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).
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.
Community art is artistic activity that is based in a community setting, characterised by interaction or dialogue with the community and often involving a professional artist collaborating with people who may not otherwise engage in the arts. Some of the most innovative art of the past decade has been created far outside conventional galleries and museums and its these types of art that have began to create the most social change with in and outside gallery. From reading books like ‘conversation piece’ I have begun to understand the different types of no conventional art that exists and bring together people for all background. Often this stems from a desire to create new forms of understanding through creative dialogue that crosses boundaries of race, religion, and culture.
Within my work I want to explore ideas of creating small communities that are coming together to remove isolation, but selfishly this is mostly a goal for myself and many others look past this and just see it as an gathering to have fun and relax in but that is also a great success and goal for my practice.
Related to this is the role of audicane and non artists with in performance and community art as using instructions is a easy way in invite audience menebers to partake without seeming so intimidating towards them. Therefore I have begun looking into artist instructions, there role within performance and the function of audience participation with in art focusing on the books ‘Do it’ and ‘Participation’.
‘Do it’ curated by Hans Ulrich Obrist, do it began in Paris in 1993 as a conversation between Obrist and the artists Christian Boltanski and Bertrand Lavier. Obrist was concerned with how exhibition formats could be rendered more flexible and open-ended. This discussion led to the question of whether a show could take “scores,” or written instructions by artists, as a point of departure, each of which could be interpreted anew every time they were enacted.
Using the book do it I have decided to expand on my previous rules of using the music scrolls as scrips and delve into more specific rule on collaboration and conversation. Firstly I am starting off with small private performances focusing on the viewer becoming the artist within the work. I plan on using my sound scapes and sitting down with one viewer at a time and with in my sketch book creating our own visual sounds together. Creating the work in the sketch book allows a more intimate and personal creative process and the setting will allow conversation and connections between the artist and view to take place.
“The LIVE TRANSMISSION drawings are a record, performed in real time, of the vital movement of living beings. They transcend both figuration and abstraction.
I draw methodically with multiple razor-sharp pencils and both hands, as time-based performance, executing a direct neural transmission from one human action into another. I condense movement into accumulations of graphite line, which combine the controlled refinement of classical drawing with the unbound sensuality of spontaneous gesture. Time-space coordinates for each drawing are described with precision in the titles.”
O’Hara use of performative drawing really resonates with my own practice of having the process of drawing more of the art work then the finished piece. He work really inspires and interests me in the physicality of the drawing process just the the physical movement of making music or a performance art piece.
From looking into her work I am inspired to focus more on the live aspect and the performance side of my work therefore create more drawings from live music and performances.
Since all the abstracted tracks including the new one from the live performance are high quality I am able to once again look at the direct visual representation with sound software.
When I change the spectral wave form into monochrome the exact visual sounds as images start to refrance my original scrolls which the tracks where created from.
Similar to when the smaller images which I used computer software to change them into sound then back into images they looked identical to the original image. Where as these ones that have been interpreted by artist in there own ways match echother in minamoliatic ways.
My first live performance piece went better then expected. Many people turned up to help me performer and also watch. The orchestra consisted of my self on flute, two saxophones, recorder, cornet, maraca, guitar, home made large horn and a artist noise machine. The performance was recoded for the future album to sell at the show and also videoed.
During the performance the machine that I built for the scroll broke but was still functioning and the performance didn’t stop.
After this I plan on creating another perforce for my degree show and possibly the idea of recreating this performance but with a more professional set up such as matching uniforms for the orchestra (like the visual impact of John Cage’s 4’33”) and a better working machine. Also I have been thinking about having other artists or myself reacting live to the performance turing the sound back into mark marking.
With my future plans of creating a live performance I needed to create a way of viewing the entire 20m of music scrolls. This meant that I would have to make some kind of machine that would wheel along the entire length of the work.
Drawing on the basic layout of a cassette tape I built two wooden spools the same hight of my scrolls and mounted them half a meter apart on a length of wood. By placing large elastic bands on the top and the bottom both spools are able to spin at the same time.
I originally planned on having that machine motorised but the process was too complicated and I am lucky to be able to get a volunteer to more the machine during the performance.