My first tutorial with Jonathan was a far ranging exploration of my practice and how to develop ideas currently in formation. It has taken me a while to assimilate the conversation and for the sake of my own clarity I have limited myself to the main points. I can see a framework starting to form that I can return to time and again.
Jonathan’s key questions are paraphrased in italics.
1. Blog Journal: Role of
Writing the blog journal is emerging as an important element in my practice. It is possibly the sought for connective tissue between the different parts of my practice that I had mentioned at the start of the course. In the few weeks that have passed, the writing of posts has become less laboured and easier even though I have to focus on the content just as much.
Is this role for the writing due to the contrast between words and images or objects?.
I think that words are a good way of organising thoughts and ideas. Images and objects function in different ways. Words are regulated by syntax and grammar which enable complex ideas to be formed. I try to avoid jargon because I feel that when I do so, there may be an element of trying to cover up the fact that I do not fully understand what I am talking about. I have to scrutinise my thoughts and feelings and why I want to put them across and how. This process can lead to a clarity not possible with images and objects alone. These are more open to ambivalence and ambiguity.
Is that clarity for yourself or for another reader?
I always have a reader in mind. This is helping me to develop a voice which in turn allows writing to flow more easily. The voice can vary depending on the purpose of the writing. The reader I address takes two forms: an imaginary person and myself. Knowing that someone will probably read this during the MA, earths that imagined reader into a live entity and focuses my thoughts on clarity and above all authenticity. A problem, however, that has arisen out of this facilitated writing is the growing amount I want to put down in words. Additionally, writing for an audience has also brought in the possibility of publishing which adds another level of responsibility in terms of clarity, interest and authenticity.
Do you feel you have to strike a balance between writing and making or are the two more integrated?
I do make a distinction between the two process: writing is more analytical whereas making is more felt. However, by working in both modes I find they support and inform one another rather than being at odds. They function at different levels of affect and meaning in a reciprocal rather than reductive or divisive relationship. This runs counter to what I had initially thought might be the case.
With a clearly defined practice what do you hope the process will bring to it?
What are your plans or dreams assuming you have those if not, what do you hope will happen?
I am still opened minded about this aspect of the course. More so than when I started. I thought I had all the works lined up and I could envisage the final show. I am not so certain now. Ideas are in constant flux and open to change. My current aim is for a collection of works that are bound together by an overt and or covert idea. For me the work itself is very important it has to stand on its own unsupported by text and explications. [In retrospect I could have answered in terms of galleries, further research, exhibitions, but for now I am living in the present with the work.]
How do you measure whether it stands on its own?
I would evaluate this in two ways: how am I and others affected and what inferences are made from it?
I would consider holistically how skilfully ideas, aesthetic considerations and the craft of handling the medium are embedded in the work’s making. How these elements are brought together and how effectively the ‘message(s)’ is encoded in the work. Each medium uses a different coded language which is expressed in a particular way. I look at how effective this coding is used in communicating without explication, how this unfolds and how it differs from when an explication is offered. The difference would be interesting and can point to how successful the work is in fulfilling my aims.
I am becoming more interested in the politics of the work. Not so much as issues but rather in terms of existential concerns: the individual and the collective. The dynamics of both are very different. Politics tends to address the individual as part of a collective and disregards the sense of self other than as part of the group. This interest in human behaviour has brought me to consider an element of performance in my practice.
3. Proposed Projects
We discussed projects I have in mind, primarily two performance ideas and three installation based works. I see some of the ideas as thought experiments and Jonathan encouraged me to consider these as more than such. They are workable and could give rise to interesting and unexpected outcomes. I shall write more at length about these projects in the future. For now, I shall outline the salient points that were discussed for each one.
a) Scripted work involving video on what reality means in a digital environment. The work requires very precise timing, rehearsal and scripting. I thought that three levels of depth involving two screens and myself were the limit of what could be done. Jonathan suggested that if this were extended, the chaos that would ensue beyond the control of the script writer / artist yielding interesting results would be both intriguing and pertinent.
b) Axis Mundi uses my physicality and sense of self in a ritual that involves maintaining a centeredness involving inertia, gravity and movement. It touches on ideas initiated by Poincare’s double pendulum. Two points arose from this conversation. The first regarding the reversal of point of view from the axis rod using a camera so that rather than my movement being evident, I appear and remain fixed while the world is in motion around me. This introduces two diametrically opposed view points of the same process. Secondly, what is the meaning of making the axis in bronze other than its weight and long making? We discussed the ritual implication of casting in bronze and a further subsequent conversation with Janet suggested that the lengthy process of casting in bronze itself is a ritual and part of the inertia of the work. What emerged was that there are many levels of meaning to uncover in the process which can all go towards making the work.
We also discussed: c) Sculpture Waiting for Meaning or Shrine, d) Oracle, and e) Shadows. Jonathan pointed me to MAX MSP at cycling74.com as a way of real time processing sound for these projects which does not require coding but rather works as visual language programming. With regards to d) Oracle, Jonathan suggested that the final incoherent sound could then be fed into a translator or interpreter which would then try to make sense of the sound and it would be interesting to see what words would be formed from this. c) also brought to mind Plato’s cave are we talked about the merits and negative impact of Plato’s philosophy on the world over the past two thousand years.
These ideas will no doubt change as the process of bringing them into being affects the ongoing outcomes. This relationship between process and outcome is analogous to that of observer and observed.
4. On Motivation
Considering all the different ideas, what motivates you most out of all of them?
I had to think long and hard about this. I do not have a single overriding motivation in terms of the different ideas. The works all have different motivations. I have to break the answer down into principal and secondary motivations. Firstly, I am motivated by building a world, a place I can inhabit both actively and in the imagination and in so doing hope to interest others. I do need feedback but it is not my prime motivation, this is to make: I am compelled to do. Other motivations or rather impetuses, are derived from this. Affecting people, dialogue, admiration, shock, comment are derivatives. The point is that if there were to be no audience, I would still do what I do. To have feedback, an audience, is important and there is nothing like the joy of making a connection with someone else but in the end it is an impetus that comes from within and not externally located that has set things in motion. I am imprisoned by it.
Do you feel imprisoned by the work you have done so far, do you feel that is part of the world you have created?
I think so. The work overrides everyday matters to some extent. I started with the hubris of youth wanting to conquer the world, make money, be admired but I soon saw what that does to other artists. It alters the person and what they do and not always for the better. So many artists what they really want to do is go off and paint or make in some way: to have a primal connection with what they do. I do not feel so much imprisoned by but rather contained within an internal world. As an afterthought, I have always been interested in containers, boxes… could this have something to do with the sense of self imposed imprisonment, of trying to control the internal environment, order, or is it more to do with maintaining an axis mundi, keeping the self close by?
Jonathan encouraged me to work on all the projects even if only to the maquette stage not worrying too much about the finish. I guess it is about keeping a momentum and not getting entangled in the problems of achieving a perfect result. I shall certainly follow this through bearing in mind that the more I look at the overall shape of things, the details will resolve themselves as the process moves along.
The tutorial has given me both an overall direction in this new exploration and some detailed analysis of my work and practice. At the start of term I had prepared a Project Proposal. It was vague and open for which I am glad because it can accommodate being altered and brought more into focus with what I am doing. In fact, its flexibility now comes into play as a living document that can evolve and adapt.
5. What to do Now
The tutorial has helped clarify where I am currently. I can now plan more effectively for experimentation, research and development. Reflection on and in process can also be more relevant. I can now return to the tabula rasa and start using it as a palimpsest rather than have it sitting in the studio accusingly posing the question, what did you make me for?
Short Term Outline plan:
develop Project Proposal;
work on maquettes;
research MAX MSP;
develop writing skills – registering for Iowa University International Writing Programme MOOC ‘Writing and the Natural World’;
start planning and composing performance works.