emergence happens when thresholds of complexity are crossed. Thresholds such as the origin of life, the emergence of consciousness and now the digital symbiosis that appears to be encroaching on us.

I am particularly interested in the poetic possibilities of cross-fertilising modalities    such as the relationship between sound and sculpture and how meaning and nuance in language can be variously disrupted and manipulated.

These are not only responses to and a way of reconciling with what Ted Hughes called ‘the horror of creation’ but also a rejoicing in the wonder of life and existence underwritten by the question, why is there anything at all?

I see an evolutionary universe in which being becomes becoming, impermanence discloses change, and the desire for permanence and stability becomes a quest for understanding the nature of continuity and time.

For now, I envisage the final show as a compendium in which interrelated themes from different domains are expressed as on the connected faces of a solid, looking outwards, yet out of one another’s sight. A whole in which the existence of a continuity of relationships is inferred from a unity of form.

These outcomes are not set but may include: sound and sculpture installations, a series of videos and a graphic book… maybe even a performance.

The idea of inversion of methodology  is one example of how I am currently approaching work. Where previously I embedded sound in sculpture from whence it subsequently emanated, now I am looking at ways of collecting externally sourced sounds within a body where they can resonate and sublate into a transformed essence.

The low residency period has been a transformative time for recontextualised reflection away from daily life. It has brought challenges that have facilitated a clarification of questions posed by the many directions which any one work might take.

It has sharpened my awareness of the need to wield clarity and control with as light a touch as is within my grasp, and that context and experience should ebb and flow through the permeability of the self; filtered and selected to allow the beating core of what I do to sound its own rhythm, be the principle impetus.  In all this, my relationship with the external world can be taken as a given, I am immersed in it, self evidently unseparated from it.

I look forward to the next fifteen months, always transforming, always evolving, continually finding the vulnerable protean soft body inside an ordered and constrained carapace.