I was watching a video featuring the blue ringed octopus, a poisonous creature that warns would-be predators by the appearance of iridescent blue rings as part of a rapid colour change. Unusually bright colours in animals and plants are often protective warning signs that they are poisonous, a strategy used advantageously by innocuous opportunistic mimics. Equally, bright colours can also attract as part of courtship and mating in many animals as well as a means of plants encouraging the ingestion and subsequent dissemination of their seed. Animals respond to such cues just as we are attracted or repelled by colours, movement, smells and sounds. This raises the question, is there a correlation between the living presence response elicited by artworks and the way we respond to the natural world?
Gell, van Eck and others have looked at the phenomenon of living presence response from an art historical stance but it seems to me that a lot can be learnt from observing our responses to the natural world. Van Eck in Particular talks about the role of the sublime. The sublime as a topos has been written about copiously since the enlightenment, however, this is as much an area for behavioural and evolutionary psychologists as it is for those interested in art history and theory. Responses of awe, terror, pleasure and overwhelming presence have been used by artists ever since people have been making things. Authors and facilitators have employed notions of scale, beauty and technical virtuosity to great effect. These are amongst a number of properties found in nature and religion. What could be more sublime than an idyllic landscape or an all encompassing deity whose beauty is such that it cannot be imagined let alone looked upon, maker of all the world?
Authors and enablers of art have often been motivated by the desire to possess at least a small piece of the cause for awe, sublimity, beauty and power through the facilitating and making of great works. And we raise such things to mythical heights, from the Sistine Chapel to the Pyramids. It is this close relationship between our emotional response to natural things and art objects that interests me: the reason we look upon certain art as though it were alive despite knowing it to be inanimate. We speak of such works as speaking to us, living, and we respond to them with emotions and thoughts that are close to those with which we react to animals, plants and indeed other human beings. We treasure them, often above other humans, and we make pilgrimages to see them in the hope of experiencing their purported transformative properties. Centres of power have long recognised this as self evident.
Religious icons, large painting cycles, marble statues, tribal carvings and video installations vary in the way they create responses but all hold in common the desire for us to engage with them beyond cognitive interactions. The aim in such cases. to engender a gut reaction, a psychological jolt that brings us into an emotional-volitional nexus with it. This entanglement is most often set in a social context. The art object gives rise to a dialectic and perhaps consensus of its meaning and function. There is a toing and froing between the art object and the viewers of response, inference and rule making. In this way, the art work’s agency could be seen as not only being defined by social conventions and interactions but its characteristics which are then assimilated into the social nexus and become part of the way in which it is viewed.
How this agency is created is largely the role of the artist. The artist’s charge is to imbue the work with sufficient information for the work to act with agency in its respective social setting. However, this of itself is not enough. The social setting must be receptive either by prior knowledge of the domain in which the art object functions or be informed of the aims or function of the art object so that the viewers can be guided in their response by a set of rules of reaction.
The skill of the artist is to enable this nexus of meaning and function. The artist can employ many strategies and tactics to do so, but for the work to elicit the living presence response, he or she much be aware of the context and receptivity of its audience.
NB: the terms I have used so far could be replaced with Gell’s. This would make the writing and reading of the text much simpler as in my previous post, namely: artist, index, prototype, recipient, agency.
I have not mentioned examples as this sort of post is more of a place holder for a fuller text.
To connect with the past through an atavist organic self, is to reconstruct not only events but the notion of sentience in another time. How can this be possible if the past is out of reach? Humans have grappled with this problem of creating an uninterrupted narrative in one way or another since people have wondered what it is to be. Ultimately, is it not about trying to explain the world as it is and how we got here, and perhaps by discovering some best explanation, for that is all it can be, have a glimpse of purpose, or if indeed there is one? Abductive reasoning is at the core of this, there is no certain conclusion, only evolving ideas that change as evidence accrues or new paradigms are installed as others are packed away.
Describing such a narrative is about filling the spaces between what we know to create mass. An uncertain substance yes, but it is something to hold on to, to shape our view of the world. Mass is a speculative place holder for something we can probably never come to know, experience for certain, only through projections and models that we build of the world, again as best fit explanations for their time. Knowledge is at best, one long sequential series of inferences that bring the world to life, a vision limited to our lives and senses in this four dimensional existence.
Personal memory, collective memory are acts of reconstruction, constantly discarding and reforming narratives in a dough constantly kneaded into shape. We sail in a ship of Theseus of the self, shedding and accreting thoughts that keep our sense of momentary self in some sort of integrity.
A medium is a metaphor, an analogue even of part of such mass, malleable, reformable. Clay is such a medium, however, the conversion of clay into ceramic stone, the alchemical process of firing, is the consolidation of an idea into what could be seen as a dogmatic shape, no longer responding of itself but only capable of being responded to. It is at this point that making ceases.
The process that gives rise to a work of art becomes translated into another behaviour. The work of art becomes more than the frozen embodiment of the intentions of its maker. It becomes an agent, a social agent not just of those aims and desires but a vessel accruing the actions and feelings of those that experience it. The work of art is kept alive in this sense, by the communion of the recipient. In that way the work leaves the hermit shell of the artist and grows into something else. Something undetermined but possibly significant. It is fed by the context it inhabits; living, dying, resurrecting as circumstances may change, paradigms shift, society attempt to reconstruct a narrative, a new narrative, so long as it survives the vicissitudes of history and nature.
I have given a preliminary look at Alfred Gell’s seminal work on art anthropology, Art and Agency. It is a continuation of Dewey’s idea of art as experience. Gell applies this to situations in which artefacts become objects of ritual, veneration and even fetishism. It is a fascinating area for me because it forms a way in which I can articulate some of what I am doing. This in turn has its origins in Sanders Peirce’s work on semiotics. It is a way of explaining the relationship between artwork and viewer when the viewer treats the object as a living entity. Caroline van Eck explains this dynamic in clear terms in her paper, Living Statues: Alfred Gell’s Art and Agency, Living Presence Response and the Sublime. It contextualises my practice in that domain, where the object is treated as living without the need to talk of it as a biological metabolic organism. This ties in with my paper on Evolutionary Space: Looking at Artistic Practice in a Disparate Art Ecology. It is about the transfer of information. And this transfer of information is not necessarily one in which free will or even action is required on behalf of the art object. The art object is the carrier of information in much the same way as a printed book or screen does. The container of information is a vehicle and its intrinsic value as art is perceived, just as a sacred rock is seen as such even though it is physically no different to any other rock. Both Gell and Eck extend the argument to looking at why an inanimate object should illicit a response of the kind that art objects and artefacts do, a living presence response. These texts are of course mainly written in the context of ritual anthropology and pre-contemporary art history. However, they can be useful in considering the function and affect of a contemporary artwork and how this might influence art practice. It certainly is not applicable to all forms of art but the future destiny of an artwork is often if not always beyond the grasp of the artist or their contemporaries.
I may write more about this as it enters into domains directly pertinent to my own interest but I need to study the texts further before doing so. these texts deal with salient aspects of my very first project proposal draft, A contract with the Ineffable, and may be useful in my explication of what I am currently doing. Eck concludes her paper pretty well where I began with my first draft project proposal, ‘[the] living presence response considered as an experience of the representation of the unrepresentable’.
It has taken me all this time to work out a useful function (for me) for these two classification criteria. This has been an important result of the blog curation process. Simply put, categories are very wide groupings similar to chapters in a book. They tell something of the area of interest but not its content. Tags can be likened to the contents section of a book. It is there where one searches for a particular term used, name, place, process, etc. Tags like content will list all the relevant words that I might find useful in the future if I wish to search for something. For example, if I want to look up a particular artist I have written about and cannot remember where to find it, I type the name and all the posts that contain that name will appear. There is an even more powerful function, and that is, if I want to refine the search because too many posts appear in the search, I can type two or more keywords, or tags. This will narrow the search results to only those posts that contain all those words.
So far I have 1092 tags. This may seem a large number and no doubt will continue to increase. However, the number is of no consequence. It is only important if one wants the tag cloud plugin to say something useful. But the cloud plugins only deal with a small and limited number of tags. For this reason I have decided to remove the tag cloud widget from the side bar. As for categories, I have been able to cull them to be less confusing.
Collected these treasures on a beach in the South of France the day before yesterday. Janet picked up the biofacts and mineral objects. I was drawn to the glass worn by the incessant wave action. What would our distant, and perhaps not so distant ancestors have given for these coloured jewels? They would have certainly used them to adorn themselves and decorate their most precious possessions; traded them inland and held them as symbols of status, wealth and beauty. The irony is that these are today’s waste cast into the sea, transformed and neglected in the sands of a affluent watering hole.
What will our descendants think of the pebbles and algae washed up on shore? The pebbles will always be there, or somewhere else. The algae, who knows. All too often, the natural environment is entangled with plastic and other detritus from our ‘evolved’ world. How will clean, natural things be seen in the future?
Janet and I collected different things, One the natural historian, the other the archaeologist. The two go hand in hand, and we did not ‘fight’ over any particular object. The truth is, that we helped each other to find the objects we sought. A meaningful juxtaposition arising out of a collaborative exploration on a modest scale.
Earlier today, I was able to get feedback from Gareth regarding the RS. We had a very interesting conversation around some of the subject areas touched on in the paper.
I am happy that the paper has focus and am grateful to Gareth for the suggestions he made in the last tutorial, namely William Latham’s Mutator. The paper works better than the original drafts, in that it avoids many of the former complexities which were hard to resolve within the word count of the paper while still keeping some original elements.
One of the things I have to add is a line or two to say that some ideas presented are subject to current debate. This goes particularly for the first paragraph in Part 2 which deals with, yes you’ve guessed it, aesthetics. No single area of art causes more debate than aesthetics, or perhaps be more interesting. And that is perhaps why the Research Statement proposes a way of mitigating subjectivity when discussing more than one artistic practice at a time.
This does not mean I have found a universal and infallible modus operandi. It is more of a gateway to further discussion and debate, perhaps future research. In fact, there are many potential papers nested in the RS. All these side branches or spurs to other areas, can only be hinted at in a four thousand word paper. So this is another thing I should mention in the paper, the potential areas to be investigated. Areas such as the idea of whether AI can make art, final causality and autonomy of action.
I have one hundred and sixty four words left. This should be enough for any corrections and additions. One thing I was glad of was that I do not need any further citations. They just take up on the word count. This makes life so much easier. There is just one I could add in paragraph 1 of Part 2 where I could explain where the idea is coming from: the part that mentions … not requiring teleological control. This paragraph is debatable which in the context a short paper can be moved through. These are things many books have been written on.
The first paragraph of Part 2 could go in many directions, and I am aware of this. The paper tests ideas and does not sit on its own. Gareth mentioned Paul Crowther who has written on the phenomenological theory of art, Phenomenology of Visual Arts which would be interesting to read in the future.
I have been concerned with the way the paper transitions from life simulation to looking at art practice as a life process, whether I have been clear enough. Gareth mentioned the Hegelian idea of Geist and in Hegel’s terms art practice is a form of sublation, in which something evolves and changes, and parts are negated to become something else.
Look at Heraclitus in the context of process philosophy which predates and counters the Aristotelian and Platonic ideas of being, the four causes and the realm of the ideal.
All the ideas touched on are a rich field to take forward but most importantly they are never far from practice based work.
Gareth Jones, in his essay, describes the historical changes in the relationship between sculpture and sound. This dichotomous tension is straddled by Gil’s work in Sonic Plasticity proposes the use of sound as a malleable material – one that can be stretched in all dimensions, encompassing height, width, and depth, with curves, edges, and changing geometries. His Aural Fields and Resonant Bodies combine physical structures set to vibrate, creating geometric fields of sound perceivable in space with edges and form.
This is an interesting field I am currently investigating with respect to the final proposal with respect to sculptures. I am not proposing to do the same sort of thing but Gil’s work does have correspondence with how I see sound as creating a physical entity in itself.
My idea is to counterpoise the readability and sensuality of the solid pieces with the pure perception and sensuality in another modality of sound. I am concerned about the cancelling out of one another: should solid sculpture reside in silence, should sound be disembodied? These are questions I intend to explore and aim to resolve in some way. The use of digital interactive devices is something I have been working with enabling an element of audience interaction. But then again, the work in silence also speaks of itself. This is an interesting area of empirical research which needs a trial and error, or heuristic, approach.
Images above: works by William Latham, John Horton Conway and Andrew Lord
Evolutionary Space: A way of looking at art practice as continual process in a disparate ecology.
Art practices have become widely divergent and disparate in recent years, particularly since the arrival of digital means which have opened out previously unimagined possibilities. Different taxonomies representing a great variety of paradigms, methodologies, thematics, mediums and contexts have given rise to a heterogeneity of approaches when considering practices and the role of artists which can render problematic a holistic consideration of different ways of generating art. Using Conway’s “Life, Latham’s “Mutator”, and the work of ceramic sculptor Andrew Lord as subjects, this paper introduces an approach to discussing art practices, fostering a unified view in the midst of diversity, evolutionary space. Borrowing from the idea of fitness landscape in evolutionary theory, applying it to Olson’s analysis of computer generated life regarding the relationship between pure information and its physical interpretation, in the context of Whitehead’s process philosophy of becoming, and Dennett’s idea of algorithms, a picture is built of how different art practices can be viewed as dynamic information streams coded and implemented in material terms.
The research paper has changed radically and become frighteningly simply because I have a tendency to complicate things. The above may seem complicated but it is in fact a straightforward synthesis of ideas from various fields to construct a different way of talking about art practices which goes some way to avoid value judgements and the need to describe things subjectively. Writing the paper is making me focus on an increasingly narrow narrative as an explication for a broad idea. It is frustrating at times because I want to explore a multiplicity of ideas but by considering a wide field and having to progressively select out is also liberating. It shows me that things can be simple without loosing depth. Implied ideas can be just as powerful in leaving the reader the possibility to uncover them or find new things and feel the sense of discovery rather than having them pointed out. The methodology I am constructing is also feeding into the project proposal: I no longer feel compelled to spell out every idea.
Betty brought Marguerite Humeau to my attention during her feedback to my Mid Point Review. The artist works with similar ideas I work with, organic life, sound, the past and myths. It is interesting but I do find her installations somewhat too clinical and the sculptures lacking in depth. What I mean by this is that they do not have scales of vision: they are large and smooth and had all their interest sanded off them. The slickness lacks humanity and looks rather plastic and artificial which does not seem quite in keeping with her ideas. They look like reproductions of Blender renders in fibreglass or some similar material. In any case, I like that she works with mediums and ideas that I can identify with and is one of very few artists that is in my direct sphere of interest.
My Research Statement started clearly but tailed off towards an uncertain ending. I had the thread, subject knowledge and so on but crucially what I was thinking was only of slight relevance to contemporary art. I had been dealing with histories of knowledge and putting together a viewpoint that although very interesting to my mind, it was not pertinent to contemporary art and did not contribute to my practice, neither methodologically nor theoretically: I just found it interesting.
I had written around two-and-a-half thousand words when the recurring feeling of dread that asks, where is all this going, became too strong to ignore. I had barely started to look at contemporary artist that might be relevant to the paper. I looked at some suggestion Gareth had given me. Most were examples that were nothing close to what I was talking about, but you only need one, and one did stand out ticking all the boxes. I found that William Latham has been working in a similar way to me for years. He has developed an evolutionary art with computers, I have done it with sculpture. I looked up some references I was familiar with to do with cell automation, a bit about AI and found these things fitted into the contexts I had thought of previously: the Cambrian explosion and the Early Bronze Age.
I am excited in that the hypothesis I am now proposing brings together art, biology, anthropology/archaeology, the digital environment, virtual worlds, philosophy and the future. The idea is not fully fleshed out yet but it is on its way and would not have been possible had I not started the way I did. The idea came a few days ago as a need to find a way of talking about very different artistic processes in the same terms. I have found that despite all the talk of breaking down barriers, merging and blurring the boundaries, art has become too disparate and dispersed. A fog of taxonomies, political stances, power plays creates in me an inability to talk about things cohesively and clearly without having to ignore the unique characteristics of each practice or making crass generalisations. This is not an attempt to judge or weigh one art form against another. On the contrary, it is a way of critically looking at each practice and identifying what makes it unique without recourse to subjectivity. I know that this is a bold claim and it may unravel as I write the paper but it is an interesting exercise. It is probably just another supporting piece of thinking. Many attempts have been made to do this since structuralist, post-structuralist and subsequent theories. I think Wittgenstein wrote something along these lines but it was based on a philosophical logic form that is not easy to understand.
And finally, it is directly relevant to me by helping to re-contextualise my practice in the contemporary environment. I think it could be one way of universally thinking or rethinking about process, categories, art, anything that involves change, which is virtually everything.
Note to self: writing this down is a way of telling myself to continue writing, researching and composing ideas.
Warning: this post contains very subjective material.
After over six months I still remember one visit and one work in particular. At the Annka Kultys Gallery in the London City Island an exhibition of digital works was showing entitled Re-Figure-Ground. Two things I remember, the video-game-like virtual reality goggle-based immersive 3D videos complete with kinetic controls with which to travel within the virtual world, and a simple 3D animation that did not do much with a spoken audio.
The VR works were interesting enough from the point of view of technology but quite honestly they left me underwhelmed on account of their lack of conveying any point to them other than showcasing the technical work. And to add, the resolution was so poor that it left me wondering whether I needed new glasses. This inconsistency between the vision and the actual vision left me somewhat frustrated. Claudia Hart’s augmented reality was like walking through a myopic fruit machine of social media icons along pointless corridors. The fact that she is examining the body, perception and nature ‘adapt[ing] the forms and software normally used to create 3D shooter games was no compensation for what was clearly meant to be a transformational experience.
The Karst cave by Snow Yunxue Fu’s was, as she says, an attempt to embody the concept of Plato’s cave in a virtual realm. She then continues to say, ‘providing a contemplative environment for the visitor to wonder; walking and teleporting within the control of the wireframed virtual hands that are given to them’. Really, Plato’s cave? That is certainly not what Plato was on about when he described our secondhand manipulated perception of the world. Leave that bit of referencing and you are left with an enjoyable, if somewhat, again myopic trip fantastic.
The rest of the show I found cold but one work did stand out for me, and it was not the most accomplished technically. Morehshin Allahyari’s video installation She Who Sees the Unknown, Aisha Qandisha was a back projected video 1 of a 3D animated figure that did not do much other than turn around a bit and sit in some sort of digital sea. On its own it would have graced any number of album covers for some group or other singing about whatever. However, when combined with the narrative it became something else. It transported me to another world of magical realism in some ancient past which is very much present.
The combination of powerful scripted content with a weird large image moving, now menacingly with the audio gave me the sense of a deity being displayed before its awestruck followers. This remains in my mind not only for the content but how something relatively simple in digital terms, can still have impact compared to more sophisticated presentations.
Much of her earlier work does not do much for me. It is overtly political and lacks depth; mimicking the tired old tropes of various movements in previous years. Thankfully, she has developed a more personal voice that has moved her into a rich imaginative space.
Onto a white acrylic sheet (transmits around the require 50% of light for a good back lighting as Jonathan explained to me) suspended from the ceiling and cleanly fitted onto the sheet by means probably of some sort of projection mapping[↩]
As I work, I think of how the final pieces will look. Porcelain is a strange material. Silky smooth when fired with a grainy feel if left unglazed. I want to give the surface a skin-like feel.
The Belvedere Torso in the Vatican collection was a seminal inspiration for Michelangelo. Signed “Apollonius son of Nestor, Athenian”. Marble acquires a softness that bellies its nature as stone. Sculpture in stone influences my choice of material. But I choose ceramic as a pliable stone which is transformed by the alchemy of heat. Porcelain is like the white marble of stones and glazing it seems to me betrays the traces of handling and so an essential characteristic of its making.
Why do I choose the Belvedere as an example of marble statuary? Because arms and legs are functional, locomotory and grasping. The body is the centre of physical being from which other things radiate. As it was with our primordial ancestors, so it is with the forms I am working on.
Glazing speaks to me of function, impermeability. The body is not impermeable but in continual transaction with the world. In early times the clay was burnished to render vessels less porous. Decoration has always been applied to ceramics, from the rhythmical marking of the beaker people, to the finest renderings. From symbolism to shear exuberance and delight, ceramics have diversified and many left function behind long ago evidenced in the heritage of form only.
I have experimented extensively with Parian clay which was developed to look and feel like marble, it is soft, vitreous and warm, but it is hellishly difficult to use and is subject to warping and cracking. It is better suited to casting large pieces. Casting at this stage is not for me, it is not sufficiently spontaneous and better left as a means of reproduction. However, I shall continue to work with it on smaller scales.
I do not want to use glaze because it covers detail and the sculpture looses the surface nuances developed during its making. However, the raw biscuit low fired material is brilliant white and unsubtle. It is also prone to get dirty and due to its porosity very difficult to clean. When fired to a higher temperature, the surface vitrifies and becomes sealed to a large extent, less porous and prone to atmospheric damage and the dirty that comes with handling and storage. However, the crystalline surface is still very white and lacks the organic surface quality I am looking for. When the porcelain is unfired and still wet, it has a flesh like look, a warm grey that responds to handling developing a beautiful sheen where it is burnished. However, this disappears on firing. I have looked for a finish that can restore to some extent that sense of sensual softness and has the following characteristics:
does not yellow over time,
does not create a thick layer,
is not glossy
and is easily restored.
Having experimented with a number of possible candidates I have found that the humble paraffin wax candle is the ideal substance. The porcelain is heated with a hot air blower and the wax rubbed on building a very thin layer that penetrates the microscopic pores on the surface and creates a colourless, translucent finish. Finally it is burnished with a cloth or brush.
It has finally arrived, a beautiful collection of poetry. A few weeks ago, as is my habit, I woke up during the night and settled to listen to the radio. BBC 4 Extra was playing a programme about the life and works of Rebecca Elson. A cosmologist, equally known for her poetry who died tragically young. She wrote about life with as much insight as her work as a physicist. Her latter writings deal with her imminent death in an inspiring fusion of fact and vision. I was enthralled.
Elson brought science and art together in a way seldom done. When the two branches of knowledge come together, not as appropriation, comment or illustration but to speak in a single language of experience, empirical fact and authentic metaphor, something powerful is unleashed capable of prising open this world to reveal others as nestled together, ready to be felt and understood as though they were here. Ted Hughes does something similar but from a darker interior, a biblical horror as opposed to a cosmological creation. The beauty of both poets lies in the merger of nature and culture, with an insight and ability to move from the very small to the unimaginably large, to show the connectedness of all things and that existence is something greater than us.
What struck me when I got the Arduino board was, how small it is, how small all of the things are. And that means, that they will be far less obtrusive than I had previously thought. And seeing how easy it is to work with I look forward to learning a great deal.
The next step is to get to grips with the coding. Fortunately there is a lot of help on the web and even if some piece of code is not exactly what I need, I feel much more confident to be able to tailor it to my needs.
How do I feel about using digital sound in conjunction with sculptures? I have always felt there is an equivocal relationship between sculpture, or statuary to be more precise, and sound. Is a statue not meant to be silent, to be contemplated without the distraction of noise?
But what if the sound comes from within, trapped, allowed a small breathing hole to reach one’s ears, fingertips, barely audible, sensed; a sound that is neither music nor the result of some kinetic accident? I see the sculpture as the receptacle of its own soul, the embodiment of what it is in its nature to be gently radiating outwards, translated into vibrations seeking connection.
There is of course an element of humour in all this, for it to be otherwise would be melodramatic and to what end: humour can be poignant, questioning, engaging, cathartic. All I know is, I go with where the work takes me as it also follows me.
Always you were drawn to the composite creatures, the broken and reassembled, for that is what you are.
The first Research Paper tutorial was a sounding out of the initial outline. It was helpful in thinking about the way the narrative might go and how to apportion space to each component. My responses so far are:
There is a dialogue between the literal and metaphorical manifest as the biological and the cultural.
This leads me to think that I am dealing with three different ecosystems: biological, cultural and machine;
embedded in the Cambrian explosion, Early Bronze Age and the age of digital (for now) machines.
We are currently living in the cultural age which is on the threshold of the cultural-machine thinking period.
Useful worker to look at is William Latham.
Comparison between biological systems and machine systems – for now the human element is still the predominant one and machines are used as ‘intelligent’ tools.
The tutorial helped me in re-evaluating what I have done so far and how to place the historical knowledge element as a contextual framework for talking about the contemporary state of things. This will need a great deal of focussing but I think I can condense the historical elements into just a few hundred words.
The paper really touches on the philosophical ontology of current biology-computational art in relation to truly biological systems… in the context of culture.
Useful worker in the field of computer generated life: Eric T. Olson at Sheffield. He looks at the relationship between animals and humans at a philosophical level.
I mentioned in a recent post that I am now ready to look into a contemporary context for my work. This is not altogether easy as what I do is not centred on one idea or medium alone. I know that many artists today are cross disciplinary and work in various mediums; this makes contextual correspondences all the harder to find. I have to be careful not to mention every one and sundry that I like or identify with in some way. This sort of openness would only confuse and lead to a lack of direction. What would making a long list do, help in the project development, show my wide taste in things?
No, what I am looking for is work that directly contextualises mine in terms of contemporary ideas and environments. Andrew Lord, ten years my senior is one such practitioner. Although he would not like to be called a potter, his body of work very much centres on the idea of vessels and clay, something I also work with.
Lord’s central notion is an interesting one. It is an idea that many working in clay have followed for some time, that of ‘rescuing’ pottery from still life painting. As Mark del Vecchio lucidly points out in his book, Postmodern Ceramics:
From Pablo Picasso to Giorgio Morandi, Vincent Van Gogh, and George Braque, pottery has tended to be the visual anchor of most still-life compositions. Contemporary ceramists have begun to reverse the compliment and draw inspiration from the paintings in which these pots appear, returning them to the three-dimensional realm, but retaining some painterly associations.
Looking for what is common between two and three dimensions is a process which also requires an awareness of what is lost in translation. Only in this way can an essence of the object be made manifest.
Andrew Lord displays his work in such a way as to allude to the still life genre by placing objects on tables and plinths, carefully arranged in terms of light, time of day, space and so on. The arrangements often remind me of Morandi’s still lifes, treated as emerging from the material becoming objects felt in the making. He leaves overt traces of how the object is formed often to the point of caricatured.
This work is consonant with elements of some of my work, playful and ‘rough modelled’ caressed into being aimed at a sense of Platonic idealism imperfectly fashion in and on (E)arth.
It also interest for me to note that in some cases, vases are displayed just off the floor in a similar way to how I plan to show H’s Play Things in the final show… with one twist.
Much of this approach is consonant with what Heidegger says in his essay, The Origin of the Work of Art:
The material (clay) is central and clearly evident in the work.
The clay is subservient to what is being portrayed yet it ‘shines forth’ 1.
There is a struggle between the nature of the material and what it tries to portray, what it is formed into or as Heidegger would say, between the Earth and the World.
The vessels are not the product of craft yet he uses, techne or mode of knowing, to bring out hidden Aletheia, or being.
The being of the thing is not just made, it is brought forth and made evident. It is generated from within through phusis as though through natural law.
But what is the role of craft in this act of phusis? Heidegger does become confusing, or more likely confused unable to articulate a distinction between craft and art: he descends into subjective ideas of the mystical and the sublime and sacred to support his thesis. Perhaps a simple, if still elusive reply is that the impetus for a work of art comes from within an internal process of natural growth, whereas craft’s impetus is external to its growth. It is clear to me that this categorisation is false in many cases and can only be considered from piece to piece and not generically.
Having said all this, Heidegger does provide a useful way of thinking about art as a spontaneous act of emergence in the making also raising interesting questions regarding the relationship between what is ‘being creative’ and artistic practice.
My works are based on a strong sense of materiality as a means of grasping abstract ideas. To translate these from objects of the mind to ones that occupy three dimensional space is to rescue them from ephemerality. This in itself changes their nature as they arise in the making, capturing feeling in the material, moving away from the imagined to the physical. Concrete as they are, they probe into what is ephemeral and evanescent. Is it the phenomenon of being or the idea of being that is being represented here?
Clay is a material that can be shaped according to one’s own senses. Its inertness permits me to freeze moments of feeling and embed them in its corporeality. It is ideal for my approach, not to represent in some way thematic notions but to reify them. What emerges from these thoughts is that cycling and continuity are the abstract processes that underlie the thematics of time and life; and that in the work, space becomes actual material and that material defines the work, its thingliness, alongside its theoretical and contextual characteristics and qualities.
Albeit I see the work as the thing itself, it is also a vessel holding allegorical content. It brings forth into reality the very notions that led to its making. However, in all probability these might well remain hidden if not layered with or disclosed by context. Context can wrap around the work in many ways, through text, juxta-positioning, placement, images, sound and so on. It is an area that I must work on diligently..
To make the object of the mind otherwise, digitally printed, commissioned or projected in another (more resistant) material, would not be the same. I need the direct contact between hand, eye, mind and material that makes it what it is and nothing else. The directness of touch as a principle conduit for embedding feeling in what otherwise might be materially impersonal. It is a synthesis of the untouchability of an idea and the inability to express that ideal form physically. It is as direct as stroking an animal or smelling a flower yet one can not be an animal or a flower. This creates a bridge between maker and receiver that subverts the continual increase in faux intimacy engendered by the current use of technology in today’s society, as in social media and infinite multiples of the same thing.
The human haptic mode encodes a complexity of information transmitted from in-the-making and passes on to experiencing. They come close to being one and the same thing. The object becomes more than something that can be seen and touched: it is a vehicle for subtle empathy. Not the sentimentality we attach to cherished, used objects of mass production.
This subtle empathy which, placed in a human context, links me to the themes of the work relating to natural forces. I no longer am an observer but a participator in creating and remaking the world. The work is overtly human but also non-anthropic. It reminds me that we are part of nature but not necessarily central to it. We only make it so for existential reasons as do all other plants and animals. It is this survival, cycle, continuity that is again at the root of my ideas. But unlike an animal or a plant I can see beyond my immediate world, give form to other worlds and times. This gives me a special privilege and responsibility.
As to the basic form of the vessel that appears in much of my work? The vessel is a plane, folded on itself to become a container. We all were born as balls of cells that began their journey into the world as simple dimpled spheres from which a vessel was formed. This form defines the boundary between the physical inner and outer environment. It defines the limit of our corporeal existence. We can only project out of it through our senses and the mind. However complex the vessel might become, its fundamental property of containment remains.
I see the vessel as inviting exploration of what is within and without and more importantly what it is that connects the two. My particular area of interest is not only located in the now but in the connections with the past and how this is part of what the future might become. The present is the vessel for all things yet it is elusive, an idea ever changing. It is an elusive membrane whose allusion becomes object in much of what I do. The membrane of the present, the inside and outside, the self and other.
Walking along the East England coast at Mablethorpe, against that watery panorama, the hidden drama of life below the waves was being cast onto the sand by the receding tide; empty detritus waiting for the wading birds, once star dust become flesh dismembered one by one of existence in an instant of countless moments. Was the crab or the jelly fish aware of its being as I of theirs and my own? Able to witness in the cloud of thoughts that is constantly shaped by constellations of cells inside my body I too will drift and bear their fate in a struggle, dispassionate and brutal that brings forth beauty and engenders awe.
A single starfish lies nearby, I toss it back, no thanks or waving arms, only my knowing, does that count in the grand scheme of things? I can not live its life but in that moment see myself thrown and saved in some fashion, it is the way of things. As we all were once inanimate, only I made in this present form am able to save my other self.
How is this relevant to my project ? Mine is not an exercise in empathy, that cannot be for the subject is alien in form and substance. It is an expression of proximity to the other, I am made of the same paste, only arranged in a different ways, able to say this and pass it on. It is not entering some other life I seek but communion with that which is mute.
I have returned to Forest Hill from the Camberwell College library with an armful of books and eyes set on the horizon. In the previous post I took a broad, summary view of what I have done so far. One major characteristic of my methodology to date has been my intention to limit new artistic influences. My reasons for this are twofold: it has been an opportunity to re-evaluate my practice and articulate its synthesis whilst keeping things open and in order to do so maintain a clear view of the context and content.
The need to write the Research Paper now, is catalysing a process of finding new sources from within the contemporary artistic field which lie outside my own familiar domain (in all senses). I see this period as a time for drilling into the content of my work and looking at new artistic sources within and external to the paper. The time has come to take off one set of clothes and put on another.
I am not looking for direction, that I have in abundance, but rather for greater depth of means and idea. I have to be mindful not to overcomplicate things but this I can avoid by paring down to the essentials what I elaborate, again selecting, distilling, in this case correspondences with writers and other artists. The cuttings themselves will be useful for some other projects. The books I have taken out today and will borrow in the future I feel will help me in this regard: whether confirming, refuting or synthesising my ideas, any of these processes arising will prove valuable along the way to build on my understanding of things.
Put another way, so far during the first two phases I have been largely self-referential and self originating. I feel now in the position to absorb new influences into a robust framework that is stable enough not to be disrupted towards confusion and sufficiently flexible to adapt to new ideas and contexts.
Janet’s final show is now over. The works de-installed and packed, I now sit in the library at Camberwell looking at books. So many interesting books; it is a good way to introduce the third phase of unite one. The First phase was one of doing and as I did so, of looking around within a familiar space. From this space I moved in and out forming ideas, refuting others, articulating, clarifying and creating generalities out of which specifics could be selected, filtered and distilled.
The second phase has been one of articulating a thesis, closing some windows and passing through the one that is left to find myself in a vast landscape. It has been a time of deciding on a general direction and envisaging some sort of outcome partly manifest in the final show. I currently find myself in the narrow waist of an hourglass. Much time and many ideas have passed through and I now find myself on the threshold of what is to come. I have a clear idea of what that might be but I have yet to focus on particulars.
Being in Camberwell on and off for around three weeks has given me time away from the blog journal and making. I am forgetting and remembering, sloughing the superfluous which nevertheless has informed my journey. I now have a new perspective leading to a third phase.
The third phase is one where, although what I shall be concentrating on is more or less settled in form, the actual details of making, contextual framework, presentation, background are not yet clarified. This is a time where, having identified the domain in which I will be working, I can focus more deeply on every aspect of the work(s), layering deep sediments to form the body of this practice, making connections, meanings, engagements, and expressions, through techniques, symbols and tropes, modalities and affects.
It is a fascinating process because I now have to plan the works whilst keeping the process open. This I need to do because the making side of things can take a very long time. I also have to experiment new methods and techniques in order to incorporate the ideas I am working with. In addition, I have to contextualise those ideas and forms to position them meaningfully in the contemporary environment trying not to lose sight of where they have come from and the future.
What I have written here is a broad sense of what I am to do. What this is specifically, I shall write about later. For now I am still moving bodies in a mental space which are waiting to be reified and exposed. It is all so very open…
History, or at least the study of it, is in bad shape these days. Almost everyone agrees that knowing history is important, but in the United States, except at the most elite schools, the study of history is in freefall.
A very interesting take on the human condition. It touches on some of the things I spoke about with Jonathan in our tutorial. 1
Pinkard opens with explaining how history is a process by which, ‘humanity experimentally seek[s] to understand itself in the myriad of ways in which it gives shape to itself in daily life, and also how historical change is intimately linked to changes in our basic self-understanding.’ As he puts it, shape-shifting ourselves across time.
This is at the core of what I do across Big History. Seeing how we are indissolubly part of our origins and yet try to shake off the past, blindly, without realising that it (the past) clings onto us, embedded in our very flesh.
In ‘What is the Difference’, the creatures shift shape as they rise the Babel-like tower, crude to refined, latent to defined, yet they bear a deep relationship woven into the fabric of life.
Hegel’s first fundamental idea for his philosophical history, self-consciousness, corresponds to the microcosm of the act of reflection in action and the meditative holistic sense in making. His second idea corresponds with the notion of context and placement in a social space in which the first person viewpoint implies a dialectic. Further down the line, the I is separated from the individual ‘flesh-and-blood’ agent as it becomes the we in the accumulation of acts. This in itself reminds me of Buber’s philosophy of relations in ‘I and Thou’.
Hegel’s third idea refers to how circumstance largely dictates how things can go better or worse for an individual. We are all the offspring of history and constrained by the socio-familial-political and cultural environment. Although we are constrained by these factors, we also possess a greater or lesser amount of self determination, the ‘I’, that can set the way amongst the ‘we’.
All three ideas are contained within my work and the setting apart of directly human iconography is in some way the setting oneself apart from the ‘we’ whilst being in it. A toing-and-froing of the two forms which converge and diverge as do the Apollonian and Dionysian ways I spoke about in the tutorial.
I constantly seek to reshape ideas as we do our lives, break with habits and reconcile others; shave off the animal in me whilst embracing it as my history and seeing how I cannot be without that part.
The instability of things inherent in Hegel’s view of the world is reflected in the use of brittle, fragile material capable of resisting eons yet its form subject to catastrophic events. Porcelain is, as far as I am concerned, eternal, yet the form it is given is as fragile as the contingencies that surround it allow.
Pinkard talks about new form of life emerging from the cultural rubble of an unbearable former one. So it is with the works I do, they look into a future as though they themselves are the past, with us absent from the scene yet we are here to witness it. This paradox, at the core of what I do, is the source of much of my difficulty in pinning down an essence. So I have reconciled with the evanescence of certainty, accepting the duality of things including my work.
Pinkard continues to talk about hierarchy and the Ancient Greek world’s moving beyond the freedom of a single person in society. This sense of democracy is implicit in what I am doing, all forms are equal and different without any containing an inherent authority over the others. They are all part of a great whole without which each would lose meaning with the loss of others.
This sense of freedom: does it pass onto me, and if I am free, am I independent? To proclaim oneself truly independent is to self-alienate, a social nothingness that negates an important function of the human self. Freedom does not lie in total independence but in the shape of agency that we assume in the context of one another and circumstance. A series of exchanges that at times result in a negative and at others a positive ‘balance sheet’. But in the end, it is the dialogue, the dialectic, that gives the ultimate fruit of synthesis and progression free from brut force, and art is only part of that but an essential component: in shaping tropes we shape ourselves; therein lies the power and danger of art.
For the actual content see the conversation transcript.[↩]
Following my tutorial with Jonathan, seeing the use of QR codes by Ziyang and discussing accessing the video of Janet’s Mind Mirror at the selected show where monitors present a curatorial problem: adding text to the display of words not in physical format but online using QR code. This adds another layer to the work and not to close meaning down approaching it as, ‘this is my offering to you as to what I was thinking but actually there is a space for you’. For example prose poems or writings around related subjects.
Another possibility is to create the graphic book with a series of stories or narratives that augment the ideas behind the work without explicitly stating this is what it is. Blurb magazine format is a good option as seen with Dwa’s book. Alternatively a small square book as in the case of Iris’ story. However this latter solution lends itself more to pictures and text.
To incorporate into the sculpture or place near it, a subwoofer speaker. Ultra low frequencies at high volume emitted will set the ambience to vibrate. If the speaker is set inside the sculpture, it may set the latter to vibrate. This phenomenological approach could be used for the long suspended piece. Ultra low frequencies ‘appear’ to come from all directions so the placement of the speaker is not critical for its perception. below the sculpture might be a solution if incorporation is not possible. However, incorporation would bring it to life.
Having the high volume, low frequency on all the time would not be acceptable. A solution presents itself with the use of proximity sensors. Using such devices would introduce an element of interactivity whilst reducing the constant sound to only when it is being viewed. The idea is to place the sensors in such a way that when a person approaches the sculpture, the sound intensifies and the closer the person moves towards it, the louder and more intense is the sound.
The placement of the speaker is a sculptural, technical problem. How the sensors work carries with it a number of questions that I need to address as soon as possible:
what type of sensor to use – motion, light, infrared, microwave etc
how many sensors are needed – this question refers to the mode of controlling the sound output
how is/are the sensors to be controlled – is an Arduino set up required in which can I need to research this and the coding
all the questions lead up to whether a sensor can detect distance and this be translated to variable volume of sound output – is this controlled with the controller or the sensor
if variable output is not feasible, can several sensors be used to trigger variable sound
The ideal would be for the sound to increase in volume as a person approaches the sculpture and decrease as they move away.
I have been away from my journal for the last ten days, helping Janet to set up her final show at Camberwell as well as others showing with her. But my mind has not been idle and I have been collecting a number of thoughts regarding work during this period. The insight I have gained regarding how the whole thing works in the context of Camberwell has given me an idea for work. Exhibiting in a group show where each offering is in effect a solo show is challenging. This is particularly the case with sound, an integral part of many digitally based works. In many cases earphones are the solution but some consider the ambient phenomenon an essential part of their work, whether conceptually, aesthetically or just to attract attention. Having this in mind, for next year and other similar situations I am considering using particular bands of the frequency range to circumvent the sonic clutter (and traffic noise) of the group environment, without affecting the latter significantly. In order to deliver this final point, I am considering the use of sensors that modulate the viewer-work interaction periodically. For now I wish to keep this idea private since, if it were to become a meme, its singular affect would be lost.
I have been very busy of late and my current work is in a state of incompletion, so I am glad to have just completed a video to accompany a small sculptural work for the interim Summer show at Camberwell. Its simplicity has given me the space to think about a deep level aspect of what I am doing. The narrative in the words of the scrolling text are deliberately anachronistic. I worked on the few words in various versions: directed in the you and I form, playing with tenses, making the content more or less personal. Finally I ended in the place where my instincts had led me to start; with the intention to distance myself from the subject whilst bringing it into direct contact with me in the present as I reflect on its future set in the past. Bringing together the deep past, present and future is very much what my research statement is about albeit taking a narrow field of view. It is interesting how this synchronicity occurs from time to time.
Four digital prints I submitted to the 2 Girls Gallery ‘Impromptu’ show. They are mouse drawings. That means I drew them using an old mouse. I like this technique because of the difficulty of controlling the mouse as opposed to the ease of use of a pad and stylus. This friction creates a tension between what I want to draw and what is possible. The space that lies between the two tells me something of how striving for perfection is conditional to the means and circumstances. The analysis required is in contrast with the poietic maelstrom involved in working with sodden earth. It is where I can stand back and consider a different aspect of the source of what I do.
The technique of drawing with a mouse I see as embodying that continual striving for perfection by imperfect means that characterises humanity: by necessity flaws become the paradigm. And it is this process of turning one’s shortcomings into something of real affecting power where the magic of process lies.
I originally thought of presenting photographs which had been digitally altered, coloured. However, I was dissatisfied with the results. I have often found that combining digital marks with photographs whether analogue or not, does not give me a good sense. I am not talking about manipulating a photographic image or set of images in which case the material sources are of the same kind. This is exemplified in the work of an artist that Jonathan suggested I look at. Emily Allchurch creates imaginary landscapes based on old master paintings using a library of photographs she has compiled. She works with source material of the same kind and treats it in the same way: there is an inherent coherency here. I am rather referring to adding, superimposing, layering digital marks to photographic images: sources of a different kind. There is always something to be said for breaking rules and mish-mashing but I have found that this approach only works for me when what I am doing has a graphic design This I find only works when the sought after outcome is primarily one that resides in the area of graphic design… and then not always. This is something I would ordinarily leave to someone else who has affinity and experience in this domain.
Today we went over some other research statements. What constantly comes to mind is the need to avoid jargon as one develops an idea. I used to use jargon a lot and quite honestly, as I have mentioned before, it does nothing but obscure meaning and prevent clarity of exposition and explication. If a complex idea is explained in simple words, it more often than not open out pathways which were previously barred. Jargon and technical language really serve as shorthand and I try to use only one the idea is fully formed or after have introduced a definition in context. Of course it is not always possible to do this but it is a very good discipline to nurture and develop. It has made me more critical and saved me from a lot of bull shit I might have come up with otherwise.
Other things that came to mind during the session are as follows:
Writing started as a mystical act which changed into pragmatic bureaucracy.
Distinguishing between the real and the virtual needs a defined idea of what is real and virtual much as for the difference between the natural and the artificial. It enters the area of discerning what is true and what is false. Truth and falsehood. As far as art is concerned, I cannot deal with absolute truths, reality or any other such paradigms. I can only deal with tropes and morality or values. Tropes are cognitive comparators and morality is culturally relative, unless one accepts certain inalienable and self evident ideas. It all becomes very difficult to argue in the face of contrary views. I have grown to think that authenticity and integrity, at least for me, are the more important conditions for an artist. And out of this arise observations and descriptions created with tropes that bear some relevance to life.
In order to distinguish between two things, to think only in terms of comparison makes things harder without its sister contrast. Similarities tell you something about why it is difficult to distinguish between those given things but it does tell you why one is considering them as different. Contrasting on the other hand tells you why they cannot be the same and perhaps whether they differ by degree or in kind.
When comparing and contrasting two ideas, objects or events, it is as well to consider any new insights or notions that this might lead to.
Regarding a hobby horse of mine: the word ‘issue’ is much used instead of ‘problem’. I remember when all this issue about issue started, it was a way of thinking positively about something harmful rather than negatively and therefore more approachable in terms of a solution. However, I think it has gone too far and serious circumstances have become issues. Issues are really topics for debate and the word does not necessarily demand solution. So I now like to think of problems as something to confront and issues… you can take them or leave them.
Looking for examples before having formed a clear idea of what they are mean to show can sometimes make it hard to find them. I find it is a good idea to look for the large things such as principles and work my way down until I find examples. It is about taking care of the large things and the details will take care of themselves. It is much harder to construct generality from the particular. However, one small caveat to that is when tidying, I always find I need to deal with the small things first in order to clear the decks for arranging the large things.
Finally I need to prepare some files for the ‘Impromptu’ show at Two Girls Gallery by next Monday (17 June) – A3 files.
I came across an article about the 300 year old Molyneux’s Problem regarding the relationship between sight and touch as it concerns internal world building. This is something that has come to my mind many times in terms of the aesthetics of three dimensional objects and my approaches in making something tangible.
What was once taken as purely a thought experiment due to the impossibility of giving sight to someone congenitally blind has now been presented with an empirically verifiable solution.
In 2011 Richard Held and Dr. Pawan Sinha leading a team at Project Prakash (Prakash mean light in Sanskrit) demonstrated that which Locke had intuited. That the cognitive association between touch and sight have to be learnt and are not hard wired in our brains.
The experience of shape in each sense is independent of the other and they are not associated from birth. A congenitally blind person being given sight would not recognise a cube, say, on seeing it for the first time even if they were offered an identical one for comparison. However, they would soon learn to relate what they experience through touch with what they see. This seems self evident enough but it was not verifiable until recently with advances in eye surgery and indeed many thinkers thought otherwise. Look up dear old Bishop Berkeley: yes the one that thought if you turned your back on something it disappeared.
How does this affect my ideas about making? I work a great deal with touch through my hands. I have been aware that if I were not able to see the composition of a work it would be very different using touch alone. The aesthetic qualities that would arise out of working blind would pertain to another world; one in which light is alien and the mind would navigate and construct form in quite a different way.
I have often referred to navigating form in my mind with an inner eye, moving around the object in question in a virtual world. Although I am not using my eyes this ‘sighted’ world relies on having experienced sight. How different this would be had I been congenitally blind. So imagining being able to create in the absence of light experience would be well nigh impossible
Porcelain high relief in drying box 18 x 19 x 11cm
This study has led me to reflect on what I am currently doing both in terms of work and conceptual content. Working small on a large scale idea is not always easy. It is different in the way one part relates to another, everything is seen at a glance rather than experiencing a gradual discovery as an informal circular dance is choreographed around the work. Viewing distances are bodily contract towards immobility as I end up very close to the work, without glasses, in an attempt to restore a large scale visual relationship.
In this work my thoughts have focused on a particular set of notions and shifted from an Apollonian ideal found in the Studies for H to a more Dionysian sense of things. The subjects remain the same and the methodology similar but with its content altered in someway. As always a dichotomy is expressing itself like night and day.
The study has been difficult to accept in terms of its composition but I have learnt a great deal in how I could approach a more ambitious work. This would be many times larger which itself presents a number of technical issues of drying out and weight. I may have to construct a specific humidity box to maintain the necessary moisture content over a prolonged period. Then again covering may be the only thing necessary since the mass of material will keep its moisture content more readily due to the reduced evaporation caused by a decreased surface to volume ratio.
Its implied motion suggests to me an animation in the form of a ‘dance’ that traces ideas underlying the work. In addition it is in high relief whereas what I envisage as a finished work extends in height and may be on a circular base: perhaps a subliminal allusion to old master depictions of the Tower of Babel: an icon of chaos and the hubris of man (and women?).
But what is it I am doing, evoking the weight of generations, the struggle for life, are these metaphors for humanity? This latter question refers to my previous post title, ‘What is the Difference’. This is not a de-humanisation but rather a de-centering of the anthropic view of things. We are part of the whole and not separated from it, a view that has proliferated during the Anthropocene. We are as subject to the same blind and dispassionate forces that brought us about as any other part of nature… with one difference. We have a heightened capacity to change our behaviour. But the individual dynamic is not the same as that of the group and this creates an inertia which naturally tends towards conserving the status quo. Which way things will go is still in the balance; a race against time for the majority of future humans. Extinction is unlikely to be total but annihilation of a large number if not majority of people is certainly a clear possibility.
It has just occurred to me, why am I writing all this down, I have never done such a thing, why post so much since I hold all these thoughts in my mind as I work? One, it provides a contemporary document that may prove valuable in the future: the memory plays tricks and history is constantly retold in the light of the present. Two, writing practice has enabled me to move more rapidly through ideas, build on them, alter them and articulate them more clearly
I have condensed the initial ideas for the research statement into as plain English as I can. This may help me see what lies ahead more clearly and explain what I am doing. After all, if I were not able to talk about the subject in an accessible way, what would it say about my understanding of it?
The Genesis and Proliferation of Natural and Virtual Monsters
The ways by which things come about in different areas of life often appear to bear little resemblance to one another. But if you look closely enough you can see that they often share processes that, regardless of the what, where and when, give comparable results if not the same: biology and art are no exceptions despite their very great differences. I am looking at correlations between how large animals evolved – the number of body parts, their shape and the way they are put together – and the creation of the mixed up creatures described in art, religious texts, mythologies and other imaginings. There are strong connections between the ways these real and imaginary animals evolved and spread in nature and across cultures. My research statement will explore the similarities between these processes and their conditions helping to understand how the digital world might influence the creation of future composite mythological beings.
Throughout the time humans have been on this planet, the overwhelming majority of imagined creatures have been what could be called intuitive forms. That is to say, they come readily to mind, eating, breathing, moving and living emotional lives, much in the way we do. However, with the arrival of non-living mechanisms such as computers and their programmes the question arises, what forms might such artificial creators bring forth? Virtual or real, these new organisms might not be readily recognised. as such by we humans. They might well be described as non-intuitive creatures, in other words not coming easily to mind, alien.
A very long time ago, over 500 million years in fact, the world was a very different place. The environment was changing radically, opening out new opportunities for early complex life to evolve new forms or body plans. This was the time of the Cambrian explosion when genetics and the oxygenation of Earth were great driving forces that led to the rise of totally new animal body plans and ways of living. Free movement, predation, heads with sensory organs were formed during this time. Moving forward half a billion years, the world was still changing but in different ways. Ice Age glaciers had long receded and gradually people started to live in large cities leaving their old hunter gathered ways of living, embracing the new sophisticated urban centres in the Fertile Crescent of the Middle East, the Indus basin and the Far East. This changing social environment also brought with it opportunities in which different ideas and beliefs could come together and forge new mythological beings. They grew in number, variety and extension during the Early Bronze Age, promoted by ever greater and finer divisions of labour, growing trade and the invention of writing. These composite creatures like chimaeras and sphinxes breathed, reproduced and lived emotional lives much as we do. These two means of creation share a great deal in fundamental processes despite their very obvious differences.
Today we are on the threshold of another new world, one we share with machines. Machines affect us profoundly and it seems reasonable to predict that their intelligence may also, in the not too distant future, conjure new mythological beings. Present day conditions too can be seen as corresponding to those of the Cambrian and Bronze Age. However, the internal processes of artificial intelligence are rapidly becoming a mystery even to those that create the programmes. If artificial intelligences were to one day create their own mythological beings, what form might they take? One could say that the old familiar creatures are intuitive to our sensibilities but would we even recognise the new non-intuitive artifices as virtual or living organisms? How would we react to them, with fear, revulsion, wonder, understanding or even empathy?
Immediately I think, are not all things perceived in time and since rhythm is a function of periodic patterns in time, is static a valid adjective? With sound and even moving images the question is self evidently answered with a yes. But when it comes to things which do not perceptively change in time such as paintings and non kinetic sculptures, how can this question be approached?
This came up with Janet and Florian yesterday in a conversation about audio illusions and how tone and rhythm are dual aspects of frequency. Janet has been reading Jason Gaiger’s paper, Can a Painting Have Rhythm? This brought together considerations of sound and visual experience in an interesting way. When I look at a painting, I cannot focus on all elements at the same time. I move over the picture surface, labelling each element in some way in my mind over time. If there is repetition in the composition, the successive recognition of these similar elements will constitute a rhythm or periodic pattern hence rhythm. This is something that is intuitively used in design and composition and brings the idea of rhythm into the visual sphere. As with music, rhythm is a fundamental element of visual art. Its harmonious use or disruption can be used to create a multiplicity of experiences and meanings such as recession-proximity, reinforcement, continuity, surprise and so on.
A preliminary title is an uneasy mapping out of a journey towards an idea without necessarily knowing the best route. This preliminary title is somewhat long winded but it does contain the elements of subject area, context and argument which may well serve as a condensed abstract. The fact that it will need pruning goes without saying but a kernel of an idea does reside in its immature state.
Composite body plans and their proliferation: A comparative examination of the algorithmic increase and propagation of hybrid creatures in the Cambrian, Early Bronze Age, Late Medieval Period and the Digital Environment in the context of D. C. Dennett’s definition of algorithm and D. Wengrow’s archeo-anthropological hypothesis ‘the origin of monsters’.
This is basically looking at how analogous outcomes can arise from disparate cultural and biological substrates and what this might say about ongoing contemporary developments. I see the Late Medieval element, seen through the optics of Hieronymous Bosch, as a bridge from the ancient to the modern. However, I need to think about the length of the RS and it may prove too much to weave Bosch’s particular narrative into the whole: his hermeneutic influences may be too mono-cultural relative to the other areas under examination providing an antithesis to the general thesis of the cultural and biological emergence of composite creatures or so called monsters which, it could be argued, depend on more complex environmental conditions. Nevertheless, as a counter argument it creates an interesting dialectic which unfortunately may be beyond the constraints of 3000 to 4000 words.
What is it that puts the ‘fine’ in fine art? In the past fine denoted something different to the applied arts and crafts, the artisanal element of making. Fine was meant to raise the level of thinking away from the primarily functional and the folk art of the general population. It was meant to educate and impress. Today, this attitude is no longer relevant and neither is it desirable. Artists have often relied on artisans for their initial training and preparations. They have been inspired by the folk, ethnic, primitive, call it what you will, throughout history. Beethoven and folk music, Brancusi and folk art and Renoir started as a ceramics decorator.
Art today is seen within a spectrum of activity from the rawest of expression to the most worked and polished making. The ‘fine’ today is something different. I see it as the polishing of an idea, honing an argument, refining the making. Any one of these processes transforms poietic activity into an agent of change, stimulating the imagination, engendering empathy and raising curiosity amongst many other things. The constant refining, selecting, filtering, distilling are all part of what might be called fine art.
The above study in its original form was enough as a place marker of an idea and initial exploration, in short a study. However, I decided to take it further, to refine it. I wanted to take the making process further, to extend its limits in a continual process. By doing so, the idea itself is transformed, maybe slightly but nonetheless altered. The sketch may hold its own dynamic vigor, something to hold on to but not always. A case in hand is Rembrandt’s etching of the crucifixion, which as many of his etchings, underwent through many states, each complete in itself and also a phase towards a transformed more refined end point but no less powerful.
I feel that the sketched beginning possess more life imbued in its making. This is the difficulty in refining, not to loose that freshness. But there are also crudities that distract. It is a balancing act. Moreover, refinement is a way of exploring the capabilities of a medium hand in hand with the notions that underlie it: meditating on the idea, reflecting in action. Neither does the above image indicate an end to refinement nor is it a completed transformation as a study in preparation for further work.
I welded this simple frame for another project, Logos, intended for working with its maquettes. Yesterday I took hold of it to photograph the latest zoan-like model. I wanted to isolate the work from surfaces in order to minimise cleaning up in photoshop. This worked on the level of convenience but there was also an unintended outcome.
Repurposing something I had made, led to a meaningful solution for display as I mentioned in Between two Worlds. This way of working at times results in the surfacing of underlying ways of thinking and working which in turn can lead to new thoughts and ideas whilst maintaining a focused continuity of source.
Although this is a relatively small piece of metalwork, it is easily scaled up for an installation where there are no means of suspension from an architectural structure. In such a case, it could be, would need to be shaped into the idea/philosophy of the work itself.
What is this, I ask myself? As I made it I felt an unease as it extended its reach physically and formally. The other models in porcelain are clearly zoan but this is different, a hybrid perhaps between animal and artefact, biology and ritual.
And the way I photographed it, suspended by fine cords, gives me an idea for presenting that moves away from the wall, pedestal, plinth, stand, case, cabinet, table top, floor. Fragility, underlined by the immersion in a field of tension, defined by the slender threads, a psychological state between the din of kinetic energy and the repressed quiet of potential energy.
The above series of images is a reminder regarding a recent idea to create 3D animations. I have thought about photogrammetry too which, however, seems to yield imprecise renderings far too often for me to give it the time. In any case , it is all about photographing what I have already made in the flesh, so to speak. I prefer to invent and for this I turn to Blender which is convincingly versatile with high specifications, offering tight control… and it is free.
A chronological series of six pen and ink sketches for the H project
These are studies done not for the way the sculpture might look but to exercise in what spirit I will approach its making. I see part of this making as painting. Pen and ink is ideal for this, its fluidity and indelibility require seeing ahead a fraction of a moment before committing to the paper surface. And older than paper, its manufacture, a step away from charcoal belies its sophistication. Artists in the past have used this as a tool for analysis, for its closeness to painting: ink is liquid, applied with a brush of sorts, the unforgiving rigid point the focus of decision. The act of drawing with pen and ink is akin to delineating the boundary between the passages in a painting thereby creating a virtual line only that this line is the embodiment of something that does not actually exist. To do this needs an analysis and understanding of the line’s function in relation to what is being drawn must be done without inhibition or hesitation if the form is to come alive. In the case of sculpture, which deals with weight, pen and ink can express the lightest of touches as well as the heaviest of masses. Its calligraphy is a language inflected and nuanced by where and how the ink is placed and the freedom acquired can equally be translated into other mediums.
Only in the penultimate sketch did I use pencil as a preliminary. Doing so disrupted the rhythm but more importantly, resulted in a drawing lacking in invention probably on account of the forms coming more from the head and less from a more visceral centre. Below is the initial sketch in biro I made a few days earlier featured in my previous post.
Six months ago I started with a loose pool of ideas flowing from existential themes. My main aim since then has been to find a cogent argument that reflects my various interests and that could place in different arenas. This quest has been exciting if onerous; I have gone down many wandering pathways. However, I also have had to discipline my thoughts within a varied practice since many of my ideas emerge synchronously with my practice and two years is not that long to develop a coherent trajectory. I know that the Research Statement will need to be started soon and that it needs to be well conceived at the outset in order to avoid time consuming blind allies during the Summer months, a period good for making.
In view of the upcoming RS, I have looked at the problem both taxonomically and mereologically, reductively and holistically. The tension between these two ways of organising thoughts has helped me identify those ideas and practices that would fit a tight set of self imposed requirements:
flexible and focused
leading to a project proposal and higher research
A thesis emerged ten days ago in conversation with Janet, not by logical deduction but in moment of gestalt in which I saw a bigger picture. With few words I was able to state the obvious precipitated out of the wanderings and writings I have done over the past six months. But how could I be sure this would hold together? I wrote a preliminary abstract or outline of the thesis in a surprisingly short amount of time, much shorter than the time it has taken me to get this far on this post. Since then I have been able to add content and ideas without disturbing cogency. I was concerned about having to read scores of papers and dozens of books in search of an idea. Instead, I know where to go and what to read for corroborative material and help to shape the argument.
I shall write about the RS in future post but for now I wish to continue with what I am doing. Instead I have opened a folder for placing material separate to the blog. Today (yesterday) I went to Doncaster to buy materials, time flies.
Briefly the RS tries to bring together in artistic thought:
The Cambrian Explosion
Early Bronze Age civilisations in the Fertile Crescent
I have seldom used glazes when working with ceramic material; I usually concentrate on form and light and find that colour can place strong unwanted overtones on a work. In the Zoan series however, I want to emphasise the symbolic and psychological over the naturalistic and biological with the intention of placing these works firmly in the human sphere. I see the use of highly coloured, glass-like glazes as a way of suggesting a sense of artificiality.
The above image is one of a number of monochrome photographs I am colouring as preliminary sketches. The result is not the same as the specular surface of glazes but it does give me an idea. I could alternatively paint the sculptures but having tried this in the past, I have found that painting ceramics obscures the surface qualities of the material and defeats the object of using it. It might be something for larger scale work but not for more intimate pieces.
These are some instruments such that H might play with. For those that have been reading my posts, it should be possible to work out who or what H is. Pythagoras divided, Ovid reassembled although Theophrastus is the first author of this unification.
I am looking to render such things in different ways.
I often talk about origins: the imagination lights the journey into the past and the future stretches out ahead visible by the same light. Each one of us searches for a story of origin. The sense of continuity that we build for ourselves is perhaps a way of constructing a little piece of immortality, connecting us to the eternity that preceded our birth and what is to come. I say this in the plural voice, there is safety in numbers or so they say but it could equally be said in the first person.
Although these stories are raised to the status of myths and have the power to change the very nature of time, they all too often remain buried under accumulating layers of daily life… but such stories continue to bubble deep beneath the crust that surrounds the self.
Let all flowers bloom – as long as the garden is tended 1
Reading Emily Huurdeman’s paper on essaying art has made me think that what I am doing here, with my work and blog journal, is to create a form of essay (something I mentioned in my previous post). The very nature of the journal, an aggregate of personal responses to my artistic context, its heterogeneity and what Theordor Adorno called unmethodological methodology, makes it very much artistic research. The apparent disparateness of modes connects with the early Japanese quasi essayistic form Zuihitsu. Literally meaning ‘follow the brush’, my thoughts and actions have been in response to what has emerged at each stage in a never ending process.
The noun essay derived from its verbal antecedent assay meaning to test. The essay form defies definition as does artistic practice, it is neither scientific eschewing wholly critically derived content nor completely artistic responding to subjective experience. The essay is a form that pushes boundaries, breaking free from established rules, shaping content in a personal way, free from methodical constraints but not uncritical, not without method. This is the very essence of essaying.
The online blog journal can be seen as new Zuihitsu, a digital workspace where ideas are exposed, weighed and published in a variety of forms: sound, photographs, videos, text, digital interactions in all their forms. But this artistic research although fascinating is not an end in itself but as I mentioned earlier a continuous process. It is a means of better understanding, challenging, renewing and extending what I do. It is a way of harvesting new input and refreshing old ideas, of innovating paradigm shifts, developing and consolidating practices.
Since I started this MA, I have ‘followed the brush’, exercising a freedom from the constraints of a single path and given method. The essayistic form has helped render the elusive graspable and turn the opaque into layered transparencies. Fully aware that I have already touched upon such matters I recognise that many discoveries are only made after many passings over the same territory each time with a different eye.
From the book, Artistic Research – Theories, Methods and Practices. Hannula, Suoranta and Vaden. 2005. Paraphrased to correct a slight, forgivable stilted English[↩]
What is gender in society other than an assignment that is carried by the weight of authority, aimed at organising society according to sex, controlling behaviour through roles, aesthetics and expectations. Gender is all too easily seen in terms of biological sex alone yet the properties given to assigned gender characteristics in society are fluid, decoupling often from sex as their determinant. It is largely a question of language embedded in narratives constructed through words and images.
I have looked at my work so far and language underlies much of it; language’s ability to define paradigms and redirect expectations and points of view; language in its broadest sense. The MA so far has been an unmethodological essay in artistic research that is extending my practice into areas both predictable and unexpected.
I have been thinking about the direction of my work so far during this MA. It has been a period during which things have moved from one thing to another, a period for exploring ideas and dipping my toes into all kinds of areas. With the Research Statement in mind, I need to move things onto a more decisive footing in order for me to have the time to complete an ambitious project proposal next year.
In the past I have written about my practice as a molecular construction from atomic elements giving way to a more poetic, informal modelling of material. I have also written about a search to unify my disparate practice; something that has proved elusive. I remember what Will said about my Mid Point Review presentation, that he would like to see a whole room full of works which are not necessarily interconnected. He spoke spontaneously about something that I have continuously reiterated in everything I do. Collections and series, sequences and lines of descent have always fascinated me and heterogeneity has been constantly manifest. Dannii also hinted at another aspect which I have worked on previously, that of creating a legacy from a speculative world that is not necessarily ours. Some of my past exhibitions have touched on these aspects: Chaos Contained, An Artificial Natural History, Traces of Life, Sacred Places, Steel to name a few. These projects have contained an element of evolutionary repetition in a rational collection form.
What I have largely done so far is attempt a synthesis through a taxonomic approach: seeing the whole as a collection of different elements and trying to connect them by defining their degree of connectedness or relatedness. This approach can work as a system of classification, atomising the properties and characteristics of a practice. This in turn is helpful as a means of combining and recombining things in novel ways. However, this approach can also be divisive creating boundaries and exclusion.
An analogy would be seeing all living organisms as somehow related and attempting to systematise this connectedness in a meaningful way. I feel that what I have done is akin to constructing a genetic tree of my own practice. In the case of biology this throws light on the mechanism of evolution and descent. However, evolution does not have foresight, it is not teleological. Artistic practice on the other hand, has a strong element of aiming for something, a goal or purpose be it wealth, influence, change, discovering or what have you. Taxonomy although useful, is an analytical tool that does not provide all the answers, it is not contextual. Another analogy would be that of taxonomy in biology only tells us about how related organisms are, but to find out more about how they interact, we need to look at their behaviour in their given environments, their ecology. I am not surprised that the Linnean system of classification predated by a considerable period the first ecological observations by Humbolt.
The shortcomings of taking a classification approach was highlighted in the two group sessions we had on Elusive Taxonomies. In short, taxonomy is only partially helpful in giving a synoptic view of a practice or in developing a methodological and philosophical synthesis. In order to get a fuller picture I need a different optic, invert things so that instead of looking at the relationship between areas of work, I look at how each component relates to a whole. Respective interaction then become predicated on inclusion, as part of the whole in which they participate. Each component then shares a parthood with every other component in relation to the whole. Connections are therefore a function of this parthood rather than a more reductive inclusion exclusion defining their place and function.
This is a subtly different way of thinking. Taxonomy is useful in seeing how things relate to one another; parthood, or mereology, helps to conceptually bring together things that might not appear related in the first place. With respect to my practice, looking at it mereologically, what brings together its different aspects would be things such intent, response, experience, circumstance. (There is one element, modality, that seems to straddle the two ways of thinking and presents and interesting conduit between the two.)
All this of course is an analysis of what arises out of intuitive thinking. It is also complicated by how my practice has changed over time. This introduces an evolutionary element which needs to be largely set aside for the moment: I need to concentrate on the now. However, it does highlight an important element that goes into the heterogeneous character of what I do, that I cannot endlessly repeat an idea or process. The reasons for this are for another time.
To summarise: using taxonomy and mereology together is a powerful way of critically analysing my practice… after the fact. This analysis influences but not necessarily directs what I do in action . Taxonomy is a means of understanding the component parts and their interactions a way of building a framework; mereology on the other hand helps identify the context and reasons for my particular methodology.
It has been some time since the Low Residency. Many thanks to Ed Kelly for condensing into a relatively short time frame a great deal of theory and making. I was already very familiar with Audacity but there is always something to learn and I have taken on board a number of ideas. The great usefulness was to clarify and formalise certain practices that I have followed either intuitively or uncritically. The principle one is the idea of cutting or editing at zero. This avoids clicks and pops producing clean edits. The other is more a concept, that of fragmentation or deconstructing sound into atomic elements which can then be used as building blocks. This ties in with the introduction to Musique Concrete in a Skype lecture a few weeks ago.
We spent time harvesting sounds from a variety of objects. I was particularly taken by a small music box mechanism that Ed brought along. He turned the handle in short bursts while I recorded. This broke up what would have been a familiar melody into fragments of sound. It is a fascinating approach to capturing sound, so much so, that I ordered a number of mechanisms over the web with which I have started to experiment.
Ed mentioned Pure Data, a visual programming software which was, however, too much of a learning curve for the workshop. Although I have started using it, it is too early to say if I shall be using it in the final works, much depends on whether I can find work-arounds to my aims rather than spending too much making-time learning how to use it.
After collecting the sounds, each one of us put together a short soundwork (below). I was particularly taken by the reverberation in the stairwells (pictured above) running up the new building at Camberwell.
The rectangular spiral staircase resonated in my mind with the spiral stairs at the Queen’s House we visited in Greenwich.
The previous post talked about sound and sculpture in terms of building blocks of non-verbal language. This is a fascinating area of theoretical practice that seems somewhat neglected whether because it is seen as irrelevant or the two areas are separated by a formal academic-professional gap I do not know. Artists have used sound and sculpture together, but as I have said before, one as the container or instrument of the other, not as equals. I do not presume to find a perfect balance between the two but I do approach them as having, at least theoretically, homological correspondences. Using basic units as the building blocks of each respective language, much as phonemes are the basic units of speech, I can perhaps meld the two together. Curiosity as to whether this succeeds is part of the impetus for the exploration.
I still maintain that sculpture is silent and sound disembodied. Sculpture primarily finds its place in my kinetic being, sound vibrates the corpus as an intangible organ sounding within me. Regardless of how they are interpreted they at least have this in common, that they inhabit the body as the closely related physical senses of touch and vibration.
I have been looking at Pure Data as a means of generating sound, the basic components of it, vibration as frequency, pulse and volume. At last I have worked it out by following some videos on YouTube. The actual mechanics are simple, the syntax is straightforward enough. The learning curve seems to reside in understanding what each object does and how it interacts with other components. From this sounds can be generated without reference to outside associations. This seems the way, at least in great part, for crossing the boundaries between sculpture and sound in the purest sense; how sound can be shaped and moulded to correspond with sculpture… and vice versa, or perhaps even shaped synchronously. Sounds generated can then be edited in some other software or generated in situ and manipulated in real time.
The group tutorial was led with a light touch by former student Andrew Fairley. This allowed us to navigate one another’s practice openly. My presentation, based on the blog journal, allowed me to summarise what I have done during the course period in the context of my previous work.
Pav asked me what challenge, what question am I posing with my work? This question that can be opened out in many ways. For some, it is a simple case of stating concerns regarding an issue of social or cultural significance, for others it may be a technical or philosophical matter about their practice. However, I feel that it is important to allow the receiver to infer from what I present and do, any questions or challenges that they might see in the work. It is not for me to impose the questions I pose myself onto their contextual standpoint. Of course I have my own questions and challenges, they are in this sense a framework around which my practice is built. However, at the moment of presenting I am more concerned with what the response might be.
Nevertheless, what I do feel important is, to give the receiver some sort of lead as to the provenance of the synthesis embodied in the work in the form of some text or conversation. Enigmatic presentations are all well and good in engendering debate, but they can also risk work being dismissed or, perhaps less importantly, deeply misunderstood. Minimalist works are especially susceptible to this as are conceptual works, particularly in the case of the latter if they are no aesthetically engaging. With more complex works, the obvious tensions and relationships between parts of a given work can furnish plenty of cues for conversation and polemics.
In the past, my work has succeeded in transmitting much of its content and given rise to much else without my having to give much of an explanation. But the nature of the affect is very much dependent on what the receiver brings: this is true conversation, an exchange of ideas, experience and perception. I find that people react very differently, from fascination and delight to repulsion and unease; they may wonder at the making process or pass it by and react to associations and allusions. All these response feedback directions and insights that help inform how I might go about things subsequently. But above all they give me a sense of external context.
I feel that all too often challenges and disruptions can become vehicles for some sort of power play. I feel that responses and reactions to life’s vicissitudes are important, no essential, but I also seek a balance between what is in my nature and how I navigate the social world. I am not about power play, if authentic an artwork should have a power from within to speak out in its own way. And whether this matches some current political issue or not is a matter of chance.
For the mini popup show at Camberwell on Wednesday 20 March 2019: a 30 second video following from the idea of ‘Do Shadows Dance When There Is No Light?‘, or as I would call it now, ‘Do Shadows Dance in the Dark?’ Having received an email from Jonathan notifying of this imminent show, each one being given 30 seconds of time, I set out that very evening to complete this short. To make something that only lasts half a minute within a short short time frame was a very good constraint on my normal practice, something akin to a workshop timetable.
Unconcerned curves hide the sharp pricks that bleed me in your making. Without remorse. Deep from within the surface of your smile again you bear your self determination, one of Gorgon’s tresses fallen with pride glinting as juice that trickles from rotting fruit; dry as husks in autumn scattered in a storm… yet you are the start of something not quite new but close enough. The indecision of the surface skin broken into pieces and made clear in the late Winter sunlight. I see now that things must be all things and I must double my response as you reflect your shadows in a dancing pair. Light does not come from one source alone; I cannot be one but many. My thoughts are not wedded to a single species but a whole kingdom, writhing, wrestling with life and loyalty rests only with the sense that there is nothing that cannot be.
I have thought hard about which way to go in terms of the aesthetics of the project: surfaces, forms, degree of working, colour, details and so on. I mentioned in an earlier post about the tension between unity of style and variety of content. My nature is such that there is no answer but to encompass all ways and let the underlying algorithms of my mind make the connections and trust that these rise to the surface of what people see: the Mid Point Review has been a great affirmer of what I thought.
I now have a clear way forward; to allow crazy variety, if that is what happens, to manifest itself. The works themselves must be all they can be and not constrained by some overall sense of stylistic cohesion: the world manifests itself in wonderous variety. So now I must work and test, experiment, and reach and grasp outcomes that inform what is to come and trust the process I have gone through. There is much to do in the given time so from now on I shall gather what I have made in my mind and build with it the steps to another world grounded in this one. The above is an image of a porcelain piece in progress accompanied by a written impression of how the process of deciding within one piece affects me.
NB: The surface skin refers to the outer aesthetics of the finish.
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.
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
Edited for clarity endeavouring to maintain content.
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.
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.
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.
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
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]
There was one large sculpture that had the kind of almost Jewish candle, almost, form, ceremonial form
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…
These might just be the narratives we develop [as] the audience and maybe it should stay on video.
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.
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.
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 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.
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.
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].
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…
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
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.
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.
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.
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
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.
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”
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.
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
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…
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?
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
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.