The third skype chat session was the second week of the first symposium: 3, 2, 1…
It was a lively session with a lot of discussion on and off topic but I shall dwell here only on the work shown. We only saw four practices so it gave us plenty of time to open out the conversation into all sorts of areas. The practices were very different indeed, from illustration to curation, psychology to installation.
Christopher Tayah shows an eclectic range of mediums, from 3D printing and sound to video, painting and digital design. His work uses psychology and psychoanalysis, with himself as the protagonist and thematic center, to create a collage of means expressing states of mind and the fragmented nature of perception and memory. The video Rouge might be taken as emblematic of his current ideas. It takes the form of a surrealist descent into a dream-world that features water, fragmentary found footage from his childhood, and a focus on the colour red in the midst of a desaturated world reminiscent of French and Spanish surrealist films.
Friederike Hoberg works under the alias of Sophie Petit. Her figurative paintings and drawings are in contrast with her sculptures that go from using found objects in the manner of Arte Povera to installations using resistant materials such as glass and metal. The presentation focused on Air : an installation comprising coloured glass hanging from metal chains at varying heights in concentric from the ceiling of a commercial centre. The geometry and play of light in the space, demonstrate her stated concern for the material and aesthetic aspects of her practice and the emotional affects these might cause.
Irina Bourmistrova is a curator. Interesting to have a curator on the course. A completely different slant on things. She has experience in curating and managing exhibitions and galleries in different countries and is primarily interested in digital works that deal with science, technology and ecology. Irina wants to explore the natural history of the gallery in today’s society and whether it will survive and in what form it might adapt. She has opened a gallery space in London and it will be fascinating to see how her perspective as a gallerist and curator might impact on the course and conversely how the context will inform her trajectory.
Sandra Wilmann is an illustrator who has recently entered the digital graphics field. Her work takes everyday life as its theme expressing what is referred to in Norwegian as stemming, a feeling inferred from the environment and felt by the subject. Her illustrations have an interiority that reflects this notion. She has of late also started to introduce animation into her images and is currently taking inspiration from East Asian styles and artists, primarily the manga genre of both Japan and South Korea.
Again the symposium threw up a disparate set of practices. In contrast to last week, the themes and concerns were also very different. As a whole, this makes for an eclectic mix on the MA course which can only be a good thing. It makes for conversations that encompass different views and aims, a context ripe for contingent ideas that can only help fertilise the ground over the next two years. Whereas last week the overall sense I took away was one of existential concerns, this week what arose in my mind was how aesthetic priorities affect a practice and its perceived standing; also how the outside perception of a practice form can influence the practitioner and not always beneficially. This is very much a matter of environment: is it always necessary for the artist to be responsive to the society they find themselves in?