Final Degree Show Ideas/ Plan

For my degree show I want the main eliment to be focusing on the performance aspect of my work. The idea of a performance on the opening night was simple but what I would show for the duration of the show was a counfuing dicission. After having problems with the space I was allocated I was able to move to a more suitable place consisting of a large L shape in which I will display a video of my previous performances with sound within the corner of the space. The large scale drawingings that where created during my latest performance I see now as unsuitable for the level of professionalism of the degree show so I have decided to take the marks made by other people and reinterpret them in combination with my own straight into the walls while listening to the different performances. 

The drawings on the wall will start at the entrance of the space and will slowly lead the view into he space and towards the video piece at the far end of the wall.

Using bright colours, similar to that of the participants work from my performance, of sticky back vynl it will allow the collaborative work to stand out more from the work that I have created solo and therefore help push my ideas of showing the work of collaboration.

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Jane Grisewood

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.

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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.

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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.

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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.

Drawing Installations – Found in Translation

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.

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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.

Second Live Performance

With in this performance I wanted to include the role of responding to the music and see other people interpretation of visual sound and how the performer and the audience could interact with oneanother to produce a collaborative live performance but also visiual work that would last after the small time frame of the performance. Asking the audiace to watch listen and then draw onto large pieces of paper.

The interaction between the audience that are drawing and the band is easy to see. Whether that be them drawing along to the sounds or taking breaks in which they are watching and processing the situation and atmosphere. Often the members of the band are interacting with each other communicating what they are thinking or just having fun and creating emotional connection with one another.

I planned on displaying the physical artwork created within this performance within my show as it is a visual representation of the collaboration that has taken place within this this performance but after the performance I realised that the pens I gavce out during the performance where not broad enough to creat stong looking work (too washed out and faint) but I am going to use these large piece of paper as refrance within in my show work.

 

Combing Live Music Performance and the Role of Audience as Artists.

From my previous performance in which I invited participants to join me and my ideas about visual sound art and assembled a band with similar ideas and created a performance. I invited audience members to join in with us and view and listen to this sensory experience. Now with my new research into the roles of participation within performance I am now invited the audience of my performance to take part and also became the artist by reinterpreting the sound and music from the performance back into visual msuuic scores.

Also for this performance I have given the new joiners of the band children’s musical toys rather then asking them to bring there own internments. This allows anyone to join my small community, not just ones that have there own instrument. But also the aspect of playing and fun that comes with the use of toys and other objects that remind us of childhood. This straightaway broke down barriers and created convosation before the performance had started. (WHY)

The video footage and the large scale drawings that have been created are the start of plans I have towards when I would like to exhibit for my degree show. Rather then only having work created by me within the show I would like to show the collaborative work for the reminded to the audience and myself that the my art is that of community and social interactions/ friendships.

The Line as Physical

London’s Lisson Gallery explores this basic construct of art with in a show called Line curated by Drawing Room, explores the work of 15 international artists and their exploration of the line. They include artists like Sol LeWitt, Richard Long, and Tom Marioni. In these artworks the line isn’t always confined to a piece of canvas or paper, instead lines become installations with depth and volume or conceptual experiments.

The artist Monika Grzymala’s site-specific installation Raumzeichnung (outside/inside) explores the line as a 3D scupliture using black tape and clear plastic. “I describe all of my installations as architectural interventions or spatial drawings”

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Even with Grzymala’s work being made from tape it has similarities to the lines and mark making within my work. Both share a kinetic energy within the lines that allows to to follow the lines and consume the energy and motion the seem to give off.

Sometimes the line is more minimalistic and and simplistic like Ceal Floyer’s Taking a Line for a Walk. It features a painted white line, the type seen on sports fields, running through the gallery and up the stairs spilling out across the steps until it ends next to the apparatus that created it, a line-making machine.

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Within my work the line is not only a physical object and the physical side of my work it is also sound and relationship. The line has its own presents within the work and the space it is shown in.

Drawing Room’s directors Mary Doyle and Kate Macfarlane point out in the text that accompanies the exhibition, it was LeWitt who said, “Obviously a drawing of a person is not a real person, but a drawing of a line is a real line.” This create interest in my work as the lines in my work are not really the music they represent but the physical action of drawing the lone creates sound against the paper/ wall. Therefore the line is a sound and a presence in more ways then one.