About to Start Unit 2

I have been away from the studio now for over four weeks. I shall be back in around a week after a prolonged period abroad. I worked over the Summer months on 3D works, coded and learned some VR rendering. This has been a belated Summer coming at the right time. A chance to complete the Research Statement, curate the blog, reacquainting myself with the past year and clarifying the Project Proposal. I have flown, walked, swum, eaten and looked at some art but I have made none.  

Being away from my work has brought it closer and into greater focus. The work for the coming nine months is now much clearer: what to do, and more importantly, what not to do. Had I continued as I was, I would have been in a process of desperate and confusing accretion rather than distillation and consolidation.

The research statement is submitted, although I will continue to revise and resubmit it – it is a nervy process and something might come up nearer the deadline; I don’t think I have ever been so in hand with a piece of writing as this. The blog curation is nearly completed and I shall keep sifting through it, milling the information ever more finely. As for the Project Proposal, that is an ongoing document which for now has the lineaments of the final show and future work. 

I still have a great deal of learning and experimenting ahead, particularly with the digital and display aspects of the work. However, when I get back into the studio next week, I will be able to immerse myself fully in making with a clear direction of where to go and how to get there.

Third Phase of Unit One: Continued

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.

 

 

 

Third Phase of Unit One

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… 

Interim Show: On Titles

 

Even Before Birth is the Future Forgotten

Returning home from the Janet’s show installation I had to think about the interim show’s work title. I have never been keen on the process of naming a work despite knowing how important it is; I have seen it as an intrusion of words that closes down meaning. However, having thought at length about the 17th June tutorial with Jonathan I feel quite different about the matter. It is no longer an external slapping on of words but an added layer of meaning, an entry into the work without necessarily fencing its meaning, rather offering a thought that, if the words are chosen carefully, is both suggestive and open. What is more important is that it is the possibility to introduce a rational side to the work, by virtue of the inherent characteristics of words, that helps create a dynamic equilibrium between the rational and emotional. 

Here I reference the paradoxical time shifts that I deal with in my practice, being in the present whilst dealing with time frames interchangeably. I feel this title opens up a whole lot of ideas for me regarding the nature of time and life.

 

 

 

Tutorial 3: Jonathan Kearney – 17 June 2019

 

We spent most of the time talking around one recent post, Critique on Latest Study.

This summary is taken from our Conversation.

 

We discussed the ebb and flow between refined and crude thinking and handling during making and how a maquette is a condensation and clarification of this process before embarking on a large-scale project. How two approaches are kept in harmony: of keeping the dynamism of the sketch and the clarity of further finishing. That visibly incorporating both can give a sense of the kinetic essence of the process of making.

We also discussed the sense of something arising out of the material and the struggle involved. That this maelstrom of life, with crowded entities entering and exiting a surface is a metaphor of life and how this can also speak about aspects of humanity. How humans are part of and not separate from nature.

The forms represent individually more or less formal approaches and that this duality is emblematic of how I work, between the emotionally literal and the rational artificial, ritual and representational.

We discussed a variety of ideas for larger scale work: the evolutionary ideas and the mythology that arises from them leads to the whole created using modular units, interchangeable and capable of fitting together in various ways.

We discussed the central notion of seeing life in a non-anthropocentric way and how alluding to humanity in this way can be a powerful way of raising questions about our place.

The various responses to my work raised the question of whether the works are related to the idea of monsters, something we do not quite understand. Monsters are harmful, I do not see my works as monsters but rather as inhabiting a parallel world, asking the question what if we were not here?

This led to a discussion about the Anthropocene and how my work is an expression of my relationship with the world and view of human relationships, particularly the nature of individual vs individual and individual vs group dynamics.

Language is part of this argument and the image of the Tower of Babel, used in a post on my Research Paper was discussed as bearing a variety of conceptual meanings as a metaphor for difference and variety.

We continued to talk about the study as a means of opening out different elements. The sense of the emotional and rational, the Apollonian and the Dionysian and where I might place my work in relation to these paradigms. The balance appears to be constantly shifting between the material and the idea: how the two exchange during the process of making, what the trigger points might be and how they coexist in a final work. I think that this unresolved internal dialogue becomes resolved as a conversation between two works.

The material itself is neutral and whether the rational or irrational predominates is a function of how it is approached. Which predominates is part of the selection process as it is difficult to treat the material of clay with the same philosophies at the same time. It might be possible, but my personal structure prefers to oscillate between the two. The balance between the rational and irrational in a single work could be seen, as being created during the making process by alternating the two approaches. However, as I said earlier, the resolution of the two is expressed as a conversation between works rather than within a single work.

What I appear to be doing is exploring the referencing of ideas through my visual language having created a vocabulary over time. Time during which I have transitioned from working with ideas at a distance to breaking open the carapace of rationality, found in earlier works, to dig deeper beneath the surface to find what lies underneath. And if it is sound, authentic, it might ring a bell in someone else.

At his point we started to talk about how I might lead someone into the work, particularly as the current artist environment is very much centred on the overtly societal and human anthropocentric.

Jonathan sees my work as presenting an ambiguity that encourages investigation. However, a lot of visual culture exemplified by Instagram, with its dangerous description of the world, works against pausing, waiting, taking time. He thinks that sadly, most people will not engage but those that do will be richly rewarded.

I asked Jonathan how explicit does one have to be before becoming didactic (not a good thing) to open out a deeper conversation, how does one signpost possibilities? Is it not our gift to do so and alas a task for the viewer? We agreed this is an impossible question to answer but explored some ways of answering this.

We looked at how the time for ‘demystifying art’ has hopefully passed and how confusion in a gallery is a way of catalysing a conversation in a gallery. We then looked at the importance of titles. Jonathan sees what I do as emotional and the title is the rational companion to it, a balance of the emotional and the rational. This is a very interesting idea and one I have often considered but not quite in this way. A title can be seen, as an entry into the work, a poetic entry. However, there is a caveat: not to overburden the work with a title that closes-down its meaning with the choice of words. Reducing the space for its meaning can damage it as well. Questions such as, ‘What is the Difference’, are good.

This led to the question of Jargon and how it can cover a multitude of misunderstandings and how having simplified my language, I have been able to express complex ideas more clearly. Jonathan suggested that writing about the work, not necessarily explicitly for the reasoned discussed above but as another layer could be an interesting and effective way of rewarding further investigation. I have been thinking of ways to do this. The important thing is not to close the work down with words but rather say, ‘this is my offering to you as to what I was thinking but actually there is a space for you’.

Finally, we looked at how I am planning my work and how there is still plenty of time although my methodology requires careful planning ahead.

Critique on Latest Study

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

Studies in Artificiality

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. 

 

Zoans: Studies in Porcelain for H

 

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. 

Zoan: H Emerges from Ambivalence

I find myself between the (scientific) need to define a field and the (artistic) urge to keep the field open.

Zoan is one of a number of works I have made in the past days, playthings for H. Whether H becomes embodied or remains unseen I have yet to discover. 

 

 

A few days ago I had a conversation with Janet regarding my current direction. As I wrote in a previous post, through an analysis in which taxonomy and mereology play no small part I am starting to shape this great ‘essay’. Assimilating what I am uncovering, intuitive action is being informed by an imaginative rationale the origin of which I am able to trace. Janet sees what I am doing as preparing a tomb which waits to be opened, peered into for the first time. I feel as though I am shaping the myth I spoke of at the start in October: a speculative reconstruction that however implausible it might be, holds within in its core a universal quest. 

Regarding Will’s comments during the MPR I mentioned in Elusive Directions, there would be a logistic problem in trying to fill a room for the final show; moving a great quantity of work from the studio, transport, storage, display. There is a solution though thanks to technology: a curation using photographs, moving images, graphics, 3D rendering, sounds to give a sense of the essay artistic research with the final works as some sort of synthesis.

Elusive Directions: Taxonomy and Mereology

Instrument of Gender in Porcelain (unfired)

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.

Language and Shape

Study in porcelain, unfired

 

I have referred to the central role language plays in my work. This role is not an overt one, I have not used text or words explicitly so far. However, in this blog journal I use words as a glue that binds together ideas in some way trying to make sense of what are at the outset subliminal responses to experience. In the Mid Point review I recently mentioned language as a principle theme in the project proposal as I did in the initial symposium back in October; the time has come to attempt at explaining this. 

Why is language important to me? Beyond emotions, physical responses and sensations, in order for me to think about the world around me in ways that build on experience and gain some understanding I need a more complex and flexible way of ordering thoughts. This way comes in the form of verbal language, spoken and then written. A word is an abstract entity that stands for something we encounter in the world. This label is made up of individual sounds or phonemes. Phonemes are recombined to form words, words form phrases and sentences and so on articulating complex thoughts. 

This correlates with how I work through sculpture. The basic building blocks, or ‘phonemes’ are shapes. Each shape raises a response in me just as the sonic values of phonemes carry with them an emotional-auditory response. This idea is used in poetry as in alliteration giving a sense beyond the abstract meaning of the words. In Dylan Thomas’ Under Milk Wood’ the poet uses alliteration just for its sonic effects,

It is spring, moonless night in the small town, starless
and bible-black, the cobblestreets silent and the hunched,
courters’-and-rabbits’ wood limping invisible down to the
sloeblack, slow, black, crowblack, fishingboatbobbing sea.

However, he also uses metaphor and rhythm to build a vivid sensual picture full of emotional as well as cognitive tension that goes beyond the semantic values of the words. It is a shaping of the world in words.

Sculpture can also work in poetic terms, the semantic-associative value of shapes when combined give rise to thoughts that go beyond the sphere, cone and rod, nose, finger and pear. I use shape as a response to thoughts and ideas; what emerges is not an ekphrastic embodiment but an intention towards a more poetic form. Sound too can be used to build ideas but its very essence conveys a deeply subjective emotional meaning, one that can be used to build emotional narratives that in turn can create associative responses. Words, sounds and shapes act on our senses and thoughts in different ways but they all bear a commonality in that their basic component units can be combined and recombined to create a complex language. Where they differ is in what they communicate and this is why combining, in my case sound and sculpture does present a valid case. 

This leads me to ask, should a sculpture be silent and sound disembodied? This purist idea is difficult to refute and has been the ground for a silent debate during modern European history. Perhaps in the end sculpture should remain silent. But then again, I can see that shaped sound could inhabit a sculpture and pulsate within its form, tracing its contours as it pushes against silence, forming a boundary of perception so that the very space around the sculpture is contiguous with it; a symbiotic intertwining of form and sound tracing reciprocal interactions between two modalities that go beyond the semantics of the words involved in explaining the relationship. 

The study in porcelain shown above is one form that challenges me to think how sound might correlate with form. Not this particular form, ostensibly it is part of another work, but as I am looking to bring together different works as part of the project proposal it does ring bells in my head. Is scale important? I think that viewing distance may play a part, perhaps sound responding to the placement of the receiver in relation to the form much as the visual is rewarded with different perceptions: long distance – overall structure and its relationship with the environment, intermediate distance – component parts and their interrelationships, close up – surface and texture. This is all of course separate to the associative meanings the form might bear. How can sound be distilled into this sort of relationship, frequency, pulse, detail? Can the same be applied to sound as to solid form, are their analogies or am I dealing with something different in kind? These are all questions I aim to explore…

 

A Decision Made

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. 

Grappling with the Angel

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

 

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

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

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

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

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

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

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

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

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

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

Significance and Meaning and the Mid Point Review

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

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

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

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

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

I have some ideas as with Hermaphroditus and Logos.

Oracle Respoken: Large Scale Maquette

 

I have started a new maquette for ‘Oracle’. This is the stage where I start to confront the technical problems of material, making and installation.

‘Forgetting’ the former maquettes I started with a thumbnail sketch of a possible installation that incorporated some of the former arrangements…

..this moved on to a pen and ink rendering which came closer to a 3-dimensional representation of the eventual ceramic piece.

The pieces are maleable and fragile while the clay is wet. When fired they will be fixed in their final form. One of the challenges is maintaining the fluid, organic nature of the forms as they dry and harden; how to relate one piece to the others while the clay is wet and translating this to the fired forms. 

The forms leave their traces as I move them creating a drawn presence, a graphic imprint of their passing.

How they relate to words spoken is the challenge. And I must also make a support frame. 

The maquette is approximately 1:3 with the final piece standing around 2.4 metres not including support framework.

Tutorial 2.1: 17 January 2019. Jonathan Kearney

The tutorial was far ranging in ideas and reflections on what I have done so far. I have made notes since then but have needed time to think about what we discussed before committing to a post. I want to distil the essence of the conversation and see where it takes me.

Graven Images

The tutorial started with Jonathan expressing an interest in the Graven Images series and what they were about. These are caprices, sketches that embody many of my thoughts in disparate areas: in biology, parallel biology, science fiction, mythology, modularity, religious effigies and gods. The graven images of which there are many more to come, become relevant in the light of other things I have done. They are a curious combination of non-intuitive imaginings and rational ideas. They are about worship, profanity, and how the imagination can create gods from composite ideas. 

Blog Journal

Because I have a well-developed process of making, Jonathan was interested in how I felt about the actual process I have been engaged in over the past few months, particularly the blog journal. I have found the journal of immense benefit.

The process externalised in the form of the blog journal, is opening out the possibility of contextualising my practise in a deep sense. A sense that can be articulated and externalised not in terms of issues, themes or subject matter, these are material, but in terms of the deepest parts of me. I do not use the word soul because that defies definition, I prefer to say the I in the world as part of the world.

It documents the convergence and synthesis of different ideas and interests.

The process requires time to deepen and broaden my thinking but I can already see the shape of things to come.

Different means of working including, writing, making, reflecting, researching, doing and walking are weaving that elusive fabric I alluded to at the beginning of the MA.

I am seeing repeating patterns that emerge out of disparate areas that reflect how all things have arisen from the whole with fundamental laws governing the behaviour of all things.

As complexity increases, new principles come into play. The traversal from a lower order of complexity to a higher one brings into play new laws: life, consciousness, complex civilisations bring with them new ‘rules of the game’ that often hint at their provenance from deeper set ones.

To represent or express this in an artwork is challenging because I do not want to go down the purely conceptual path in which an idea is illustrated by some trope. I am drawn to the visceral, existential, matter of things. I have to find ways of linking ideas through a methodology that encompasses multitudes.

Jonathan had a concern about the amount I write in terms of the shear task. Fortunately, the writing comes relatively easily. I am developing a writing methodology in which ideas are worked out as I pour in the ingredients.

The post writing is not only a reflective tool but also an experimental one where I test out ideas in the abstract.

Synthesis often occurs while writing. Often a posteriori to act of making.

Jonathan questioned me on whether I am able to filter through the posts in a way that I can gain from them. Is it possible and how do I do it? He noticed that one of my most recent posts is succinct.

My being able to this is as a result of having worked things out along the way. Then space is made for new things.  

Jonathan also wanted to know if the blog was not only useful for working things out but whether it was useful in retrospect when looking back at what I had written.

I find this an interesting corollary to the former question. When going back over old posts one of the interesting things is that I see repeating patterns in different contexts, and how ideas group together. 

I also see where I have made assumptions, created a fallacy, something needs explicating or could have been said better in fewer words. Am I falling into a trap?

The blog posts are engaged in a dance with one another. That dance can be chaotic at times, but that chaos is not random or irrational, it is complex. An important task is to tease out the simple elements, some more obvious than others, and how they correspond to one another.

What to do now with the blog journal

I am resolved to revise the categories and tags but not in terms of content because there are too many candidate words and there is a limit of 45 tags being shown in a normal tag cloud plugin.

I will look at the broad ideas and use tags that correspond to external criteria such as learning outcomes rather than my own internal ones. This I think will help me a lot more.

The projects are precipitating out and things have shifted into a clear set of patterns. So, categorizing the posts will be much easier. I will compare original and new categories to help me clarify my way forward and I hope that by Easter I should have a much clear view towards more ambitious work . This is particularly important since the Research Statement will be starting around then and require a great deal of work. 

The point Jonathan rightly makes is to make sure that I can gain the most from the large body of material I have collected in a short space of time. Just the act of going back and reorganising will be a deep reflective process. I could even use a different way of organising the material better suited to my needs. This is an interesting point that I shall think on.

Video

We discussed the video work as a possible way forward; as a means of tying together different strands in my work.

Working from the first video, post-truth-hurtling, I am developing a methodology from first principles that gives a degree of control over ephemeral phenomena without losing the spirit of contingency and heuristics.

The way I work with video is as a performance that could be enacted live.

This work is almost complete and it links with my idea of Mythopoeia and the shadow world.

I feel that the direction this project is taking is an exciting one. One which can be extended to form a suite or series also behaving as poetic labels for other works.

With the video I have the same philosophy as with my mouse drawings. Working with limitations gives way to greater freedom. Not relying on having the perfect conditions. 

Shadows

An interesting conversation pointing to the potency of shadows as a medium.

Jonathan observed that my work with shadows in their details capture a lot of what I talk about.

The loss of information, as the three-dimensional world is projected onto two dimensions creates a space for the imagination.

The Line

Following on from this dimensional approach, the video of the line intrigued Jonathan and we discussed ways of extending the idea by removing the horizon. I have since thought of ways of overcoming the slight technical impediments that had precluded me from doing this in the first place. He would also like to see the ‘failed’ experiments online, something I will do because it is these as much as the successful experiments that can show new pathways. 

The line video is a metaphor for my working with past material allowing the imagination to roam without consequence and seeing the present through a different optic. Ideas can then be brought into the present and critically analysed in the contemporary context.

Modularity

We discussed the idea of modularity my methodology and the Graven Images. How modularity is not only about construction but also human interaction such as trade, religion, science and so on.

The proliferation of composite creatures tying up with the emergence of complex body plans in the Cambrian Explosion.

Just as there is the emergence of physical characteristics, you also have the emergence of predation which is a behavioural strategy linked to the physical such as the development of the alimentary canal, a salient element in my work.

There must be a parallel with human society. What could this be and what could this say about our society?

Heuristics and Playfulness and Control

I work heuristically, analysis taking place afterwards the fact. The action research cycle starting with the work, leading to ideas and alterations that then inform new work.

I strive for a level of control that is subliminal, built up from experience, that does not interfere with the heuristic element but allows me to decide on the directions I take. 

Jonathan suggested that the heuristic, playful nature of the videos is in contrast with the constraints imposed by ceramic practice involving planning and staging.

I also think that it is in contrast with the side of me that is risk averse and needs to plan and think ahead. By relinquishing a predetermined outcome, I am able to delve into different areas that can bear a variety of novel, hybrid fruit.

I like the idea of the rational being subliminal during making and becoming more overt after the event when it can inform and explain, explicate and imagine (often as a reflection of the self). I have enough experience for this not to be a blind shooting but like a experienced fisherman, casting the line into the water with knowledge borne of experience. 

The process often begins with a what which then moves to how and the why is the much harder part to work out.

The what and how are often contextual and technical. Then there is the external why as a response to the world and the hidden,elusive reason(s) which is much harder to fathom. It reaches down to the deepest recesses of the self.

On Change

I explained about the emerging idea of metamorphosis, process philosophy and the relationship between being and becoming. How metamorphoses can take place within a closed, short term system and over time within a wider context. 

On Sound

I discussed the possibility of consulting with Ed Kelly in relation the MAX MSP. I am not looking to learn how to use the software for some unspecified future idea. I am looking to use it to perform a specific task and in doing so learn how to use it perhaps for something else. I have a clear purpose and direction, so it becomes about how to get there with the appropriate tool. 

East Coast

Jonathan liked the contrast to other posts provided by the East Coast images. We discussed correspondences with my other work in terms of why I am drawn to that way of working and the significances of the subject matter. I see it as a reflection of one thing in another as I have mentioned in the post.

Jonathan also noticed that in the East Coast post images gallery, the images are followed it one continues clicking by images of the maquettes, something I did not know. That is an accidental juxtaposition of the images and ideas for a work which show a great deal of relatedness. What a lovely surprise!

And indeed, not having people in the pictures gives another view onto the correspondences between things.

Miscellaneous

Jonathan was drawn to the post Labelling the World Post in which I discuss the awakening of the self through language. This is another more conceptual stream which could yield interesting things to do with separation, boundaries and relationships

A discussion on Buber and Heidegger followed, and how they view the world in complementary ways.

Jonathan is interested in how I am expanding my well-established process and not afraid of not making things perfect. He would, though, like to see some of the alternative works such as for the line video. We discussed this aspect of the blog and indeed, to show abandoned trials could yield something yet unknown. For example, the line could be extended so that there is no horizon. To get around the issue of the camera’s field of view vs depth of field, one of the large black boards could be used.

Talking about animation, I said that I do not want to get to much into that medium because I do not want to repeat what others have done so so well. We then discussed old Rotring pens!

Something I have not discussed in a post is whether using Rotring pen or an expressive old pen nib. This is a dialectic than will resolve itself with doing.  

I like moving from one thing to another when working with different ideas. I find it useful to go from one thing to another. Jonathan told me about ‘Clock Maker’s Wife’ where she used coloured pencils on a notebook, she was able to do something simply as an alternative process. 

We also share a love of working late at night, when it is quiet and ideas come on the breeze of silence. 

 

The Origin of Monsters and Imaginal Discs

Bronze Man and wounded Centaur, mid 8th century BCE

Having started to read The Origin of Monsters: Image and Cognition in the First Age of Mechanical Reproduction by David Wengrow, many ideas are forming in my head relating to the way I work, metamorphosis and modularity.

The basic idea behind the book is that the assemblage of imaginary creatures comprising body parts from different species including human, is a construct that became established and spread primarily out of the urban way of thinking during pre-Bronze Age civilisations in regions such as the  Indus and Mesopotamia. Wengrow invokes contemporary cognitive research positing that the creation of such creatures conforms to our modular way of thinking and our cognitive understanding of the world from a non mono-causal complex mix of social, technological and moral processes. The most culturally stable composite creatures are those that can function ‘normally’ in the world, breathing, eating, moving, seeing, hearing. They are the most enduring and widespread being the least counterintuitive, least fantastic and most believable, such as dragons, griffins and centaurs. This way of thinking was fostered by and proliferated in early urban societies where the codification of a variety of ideas in the state, organised religions, and writing in particular, promoted modular thinking or as I would say, synthetic poietic thinking. In such environments, counterintuitive views made of composite elements reflected the complexity of city life and intercommunal communication. Represented in object and pictorial form, and propagated and ‘reproduced’ through literature, they became culturally significant and widespread, their metastasis fostered by trade and commerce. Before the bronze age, composite creatures appear much less frequently in the artistic output of cultures, a correlation that Wengrow uses to support his thesis. The one question that is outside the scope of the book is the actual genesis of composite creatures in the imagination. The thesis simply states that the establishment and proliferation of these composites is an emergent property of our way of thinking combined with cultural transitions. Wengrow admits that this is a mid-range study, however, it is rich in imagination and fosters further imaginings. 

This idea of modularity relating to cognition and composite creatures brings to mind the non-teleological evolutionary processes that gave rise to the Cambrian explosion, the advent of metamerism, predation and nature’s ‘experimentation’ of body plans. In order for body plans to be transformable and parts to be interchangeable, a form of modularity is required. Multicellularity is not enough, it is inconceivable that the simple, relatively loose agglomeration of specialised cells in, say a hydra, could be recombined to give rise to a new body plan, only another version of the same. There is a problem in creating a variety of body plans without a form of modularity. During the Cambrian this problem was resolved with the emergence of metamerism or segmentation. If an organism is made up of segments, the genetic regulation of each segment’s respective development becomes much simpler. Each segment can bear relation to the others and yet develop to accomplish different functions such as the head, limbs and tail. We know that HOX were critical in metazoan evolution regulating cell differentiation and thereby the morphogenesis of plants and animals. Modular segmentation allows for a high degree of interchangeability of body parts through genetic recombination without necessarily causing  disruptions that would make any change unviable. One can imagine that this modularity reaches right down to the fundamentals of multicellularity including the brain itself. It is not too far a reach to think that the our thinking reflects that modularity and that that in turn reflects our way of thinking and the imagination. Ray Kurzeil, describes how complex mammalian brains function in a hierarchical modular fashion and how workers in artificial intelligence are trying to create homologues of this architecture. (Kurweil posits a future, in which a traverse in human development occurs through hybrid thinking: simply put, the downloading of network information into the brain, accessing the combined computing power of the web, or similar structure. An interesting idea in which our intelligence can be enhanced by means of ‘plugging in’ to an artificial neural net capable of far faster computations than we are.)

 

Artist’s impression of Anomalocaris, approx. 500 M yrs ago

The flexibility in body plans meant that complex ecologies could arise with the important and transformative emergence of predation. The new relationship between predator and prey brought about the necessity, probably synchronously, for movement, vision, an alimentary canal and a form of awareness of direction. Vision, to see your prey or attacker; movement to catch and evade; a head to distinguish direction of movement. With all these new perceptive and locomotary abilities, the sense organs and mouth would be best placed at the anterior end of the body or head: the first part of an organism that meets the approaching environment when moving forward. 

The alimentary canal is an important part of this new development in survival strategies and must have developed very early on in segmented animals. It is essential for motile organisms, enabling them to ingest, digest and assimilate food on the move. This allowed animal life to expand into environments that would have been otherwise out of bounds. A homologue to the alimentary canal features in many of my works. It is of primal function with a great number of metaphorical connotations. Not only is it of biological and evolutionary significance, the gut from mouth to anus is also the prime organ of the deadly sin of gluttony; it is an internal boundary with the outside world that we share symbiotically with a diverse, and for each one of us, unique flora; the gut is recognised as being in close and complex communication with the brain via the vagus nerve, one of the longest in the human body; and we figuratively make decisions using our gut instinct. 

 

Organic form in as yet unfired porcelain: length 590 mm

The project proposal at the moment features metamorphosis as one of its main themes. I work modularly: when thinking critically about something I break the whole into components which can be loosened and rearranged into new configurations. This is the nature of metamorphosis from within, dialysis followed by synthesis: as a caterpillar digests itself within the chrysalis, it keeps structures known as imaginal discs for each body part as proto-building blocks around which the future butterfly will form. In my case, the soup is as the negative capability from which creative thinking is shaped; the imaginal discs, the prior knowledge applied to give shape to abductive notions. Call this intuition if you wish, but this belies the formal structures that underlie what appear to be informal processes. And so my project proposal continues by harvesting, selecting, distilling and assimilating and intoxicating ‘soup’. 

I am still forming, synthesising, juxtaposing and assessing. It is a long slow process that must fail before it can succeed. As in the case of the Creature narrative I am currently working on. More on this in a later post…

Finished Graven Creature

197 x 260 x 156 mm, fired clay and gold.

So, I have managed to repair and finish the piece using my own version of kintsurukoi; something I would like to explore further with more abstract pieces: dialysis and synthesis. 

This is a development of the creature around which I am building a narrative. It offers possibilities on many levels arising out of what I feel are its currently two-dimensional qualities.

 

Graven Image of Creature

 

Once in a while a small disaster happens. This is the first time such a breakage has occurred in one of my firings. This particular casualty is not the culprit but one of the few pieces affected by the exploding work, to be seen in a later post. When such things happen, the thing to do is to not despair. When I heard the muffled thud in the kiln, a smothered explosion with following sounds of falling debris, it was a time for a calm in anticipation of seeing what survived, what happened and, what could be done: an opportunity to try something new.

The Japanese repair valuable ceramics with lacquer and gold. I came across kintsukuroi (golden repair) some time ago and this seemed an opportunity to try the technique. I have done some research and the traditional method using lacquer seems rather laborious. Today’s materials are equally, if not better, suited to the task. With some gold leaf, resin and size I have experimented with this piece. Understanding the principles involved goes a long way to adapting methodology to the materials and needs one has, and this is what I have done. 

In addition, the piece warped because of its different thicknesses causing uneven shrinkage. This posed another problem, not all feet touching the ground created an interesting situation to deal with. However, the more I have worked with this piece, the greater my understanding of techniques and refinement of solutions which might lead to new trajectories. 

More coming soon as I finish this work…

Start of a Graphic Narrative

 

I have  been working on ideas arising from drawings I did earlier in the first term. I did not know where they were necessarily going but that is the nature of artistic experiments. However, it is not a case of not knowing what I am doing but rather allowing what I do to take me somewhere new in the spirit of experimentation.

Over the past days I have learnt a great deal about comics, their layouts and techniques which are helpful in creating narratives concerning my work and ideas. It is an interesting way to work; with hand drawing, computer graphics and photography. What I have in mind is a set of accessible works that sit alongside my mainstream pieces.

I decided to start with a principle character working it out through drawing. I used the seeds sown in a series of pages of sketches drawn earlier, particularly Drawing 4…. The  creature above is by no means definitive in morphology but it bears the fundamental elements of its making. Around this creature, I am writing a number of scripts in order to build an narrative structure for sequencing images. As I started this project I was also experimenting with the camera on my reflective walks. The context of these wanders over the same territory has become an important element in what I do, a setting for the imaginary world of the works and their interactions: perhaps the stage I mentioned in the symposium video at the beginning of term. 

Working this way has opened out many ways for the unification and expansion of my practice. I still have a long way to go as I work in parallel with other projects but it is rapidly becoming part of a scenario for originary things, a mythopoeitic process.

Virtual Particles

Virtual Particles is the title given to the pop-up show that takes place today at Camberwell college at the digital studio. The poster and its accompanying gif, designed by Dannii, uses all of the images sent in by those taking part. We were notified of the show only about a week ago by Jonathan. This keeps us on our toes and is a good test for being able to respond to tight deadlines. I have found it has concentrated my mind, not on future work but on using what I already have and reworking it: an impending show is a good catalyst for synthesis.

 

Mythopoeia I: post-truth-hurtling

The first term has ended and with it comes the continuation of what has gone before. I do not see it as the completion of a phase but rather as the beginning of what is to come. The term has been a time orientation, revisiting and rebeginning, looking at things afresh: all I do seems to ascend in a cycle.

A popup exhibition entitled Virtual Particles has been organised at Camberwell and rather than making a completely new piece, I decided to work on post-truth-hurtling, the kernel of a sketch done earlier in October and take it a little further. With the direction for the mid-term coming into clearer focus through the elaboration of the project proposal, I thought I would try to reflect this in the work. In so doing, I discovered that which I had suspected. That the themes that have emerged, were embedded within the process only to be unveiled by the elaboration of the project proposal. The title tells me everything I need to know; it encodes a number of elements that I had identified in the PP as my way forward for now:

  1. Mythopoeia – the making of a myth.
  2. I – that this is only a beginning of a cycle
  3. post-truth – dealing with current socio-political concerns
  4. hurtling – my sense of physical things and time being expressed in many different ways, hurtling being one of them

Combining elements of my research in one piece I turned the video sketch into something more layered. The sound track incorporates elements other that Storm Callum . I have begun compiling a fresh archive of sound files and engineered tracks that will serve me in the future. This follows my thoughts in the recent post, Breakthrough from the Simplest Source. It also ties in with what I will talk about in a latter post relevant to my process: that of making a ritual of the recordings.

The video incorporates shadows and moving light sources giving which initiates an idea I have had for a while. Animation, of sorts, in an installation that I would grudgingly call for now, Plato’s Cave. My difficulty with this name, although convenient as a temporary place holder, is that Plato’s metaphysical explanation for the illusion of reality was based on people not seeing the true actors and props but only their projections. My idea, on the other hand, is to have three layers of perception in which the actual scenario that creates the illusion is clearly visible and exposed and perhaps even open to interaction. 

The text in the video, is a reworking of the original, a selection, distillation, concentration. I aimed at something more incisive and yet ambivalent by taking out the superfluous. As the video unfolds, each word or phrase subsequent to the preceding ones changes the overall inferences. I want the words to remain maleable. Only at the end is the context alluded to.

The Lime Tree that looks over the studio: one of the elementals contributing to the making of the video

The elemental characters that went into the making of the video remind me of creation myths in an almost Miltonian sense. I avoid icons of or references to the human world. All that I leave is a sense of imputed volition. It is my way of saying that anthropomorphism is a emergent property of who and what we are, seeing the world in our own image. This is a key element of creation myths in contrast with evolutionary theory. Even in the case of the latter, scientists use teleological language as shortcuts for what would otherwise be very lengthy explanations. A simple example is the phrase, ‘evolving towards’. This assumes a direction or goal, something that is counter to the contingent nature of evolutionary processes; a trap we fall into when describing non goal orientated natural phenomena, because we see things with hind sight as though they were leading to some predetermined goal.

Another notion I wanted to imbue the video with is the sense of things continuing ad infinitum even when one is no longer there: an intimation of eternity. This is something I may work on in the future although it has been done numerous times in different ways. The relentlessness I wanted to give the work is part of its possibly dark interpretation; the soundtrack plays an important role in this. At the end I counterpoise this sense of unrelenting descent with the partial revealing of the context at the end: the open, fresh, natural phenomena used to create spontaneously a dark vision. Sun, wind, tree, clay and water: elements often appearing in creation myths conspiring to weave the ‘horror of creation’, as Ted Hughes might put it, or the dissolution of paradise in a Miltonian world where truth is subverted by lies.1

 

  1. from Crow Alights []

Mythopoiea and Metamorphosis

Emperor and Four Ways of Being Inspired

Mythopoeia is the act of making myths. Today it takes its meaning from the title of a poem from J. R. R. Tolkien in his book the Tree and Leaf. His work takes from many strands and weaves them into his epic sagas, something I can relate to. The word today takes its contemporary meaning from his work as a genre of fiction that merges archetypes with traditional mythological themes.

My proposal is the beginnings of a myth expressed in primarily visual and sonic form. As I hinted in What is the Character of a Myth, I am not looking to create character and plot based narratives like the Lord of the Rings or Game of Thrones. These are tightly composed works. My idea is more open in interpretation and focuses on mechanisms. 

It has taken a term to get to the point where I have finally found the overarching theme of the project proposal. With hindsight, I was heading this way all along but things are rarely that obvious when attempting to elaborate something new, that is cohesive, within a complex ecology of ideas. In the group session earlier this week, Jonathan introduced the idea of mixing, merging, hybridising, editing, scripting and scoring. This is pretty well what I have been doing as well as filtering, curating, and amplifying disparate ideas which somehow held together in my mind. 

In the post What is the Character of a Myth I looked at myth, not as characterisation but process. This led me to focus on underlying processes which are applicable to a variety of narratives. What underlies all creation myths and cosmogonies is change. This change can be gradual or catastrophic. For example, punctuated evolution proposes long periods of relative stasis in species evolution punctuated by brief periods of radical change, as opposed to the gradual changes that occur in classical Darwinism. Equally, the Garden of Eden in Genesis is a story of catastrophic change, with the expulsion of Adam and Eve and the disappearance of Eden things change radically after which things slow down, gradually moving towards a society, in which Jehovah destroys the world in a cataclysmic flood in readiness for a new beginning. 

There may be little in common between these two timelines, but one thing is shared by both, change. It is fundamental in all cosmogonies whether scientific or faith-based. And what is the nature of this change? Metamorphosis. This may be a transformation of form, relationship, organisation or, as in many myths, from the divine to the mortal after which we enter into the territory of folklore.

Metamorphosis can be intra-organismal within a single lifetime, as in the case of the frog or the butterfly or over longer periods of time in the evolution of species. Metamorphosis can be the process of making a mortal eternal, as in Ovid’s Metamorphoses or whole belief systems can undergo fundamental change, as described by Robert Graves’ The White Goddess. History shows us how metamorphoses within societies, revolution, war, disease, commerce, technology, and everyday politics, leading to radical changes in the way people live. Metamorphosis is the essence of existence, process.

What I find interesting is that metamorphosis is a concept that applies to so many of the ideas that interest me and is at the core of artistic transformations: taking matter or concept and altering its properties to give rise to something new: from the metamorphosis of clay into fired stone to that of manipulated sound, to the evolution of ideas. I can see this as a rich seam beginning to be uncovered for mining when it comes to the Research Statement. 

And what is the relevance to the contemporary world? We live in a world undergoing great change at all levels of society and in the very fabric of our environment. This time of great change now called the Anthropocene, has profound implications for us all and more so for future generations. Expressing them in ways that connect with origins and their past transformations gives continuity to our world and meaning to the future, reminding us of what is at stake.

 

Project Proposal Renewed

Parallel Universe

Identifying a clear pathway for composing the project proposal has not been an easy thing to do. With many influences and ideas, and a continually changing vision, the victim has been coherency. But then I did state my awareness of this in my first symposium and project proposal. Coherency of vision is a necessary element in my practice. This does not mean having a fixed stance or perspective but rather a clear understanding of the formal and conceptual elements with which I am working. I made a small break through documented in a recent post followed this morning by a subsequent one which has had a profound impact on my project proposal.

I have experienced difficulty in putting together a sufficiently clear narrative that could precipitate the relevant key elements of a Project Proposal. This was due in large part to the piecemeal way in which I added ideas on my PP Sandbox and never really confronted this confusion. But then, confusion often preceeds clear thinking. What I did, was to create a narrative, in conversation with Janet, that brought together different elements of what I have been thinking. Relating this sequentially, placing cause before effect, I was able to put forward an argument that on reflection clarified my thinking. Undergoing a pruning of ideas, my mind opened out to a new vista which did not reject what I have done before but prioritised thinking: an example of the cyclical nature of artistic practice evolving from a source core. The nature of the project proposal does tend to mitigate against long narratives, concentrating the mind and avoiding cluttered thinking.

I wrote down the narrative and extracted its key elements. These have formed the contextual part of the proposal forming a flexible framework open to change, adaptation, development, innovation, pruning and lateral thinking. The narrative is relatively crude but serves its purpose. I am developing it in an external document for possible inclusion in this blog at a later date. Once this narrative was put down, the title presented itself effortlessly together with aims and objects. Organising ideas in a prose narrative form has helped me in creating an outline applicable to the proposal. In my mind, if I consider the headings’ contents, such as the title, context, outcomes etc, as details, then the overarching narrative becomes the large scale structure. I have almost always followed the axiom when making a work, ‘deal with the large scale things first and the details will fall into place’.1 I now have a flexible, overarching framework and can now get on with making with a purpose: the thing I have been seeking this term, a search documented in this journal.

 

  1. This is a paraphrasing of a universal principle clearly articulated in, The Art of Landscape Painting in Oil Colour by the C19th painter, Alfred East. Alexander Cozens the C18th watercolourist also demonstrated this principle more than one hundred years earlier in his pamphlet A New Method of Assisting the Invention in Drawing Original Compositions of Landscape. []

Oracle: Maquette 3 – End of a Phase

 

Studies: graphite on paper, 316 x 237 mm. From the maquette

 

When evolving an idea, there comes a time for leaving the process to the subconscious; to open it out to other influences and make new connections: this takes time. I remember when taking my physics A level at school, the best strategy for solving a particularly difficult problem was to read what was needed, identify the equations and methodology, understand the variables, try a few things out and then sleep on it. Perhaps the next day or a little later, the solution would present itself as though the most natural of outcomes. I am not saying that solving a physics question is comparable to producing a work of art. I only mention this because the mind continues working in the most wonderful ways while we are distracted elsewhere. By going to sleep on a problem, we dream and see things from different perspectives in different contexts. This enables solutions to arise that would otherwise be constrained by fixed thinking. My attention is now turning to sound, relics, shadows and other things. I leave this particular part of the project in a place where, of its own account, it can respond to different ideas and methodologies and await a refreshed return.  

 

 

Relic and Ritual

 

 

The first maquette for ‘Oracle’ dried and broke up. Removing the wire armature broke the pieces further. Recycling the remnants of the idea, composting them for future use is the usual way. Early humans buried their dead. Where lay the transition point from composting to burial? Humans have thought that somehow the preservation of the body allows it to transition to another domain and built myths and religions on this notion. The idea embodied by the maquette has moved on and evolved into something different. To ritually preserve its remnants is to keep the idea alive for transitioning. From clay to clay: each iteration encased may foster an evolution towards something else. 

The box is made carefully with attention to detail: it is imperfect, rough, not quite symmetrical; housing incompleteness, impermanence, transition, and the now absence of what was. Wabi sabi  is the embodiment of such ideas. Much of what I have done corresponds with this aesthetic principle, particularly in the case of small works. Subtlety and contemplation are rewarded with a sense of understanding the world in a profound way. The ritual of preserving the maquettes, time consuming, onerous, is a ritual that builds significance. The Confucian idea of ritual through deliberate action and repetition, turns the practical into symbolic action, into physical reality, back to idea into action. If an idea is conserved, it remains alive, if it is alive, it has potential, if it has potential, it can metamorphose. This is one way of my moving forward with what I consider an ambitious project. 

I can see how this approach is endlessly expandable and scalable. But would that go far enough in my view? I think not, it would be to alight on one of the first ideas and stay there. That is not the purpose of this exercise which is about deepening and connecting rather than producing in the first instance. However, having said that, I intend to make each stage a document in the journey towards new work.

A Cyclic Return

 

Two days ago I received a copy of Ted Hughes Crow: From the Life and Songs of the Crow together with a copy of Lupercal, an earlier set of poems. Last night I read an essay about Crow  by Danny O’Connor and it all came flooding back. Years ago I completed a cycle of paintings called Traces of Life. shown in Italy and in London and one of the paintings entitled The Horror of Creation was inspired by Hawk Alights, particularly the following words:

Crow saw the herded ountains, steaming in the morning
And he saw the sea,
Dark-spined, with the whole earth in its coils,
He saw the stars summing away into the black, mushrooms of the nothings forest, clouding their spores, the virus of God.
And he shivered with the horror of Creation.

The Crow cycle of poems is an ambitious text that rewrites the Creation in Genesis and places the eponymous Crow at the centre as a trickster prefiguring Satan and Christ. Crow, observes, frustrates and subverts a God’s less than omnipotent and omniscient attempts at making and intervening in the world. Hughe’s challenges the concept of God portrayed in the Abrahamic religions and how this creation has gone awry. Like John Milton’s Paradise Lost, the poetry is full of allusions that are magisterially crafted in such a way that the deep seated meaning is clear but needing careful unveiling. However, Hughes’ at times fragmented narrative is reminiscent of the theatre of the absurd and comic strip characterisation – comics together with folk tales were a great influence on Hughes together with the grim realities of farm life in the North of England. The logic is hard to understand on first reading, and here is where this great work distinguishes itself, it contains a deep logic and understanding of what the poet is doing notwithstanding its apparent absurdness. However, Unlike Milton, Hughes’ is not an interpretation of the sacred text but rather a critique and extension of the holy narrative fuelled by what he experiences and sees all around him. 

Reading Crow brings together once again, many of the strands that run through my work: the separation of the human psyche from nature, the arrogance of anthropocentrism, the denial of the animal part of being human, our origins in and our continuation of a long cycle of transformation and traversal from microbe to what we are now, how language has been used to control knowledge and manipulate behaviour. Could humanity have become the trickster, deceiving itself from the reality of who we are and what we are? Many of these ideas are explored in Robert Graves, The White Goddess, and Kraft Von Maltzahn’s, Nature as Landscape, studies in the history of poetry and science respectively. Both books review cultural transformations through the ages, not always progressive in terms of quality of life.  This does not mean that I would have preferred (as if I had had a choice) to have lived in another time. There are countless things about our age that shine as outstanding human achievements. However, the Twentieth Century also looms as a dark cloud over our history both in scale and wanton stupidity, something the trickster, be he man, be she woman, be we the mass of humans, is only too happy to help forget any lessons that have arisen. 

So where does this put me with respect to my current work and project proposal? I can see how what I have thought and done so far fit together and more importantly, how plans and conjectures can now change trajectory. There is a central core that is gradually being defined, creating a gravitational pull towards it. A path is being cleared towards something more encompassing, relevant and consistent. Creation myths from around the world also come into the picture for their differences as well as their similarities to one another. Another aspect of interest is the relationship between the linear and circular chronologies of Western and Asian beliefs; there is a little bit of each in both. 

Skype Chat 6: Coding

Yesterday we were introduced to the intricacies of coding in java, by Paul Abbott, with a little html and css thrown in just for fun. It was difficult to follow at times, particularly juggling four different windows at one time, thank heavens for a large screen. It felt like having to catch four piglets and trying to put them into a shallow basket… with boxing gloves. However, I survived and took away some valuable ideas that will help me, particularly when I look at the video recording of the session again. These notions can be summarised in a very cursory way as:

  • Types of coded information are kept in discrete blocks.
  • One block of information tells another what to do and the different functions and variables in each one has to correspond to those in another block.
  • The process is like constructing a flow chart in your head. For that matter, drawing a flow chart when planning code is not such a bad idea. 
  • Brackets hold different types of information.
  • The syntax of the code has to be precise.
  • Practice by copying and pasting existing code and alter one parameter at a time and see what happens. Make sure all corresponding parts match one another. 
  • It is no good just reading about code, you have to do it as you go along to understand anything at all. 

I do not know how relevant coding is to my practice. It is immensely satisfying, though, when a piece of code works. I know from my scant experience with html and css. However, it is a totally different language and I struggle enough with words. So, although I may tinker with some code and perhaps even build a rudimentary something for the internet, I think I shall leave this one to those better suited for this activity. One thing, as Paul mentioned, it does help when you can converse in the same language with someone if you need something doing or collaborating on a given project.

Leaving Breadcrumbs and Getting Lost in the Process, Outcome and Acceptance

I am constantly leaving breadcrumbs as I wander through the forest.

The process of this MA is very much about that, process. I am willing to get lost in it as I search for a path towards finding new things and ways. I am consciously entering unchartered domains despite my having established a practice over the years. I feel to not have done so would have been complacent of me. Instead, I have elected to relearn. The drawings are emblematic of this, the way I feel about doing them is an acceptance of being in the process and allowing myself to get lost. It is also a return to origins, to what I did first. However, the point is that each time I explore and find new things I am in danger of getting lost to such an extent that to find my way out again might prove costly in terms of my relationship with my work. What I am in fact doing is looking to create small outcomes along the way, as in Post Truth Hurtling, and the drawings. These are sign posts I am planting as I map unknown territories. Each marker keeps me located and the path taken made retraceable. That is one purpose for keeping a journal. To keep everything in the head is not good for my own sanity: the exploration may be conceptual in nature but the outcome is the concrete ballast that keeps me from capsizing against the storm of ideas that I face. 

Drawing Studies 3

Studies: graphite on paper, 237 x 316 mm

These rough sketches are a change of stance from the previous drawings, approaching the idea called for now ‘Oracle’. Exploring the inside and out of an imaginary prototype, I inhabit the space. This is not an aesthetic exercise in drawing, neither is it a testing ground for the work. It is more of an immersion into the idea, to understand where its physical form comes from. It lives in a landscape but is trapped in the context in which it is found: should be in a desert but it must sit in a room, an exhibit collected and appropriated from the imagination and displayed… for now. It is small yet pyramid-like in conception, is it to be simple or ornate? Is it a temple or a receptacle for sound; the Holy of Holies or a profane Pandora’s box; a landscape contained in the sounds that enters it, sounds processed and altered as a message must be arranged and packaged for its destination


It is now evening and having thought about the work’s geographical limitation, the idea has come to me that, although contained and relatively small, the sculpture can contain the world. Instead of the microphones collecting the sound being located within the same space, they could transmit from anywhere that they might be placed. The sculpture is then no longer limited to its location but it can encompass the world… or at least a greater part of it than before. 

Drawing Studies 2: The Simplicity

Studies: graphite on paper, 237 x 316 mm

Today I drew another set of studies.  It really is an exploratory activity and a reacquaintance with drawing. The images do not conform to the ideas I have for project work but I am glad for that. Breaking away from the constraint of a predetermined outcome fills me with a sense of freedom and renewal; what I talked about in my first post, Elastic Thinking, Synthesis and Renewal. It is in the true spirit of the MA. From these studies something may come but come what may, the thing itself seems to be what matters. The action, the thought, what it might lead to, give me the same feeling I had when I first started years ago. This happens from time to time but for it to happen now is wonderful. 

As I draw I think. I think about what I am doing and how it can be done better. I am learning rapidly as it comes back to me compounded by what I have learnt and experienced along the way. These small sketches represent much more than what they are in themselves. 

As part of my brain focuses on the technical activity, another part nudges me into feeling my way, sensing the concept and translating it into a language expressed in pressure, sense of space, distance and closeness, weight, light, volume. These are all empirical technical aspects. There is also another part of my brain that is released and wanders and thinks of other things. Reflection on the doing and reflection on the reflection. 

I like the way that all this is achievable with the simplest of tools. A block of toothy paper and two graphite pencils. Is this not the simplicity with which artist worked before? From Lascaux to Phidias, Michelangelo to Ingres, Picasso to Moore. The most exquisite work was done with simple tools and materials. How does this compare with digital media? Is the digital another freedom or is it a self imposed exile into consumerism? I have drawn with digital media and found it a rewarding exercise but more for the outcome than process. The smooth layers, the faultless line, edges that leave no ambiguity. It is indeed very seductive and aesthetic. I have rationalised it and it appears valid. But I ask myself, have we become so accustomed to perfection that we are in danger of losing sight of what human creativity is and where it comes from? Is the machine to be the paradigm by which we measure and are measured and origins lost in time and made irrelevant? So many questions come to mind offering contradictory views it is overwhelming. For now I shall continue building this small, simple, limitless world and see what happens.

 

Drawing Study 1: A Friend Revisited


Studies: graphite on paper, 237 x 316 mm

Yesterday I began drawing once again; I have not done so for its own sake for what seems a very long time. The pencil is so incisive and yet so gentle, like no other medium. Graphite slides off the point in response to my decisiveness, tentativeness, hesitation and insistence. It does not lie, it is an analytical instrument that exposes thoughts and my ability to portray them. Its limits are my own. Its freedom is my own. It veils and discloses, it explicates and it confounds. 

I shall draw continuously as a means of asking questions and finding answers. These preliminary sketches are the start of an exploration intended to bring forth ideas for some of the works I have in mind. Particularly what I call for now, Oracle and Sculpture Waiting for Meaning. But the story does not end there. Drawing opens up a world of meaning that is not there in writing. Both writing and drawing are means of externalising thoughts and feelings; they inhabit different realms limited by their own modes of expression and powers to imply. By drawing I recognise my own limitations and constraints which heightens a sense and understanding of freedom.

The Soul of a Shadow: Project Idea 2

Yesterday the lime tree that oversees our studio, keeps us cool in summer and accompanies us in the winter; the tree that invites birdsong and marks time in its slow arboreal way; this tree was trimmed. Cutting away dead wood and suckers, opened it out to sunlight, letting it flood past the leaves as they are pushed aside by the wind.  Shadows cast into the studio bring surfaces to life and everywhere a frantic dance is choreographed in light. To walk amongst these flickering pools is truly magical. 

The spectacle showed in many places was on the constant move. I videoed the vignettes, each one a jewel. As I did so, Armenian folk music played in the background. It was then I realised there was a connection. The music was as though synchronised with the visual movements, a dance that had a deeply hidden meaning. 

We perceive the world on our scale. From a fraction of a millimetre to several miles we can encompass its size and meter on our terms. Time is measured with the heartbeat and the seasons. It is these things by which music is made. Rhythm is not that of the fly’s or mountains’ but the beat of the heart. Pitch is not that of the bat, the whale or a galaxy but that which we can hear in the voices of those around us. Colour is not that of the infrared and ultraviolet and beyond but of what we need to know without confusion.

 

 

I saw the dancing, for that is what it was, of the shadows cast around and the meter and cadence of the dance matched that of the music. Music that draws from what is around it and nature, that is the essence of folk music. There was a synchronicity between the two and it seemed wondrous and yet natural: not a trick of coincidence but a natural consequence. It now seems as though the two are matched because what causes them is matched in scale and breadth. The wind, sunlight, perceived time and a mind that can see them as one. And if what I tell myself is only a confection, it seems as true as any other truth I can be sure of. 

What I shall do is build on these videos and they may add to the Sculpture Waiting for a Meaning or stand alone as projections. They are verbs to be placed in a sentence. All at the moment is latent and expectant. 

What to Do with Tags?

I decided to start using them today and soon found myself with a problem, which words to select. I know that it should be significant words but which ones are significant and which ones can be left out?

I put the problem to Janet and we had a long conversation where it was raised that the problem lay in my view of the process. You see, I have a tendency to view the search for certainty as somewhat futile. Everything I do tends to point to my trying to demonstrate this. But is that not trying to find a kind of certainty? Not entirely but I see the point. Using the tag cloud at first sight looked like a futile activity. This brings me back to what I said in my Symposium presentation, I am full of contradiction.

The clue in how tags work lies in the term tag cloud. A cloud’s shape is contingent on unpredictable meteorological conditions. The shape changes in a dynamic process that is beyond one’s control. Meta tags work in an analogous way. Put them in and they start to acquire an order, albeit simpler than those in the sky. They fall into a hierarchy depending on their frequency across blogs regardless of what you think. It is spontaneous.

For this algorithm to be of any use, to have a meaning, the tags have to be chosen without prejudice. Selecting words in or out, consciously or not, defeats the object of the exercise. The whole value of the tag cloud is that it is out of your hands, unpredictable. The tag hierarchy takes shape in unexpected ways outside of your control. This can have a number of positive consequences:

  • Contact with others you might otherwise not have made
  • Insight into one’s own thoughts and ideas
  • Spinning conceptual threads and links that can inform and connect in new ways
  • Fostering an open mind

I have decided to put down all words that confer meaning to a blog and see what comes. I have become somewhat indiscriminate. I cannot put in enough tags. This is much more exciting and interesting than putting down only what I think is interesting or significant.

Now what does this have to do with my work? Simply this, that my whole practice is like a tag cloud. I have worked in so many mediums with a wide variety of themes in disparate contexts and they continually move around in my mind, shuffling like marbles in a bag. They are tags, but for what? Perhaps they represent ideas, experiences, feelings, events. They obviously are connected but how. It is my aim in this MA to find those connections. The way I put it is, to uncover the connective tissue of my practice.

This is not to say that this is my sole aim. It is part of finding connective tissue that can stabilise the internal architecture of my practice as I  reach out to the outside. 

Sound Palimpsest

 

The black surface of the tabula rasa and its use as a palimpsest for ideas made me think about the recording of sound. I think of it as being placed on an aural surface, layers fading and superimposing one another.

Not thinking of it in quite the same way, I had the idea a while ago of superimposing tracks I had recorded on a beach in 2017 to create a chaotic presence.

I recorded the wind in the trees during Storm Callum last week. There was no clarity, only noise, the sound of each leaf, every branch subordinated by the multitudes. They are themselves voiced scripts each erased on the surface of the ear. It reminded me of the littoral recordings. 

I shall experiment with these sounds and others: textures which I can correspond with solid sculpture in a way that I had been thinking of for some time.

 

Chat Session 1.2: Symposium 1 First Week

The second chat session took the form of a series of short presentations each followed by a brief discussion. How then to go about the task of summing up what happened? I feel that to review each presentation would only serve to reiterate what has been said. I do not want to go into details of content but focus on a synthesis, albeit subjective, of what brings the grouping together in terms of ideas.

Matt Fratson’s interests lie in the passing of time as a resource to be mined in an attempt to retrieve that which has been lost both physically and psychologically. He is very much located in the personal both in terms of geography and community; questioning his time and the place he is in as a function of the past. 

Aristotle Roufanis poses questions regarding the individual in a brutal urban environment in a world that might not be so. His observations shift the interrogation from his own personal subjectivity onto the receiver of the work. The strong inference of isolation raises questions regarding the urban architectural environment which is in itself treated ambivalently as both an aesthetic construct and an antithesis to nature.

I came third and following the theme of interrogatives, I am questioning the universe and our place in it as individuals. Contingency and uncertainty mould our behaviours as we live, the product of one and in the other. In the latter case, uncertainty reconciled with the reconstruction of the past as a series of myths that inform our view of the future.

Michelle Wright looks at the community in terms of the other and othering. Political in nature, her work questions the processes and behaviours that arise out of power imbalances between and within communities. We are invited to identify with the subjects and at the same time be observers and agents. 

Axash looks at how worlds are constructed into myths and whether the same might apply to narratives built within digital environments. His practice is an open question as to how to begin a process of myth-making embedded in the materiality of his subjects.

Finally Pav Szymanski questions himself and his position in an unequal world. The inequalities that exist and how he can reconcile himself with these. His research is firmly placed in the future. A future whose uncertainty is at the root of his search for some sort of reconciliation. 

What comes out of this incomplete and somewhat imperfect summary and this may sound trite, is that time and place, the contingency of circumstance informs the sense of oneself and of others. The interest in what resources one has at one’s disposal is a feeling undoubtedly fostered by a world where travel is easy for some, information overflows our time constraints, entertainment infuses our lives as a religion and the mercantile power of economics runs through all things; time as a commodity, geography as a means of control, power ordered in overt and covert structures, and in the midst of it all, the individual trying to make sense of this world of inconsistencies. The building of dream worlds where the contradictions and injustices of this one can be resolved away is an attempt to return to paradise; the creation of a simulacrum of hell in which catharsis can help quench the burning of affliction is a way of mitigating the sorrows of life. Yet we need to accept uncertainty. Only by tracing the past and opening it dispassionately can we hope for the circle of time to turn one click nearer to a better future. By pointing at the indifferences of the collective dynamic, a new path can be cleared along which we as individuals can confront our demons. And in so doing we are better able to bury them. It is a small thing that each person does, but the collective is made of small individuals. And each small individual is a universe in themselves, indissoluble from the greater whole, cut adrift by the accident of birth: a falling to earth that is as random as anything one could imagine. 

Chat Session 1.1: A Beginning

I was excited, very excited as I waited this morning for the first chat session.1 The simplest explanation would be that I had been waiting for some time to get a glimpse of my class mates and get started on this journey… at one in the afternoon. The excitement of a first day at school… without the nerves. What did I do? I prepared a lunch of chicken, spices, rice and salad. 

So, we went through some housekeeping, introduced one another and talked about this and that. At this stage the content was not so important. What mattered was that the process had had its baptism. The reigns of enrolment released for some and eased for others as a new sort of family was born into the web. 

However, this is no ordinary community, it is one that spans the world from Vancouver to China and dives into an ocean of ideas that can reach significant depths. Each creature in this ocean occupies a particular niche. But individual ecologies are not fixed in this world, they are adaptive and mutable. The progenies are what the individuals do, to be exposed to scrutiny in a special, nurturing environment. Underlying structures are loosened like the genes from some primeval helix and dispersed in a pool; precursors to something new, complex, wonderful.  

The process is open, open to change and I can already see tiny movements in pieces, changing character, swapping places and giving way to new ones. Only tiny steps today, but discernible. Perhaps this is why I was excited before starting, because I knew that this was the beginning of things coming together, taking shape and standing on their own, but what shape? That is yet to come.

  1. On Skype []

Elastic Thinking, Synthesis and Renewal

This is an exciting time, a time for elastic thinking, synthesis and renewal. Having confirmed a place on the Fine Art Digital MA course some months ago, at Camberwell College of Art, University of the Arts London, my mind is now focused on what might be the trajectory I take during the next two years… and beyond.

Why do I think that the digital is an appropriate way to go? The reason for enrolling on this course lies deeper than that of being ‘in the moment’. The digital offers what I would call simultaneity. By this I mean, many layers of thought being articulated and rendered ‘visible’ at one and the same time by means of different modalities and interfaces. The aim would be to facilitate the grasping of disparate ideas, explicating  and synthesising them: practically speaking, ‘operatic’ synthesis.

I see the next two years as a book to be opened and written in. An opportunity to foster flexibility and adaptability, exploration and experimentation. This needs plasticity and a willingness to dig deep into what lies beneath my practice, always adding and subtracting from what I do, changing. To do this requires that I organise my thoughts critically, but without losing a sense of the informal, the unexpected, harnessing both progression and contingency with thought and a certain degree of courage.

This is a time for deep research. What do I hope to achieve during this course? My hope is to expose the connective tissue of an evolving practice and generate transferable ideas that kindle a new fire. I look forward to discovering new ways of expressing current and future ideas that run through what I do. I cannot say for certain what these might be but I have had a glimpse of a pathway. It is a journey through ancient, modern and future landscapes. Trajectories that intersect into contemporary culture examining the balance between individual thinking and collective movements: the perennial question between the group, or state, and the individual, law and conscience, security and freedom. All these are reflected in the realm of the arts as in politics and society in general.

I feel the need to learn new ways of doing things and use new materials; both at a conceptual and practical level. It is a space where the synthesis of process and outcome exist in a dynamic equilibrium, ideas and their expression embraced in a reciprocal relationship. Existing in states of immanence and transcendence or put another way, a system functioning within changing boundaries, permeable to the environment, evolving, bearing fruit and an eternal waiting… is this not a description of sorts of a living organism?