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.
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.
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.
Track 5 (LIVE)
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.