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.
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).
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.
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.
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.
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”
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.
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.
Looking into collaborative work and allowing the audience to become participants and artists I decided to start inviting people to work with me within my sketchbook. I consider my sketch book and working within it a private and intimate thing so allowing someone to work inside it with me was the beginning of a conversation I had with the participant that lead to us making even just the smallest improvement in our relationship. (whether that be closer friends or acquaintances). We both started with the same simple instructions that I have been following for all of my work this year that consists of drawing to what we here.
Using different colours to distinguish between the two different artists within the on piece of work allowing you to be able to see how me and the other participant worked together within the small space. I am defiantly interested in carrying on this collaborative drawing and am interested in taking this a step further into a larger scale consisting of drawing at a live performance. This will allow not only the connections between the band members but the audience themselves and the audience and the band.