Process
Research
I spent the afternoon in the studio trying to film my work. I should have know that it would be challenging. Some is too big to fit into frame without standing far back… and my studio just isn’t that big. it was in collating the work that I encountered a few issues.
Ok I had a bit of a melt down. I’m wasnt sure I liked the work any more, and the plan to hang it in a circle…mmm I’m not convinced now. I’ve tried various iterations but it didn’t feel right.
I’ve been stressing about it for a couple of days but realise a few points. First I’m not finished this isn’t the summation of where I’m going. Second and perhaps the most significant point, the works I’ve been making are fast, time limited pieces an intentional move away from my historic practice, in the intent to free the work up, explore and be more generative, to put my own practice into a liminal state.
I actually want to pause here for a moment because I think this has been a crucial element of the MA for me, but I wrestle with it too. Letting go of my usual making practices of refining the aesthetics and concepts has served to permit the work to go further and deeper. And this is what the work reflects as a collective. I probably need to reread my blog a few more times or at least revisit the assessment curations. As its from those that I have found the deeper connections and resonances.
Specifically relationships to materials and language, the movement of meaning in language and the movement through passage. In addition finding connections between key thinkers and their work. There have been a number of discoveries for me that I need to be mindful of, hang onto the mini revelations. I forget all too quickly.
Also there are simple elements that I still particularly like, the hinges in branches, the pegs and the abstraction from the paddle form.
This also happens a lot - that I make work and then get over it very quickly-as I think about where I want to go next. Clay pots and extra large drawings, animated drawings - fine art animation.
What also come out of filming was a line formation large to small of paddle forms. Something in it caught my attention. Could work for the show..
In addition the drawing has found new strata’s and a poetic discovery of the hidden. Although I struggle as I realise that poetry is a bit of a dirty word for me, that it is associated with some form of creative indulgence.
As I think about making the film, my practice I realise I prefer the word passage to liminal as I don’t believe that it is an idealised place to stay or take up residence. Passage infers movement and progression.
Translation infers understanding movement yet interpretation, but evades ownership.
I’m still experimenting too, in fact it’s increasing and I hope its embedding - the more exploratory practice, asking physical questions of my work, hence the blueing of the stick.