As part of my final assessment on Monday it was suggested that I do a performance to fully show the extent of my final years work in its full intensity. With this I feel like I have a final shot at manipulating my performance to reach new goals within the ascetic and artistic principles but also within the realms of the collaboration and interaction side of my artistic practice and the performance. With these ideas I have decided to carry on with the idea of responding to the music visually but where as that was normally the outcome of the performance I want it to be the start and the outcome. Using the drawings to fuel the sound performance and the sound to influence the mark making. This why the performance will solely rely on the interaction and collaboration between the performer and the viewer and will also question who is the performance and who is the viewer throughout the performance.
Linking together my previous sets of work. I left the sound of the sea on the video as I felt like it created another layer to my sound piece.
I am defiantly going to continue my work into sound art as i feel this gives a more dynamic representation of isolation since it allows us to become more immersed within the art work and be removed form the surrounding reality.
With the plan of getting my experimentation up even higher than the previous two years and to create inspiration within myself I have set myself the task of creating a piece of work every week.
So to begin I have been drawing on my recent experience of being isolated and alienated while away traveling. While away I struggled with what type of artist I am, whether I am an artist at all and even where I fit into as a viewer and consumer of art. Most of these thoughts of alienation and insularity came to me while I was in art galleries and it effected me in a physical way with almost ear buzzing noises and gittery movements.
I have tried to bring this across in a short sound and video piece
The hypnotizing effect this video has helped show conflict between abject thoughts of liking things we shouldn’t and conflict we have within ourselves.
I feel my work along these lines needs much more development and work but once I have started to research into the concepts I have for my work working back through my work to develop will come naturally.
So looking into how I can use water in my installations I came across a couple of artist that hang water in plastic bags and balloons to make multi sensorial installations.
Michel François – Water Retainment
His work explicitly investigates the relationship between work and space, images and architecture, nature and culture. “The underlying idea is that the variable ‘meaning’ of each sculpture is dependent on the confrontation with other sculptures, the space in which they are displayed and they way in which they relate to this space”.
The way in which the water hangs is very still and tranquil but the softness of the water is a complete contrast against the harsh plastic of the bags and the wall of the galleries and other building which its displayed in. I feel like the contrast keeps you thinking about the work and makes you anxious about the risk of the work falling or popping.
Cheryl Pope – Up Against
“A field of 738 water filled balloons suspended at head height by gold chains painted white. As the female figure performing aggressively battles each balloon with her head, the balloons and water oscillate with a nervous tension referencing the internal workings of the body both physically and psychologically.”
The use of the balloons closely mirror what I was doing with my elastic bands and I think will create the same feeling and presents as my current work. I like the way the balloons stretch and create tension that make the audience feel nervous. I also like the performance aspect of the work with the views also participating and feeling the weight and danger of the balloons.
I plan on experimenting with hanging balloons and bag with water inside them and develop ways I can incorporate this practice into my work.
While browsing for artist in the book ‘Art and Feminism’ I came across a image by the artist Lygia Clark called Esturas Vivas where she got a large group of people and connected there feet and hands together with a web of connected elastic bands. Although I am not keen on her work I do like the idea of the elastic bands and the idea of the tension that they create and the position you can put yourself and others in when you stretch them to there breaking point.
This also reminded me of Marina Abramovic and Ulay’s Rest Energy (1980) where they both artist lean away from each other with a bow and arrow strung between them held in place by both artist counter forces. The tension in the bow and arrow and in the physical danger, trust and venerability in the piece is unbelievably powerful.
“is an enactment of the extreme levels of trust and vulnerability inherent in any deep relationship.”
I want to look at this idea of pushing limits with the tension in the elastic bands by videoing myself and other willing participants to stretch elastic bands between us until someones nerves fail them and the let go or the elastic band breaks. This is making the participant and myself venerable to each others actions. I would also like to explore the reaction other people would have towards us doing this.
Ann Liv Young is a performance artist that uses really delicate subject material (often remakes of fairy tails) but performs her pieces in a provocative and loud way which creates interaction and provokes the audience into changing the way they see dance and performance. Some of her work is really visually stunning and obviously thought provoking but some of her other work seems in poor taste and a bit slap stick but that is also what has grabbed my attention about her work.
‘Young’s text is explicitly sexual, emotional and blunt, but it is always delivered in a manner that is not.’
‘Her style of audience interaction has been compared to the US government torturing prisoners at Guantánamo bay and a Viennese police report describes her as conducting “forced” interviews.’
I think what I have learnt most from looking at her work is that during her performances she donst seem to care how she comes across to other people (she adopts a different personality named Sherry) but she also isn’t starting out to have a massive effect on the audience (she isn’t trying to be shoking or controversial she is just doing what she HAS to do for that particular art piece) And I think this is what effects the audiace the most and provokes such massive reactions.
‘I don’t think I make things to make anyone uncomfortable. I pose questions that I want answered.’ – Ann Liv Young
‘Is there really a thing such as a private space today?’
For our second year work we where asked to take a pieces of art work that is currently or has been in a gallery or museum and then over the next few weeks create art work based on there work and slowly develop the art into something that is entirely our own. I was in a good position as I was able to go to the venice biennale and was completely emersed in an intense art experiace for three days which really chaned my way of viewing and responding to art work, as well as giving me first hand experiace of the art work I would be later working from.
Choosing Lili Reynaud-Dewar’s work was an easy choice as I could very easily understand her work and relate to it, but I also saw the potential in the work for me to develop on and sway it towards my own work. (This is only one small part or a massive long running collection of work under the same name)
My epidemic consists of lots of different aspects and parts sometimes consisting of dance/ performance, installation, sound, sculpture and text all exploring the idea of sex, freedom, prophylaxis, responsibility and venerability. More specifically on the subject of AIDS and the act of putting yourself at risk by not protecting yourself. Her work explores all different ideas of venerability and how it is empowering to be venerable at your own hands.