After 2 weeks of building, decorating , cleaning and creating the work the show build is finally over. After a few hiccups regarding the space I was given and several moves around at last minute I am quite satisfied with the final outcome. The first move was one out of necessity as I started with a very small wall but wanted to create a more immersive experience that would be able to surround you and direct you into the video documentation playing on a screen. The second (slight) move that was made one the day before the deadline was that to double my space. This was very much a exciting and encouraging move as I wouldn’t be sharing the space and I was able to create much more work on the walls and and fully make the space my own meaning I was able to reach my goal of a fully immersive sized show.
Here you can see a couple of the coloured bits used to show the work of collaboration with other people that I scalped out of vinyl compared to the sources material I used from my pervious performances.
Looking back if I had know about the size changes I would have laid out the work diffrently and started much earlier as I was only able to do small bits of the coulour on the walls due to late notice and a time consuming making process. Also I think that knowing I would be having a very large space the show I would have set up a section in the centre where people could sit and relax together, talk, listen to the music or just look at the work from the centre of the space.
Catalogue Statement – My current practice consists of the visual sound of isolation. Drawing on my recent experience of isolating myself in foreign countries for an extended period of time, being constantly surrounded by sound but also being very separated from it and also my unusual relationships at home. Within my overall practice I strive to create emotional responses within my audience, however now my current practice stems from me allowing other people to interact with my experience and emotions. My overall vision within my current practice is to use performance to try and create a sense of belonging, through the use of collaboration within the medium of performance, which allows me to show the nature of interaction. Therefore isolation becomes a shared experience through communities that are created in small time periods and have lasting effects.
Show Statement – My current practice consists of the visualization of the sound of isolation and using it to create interactions between people. Leading into this installation is an abstract sound score traveling towards the screen in the corner, which through my past work, explains how I used the medium of performance to try and create a sense of belonging, through the use of collaboration. This allows me to show the nature of interaction. Therefore isolation becomes a shared experience through communities that are created in small time periods and have lasting effects.
This installation is a reinterpretation of the mark making and gestural images that where created through interaction with other people and groups within different performances and by reinterpreting them I have been able to show the collective work that has been produced throughout this series.
After much debate about the idea of me creating a cd to give away and sell during and after my degree show I have decided to create them as a piece of art which will act as a continuing tool for connection back to this work and to the social connections that have been created but also create new interactions and relations. Whether that is thought the physical giving and receiving of the cd or that of the shared experience of hearing the tracks and being transported into the sensory experience of isolation that was created through collaboration.\
The cd being titled insularity the same name I have given to all of my work this year. The collaborative name being Alucidos – being something something alcid and not quite tangible referring to concepts in fine art. (dos being the tow of us that created the album). The track names 125 Detachment referring back to the long periods of time I initially spent hiding away recorind noices in order for all of this work to have been created. Myopia -lack of foresight or intellectual insight (short sited). Autarky – self sufficiency/ independence. Sonance – A sound with no musical quality. Live – The first performance of my degree work.
Looking at different cd case designs to see what would best fit my ideas.
The cases of the cd’s are made out of the scrolls they are created from therefore also offering a piece of one off art work to those that have allowed me to discover the power of collaboration.
During my next performance I plan on giving out a cd to many of the viewers and to the people that have helped me realise my concepts and joined my collaboration within the performances. (Forever continuing on the performances but aways from the critical sight of an audience).
From my pervious performances I want to shake up the process of it like I have done every time with a new performance (including drawing etc). For my newest and my last performance rather than the band performing from some of my previous old work I would like the whole process to be contained within the time farm of the performance. Therefore I will be encouraging the audience to begin drawing and then the band to create music from the shapes and marks they make. I will also suggest that the audience take inspiration for their mark making from the sounds and music that band is creating. Therefore creating a full circle of viewing and responding and putting into question who is the spectator as the participants with in the band will also be watching and observing the audience as if they are the artist of the performance.
This allows more emotional connections between people as everyone is on the same level of viewing and being viewer, this allows for a deeper more complex understanding of the main goals of my performs which is connecting with people and using the advantages that comes with performance art.
Jane Grisewood creates lots of contemporary art based on the notion of drawing and mark making but I am most interested in the performative aspect and events she puts on and collaborates with other artist on. While working across media, the line, repetition and duration are recurring themes in her work, from drawing and photography to print and performance. Drawing involves her body as a tool to mark temporal presence, where the line is a fluid open-ended process recording motion in time and space
Many of her projects focus round her subject of ‘Drawn Together’ in which she says “On specific projects we experiment with different forms of collaboration alongside considering how our individual practices converge or contrast with each other’s. For example, at the Centre for Drawing in London we integrated different media and approaches to drawing, involving the audience to create a single collaborative work”
Line Dialogues is an ongoing series of performances with artist Carali McCall that explore time, movement and the expenditure of energy. The repetitive and continuous action challenges the process of drawing and how the body experiences duration through drawing. Within this work I relate to the physical aspect of movement when making large scare marks and lines within my own work I am fascinated with the physicality and the sound that is made from the drawing material and the body of the artist creating this.
Notes on a Table I (after John Cage) 2010
‘Drawn Conversations’ exhibition, Coventry University (2015). The first ‘Notes on a Table’ in 2010, drawn by the four artists, was followed with a second drawing for the exhibition in Coventry five years later. Each work was of a two-hour duration, drawn on the same surface in the same space, while responding to sounds and conversations on drawing collectively in the present and over time. Within this work I am interested in the way the artist use the stimulus of conversation and interaction as the muse for this work and the resulting work is similar to that of the visual music score I have been using and creating to represent a specific time and place.
Blind Lines, 2014, Two-hour performance drawing (with eyes closed throughout)
The audience was invited to replicate the action and sensation of drawing ‘blind’ on the gallery wall. The event explored the relationship between artist and audience, and questioned the response to live action. The interaction between audience and performer is something I am very interested in and have done much reasearch into. throughout the performance and interaction the audience becomes the artists and the line of fear between art and viewer is removed allowing safety and reassurance within the art space and work, allowing for stronger emotional connections that is only produced though performance art.
Also in her work Mourning Lines, 2014, she create a 30-minute performance drawing with invitation to the audience to participate, once agian similar to the use of audience participation I use within my work. The large scale of her work and the way she ofter works strainght onto wall has inspired me to create the same impact within my work for the show allowing a strong presence and surrounding atmosphere to my work.
FOUND IN TRANSLATION: Deakin University Art Gallery is part of an ongoing Instruction Drawing project in which Wlodarczak translates language into drawing, a practice the artist calls ‘interpretation drawing’.
Exploring the idea of drawing and language being coded modes of communication, Wlodarczak took a drawing produced during a residency at the Western Washington University Art Gallery in 2012 as her starting point, and developed two pictorial alphabets, each letter of the English alphabet (and a couple of punctuation marks) represented by a small detail of this drawing. From these pictorial alphabets, Wlodarczak made scaled-up stencils to create a series of site-specific ‘Interpretation Drawings’ that contain coded messages, directly onto the Gallery walls.
The ‘performers’ within this 3rd performance of the set, that created the art installation where instructed in what to do via a set of instructions provided by the artist, similar the instructions I give within my performance for the participants and audience to create sound and visual images.Viewers where also instructed to decode the message via instructions also similar to the way I want people to view my work and then the accompanying video and sound for them to decode and work out the different sounds the lines and shapes make around them. This project was also created out of talks and meetings with the collective of people that created the work inspiring me to carry on with the constant collaboration with other people within my work.
Using the lines with in my exhibition space as a performance in themselves, the sound of creating the line and the interpretation of listening to the sounds from the pervious performances while getting into the mind farm of the previous people who partook in the drawing aspect of my performance and recreating their mark making. I prefer the technique of people having to ‘decode’ the installation via the information in the artist statement and the accompanying video within my show over the use of an interactive installation as it still allows people to come together to experience and work through the installation but within their own ways not through strict interaction rules.