This week I ended up in a new group, where between people being absent last week/this week the group's had to be reorganised to balance the number of presentations that still had to happen.
Group with – Catherine, Terrye, Chelsea, Madeleina, Dee and Roz
Catherine
Lost the plot in the summer, trying to make really big pieces of work
Always taking photographs, see them as paintings
Obsession with bricks, link to ‘Britishness’
Glastonbury clear up, photos of structure sand shapes left on the rubbish
Thinking about what world be doing after the research paper
Grouping in colour
Lose intention, so the opposition of something conceptual
Whether work its ‘too nice’, wanting to attack everything with black
Using bin liners to obliterate her work
Seeing spiders and clouds appear in her work, making a painting a day
Shoe clouds in response to 9/11 imagery, dust and white things
Cloud installations
Clouds in space in paintings
Avoid thinking about the meaning of the work, world rather make ambiguous paintings
Liberation of responding while feeling anger
Terrye
Stonewall carving
Finding a face in a lump of stone
Quarry stone from Cornwall where she used to work
Process of keeping shape of the stone but what you’ve going to find in it
William Morris wall paper, used in tin and mining industries to kill of rats in sewers but also make pigments brighter
We have stuff in our houses than have been produced by someone in third world countries that suffered to make it for you
Liposuctions, risks of anaesthetic dying for what they believe its perfect
William Morris wallpaper, children used to scrape the arsenic of of Botallic rocks focus
One tea spoon world kill 6 people
Looking at arsenic and coming up with those images
Putting faces on spoons dressed in abstracted William morris wallpaper
Lack of freedom
Painting of the view on site at Perranwell Valley, as 1851 court case stated “Air thereby was greatly corrupted and infected”
Amalgamation of the story of this court case in combination of oil painting and digital work
It’s line the paintings are captured by the children affected, stylised in their imagination line their story books, compared with the stern rigidness of the faces of the court room put in digitally, on top of collaged background from William Morris wallpaper
Chelsea
Dolls, experimenting with types of clay so that it wouldn’t crack
PVA glue with cotton wool – really stressful process compared with a Catherine using cotton wool
Told to be reflective, but she just likes making things there’s not a deeper thought process
Creativity coming from “being”
As much as feel like its not driven from something, can recognise yourself and your marks in it – Roz
How presenting it against a white background would elevate the work and help you see it differently
Tried commercial art, illustrating, graphic design, reaching – none of which appealed
“Fly the flag for non-reflection” – Terrye
Links referenced:
Madeleina
Found research paper annoying, trying to find the connecting thread between many thoughts and ideas
How can we liberate people to freely express their autonomous identity?
Troll comments since start of the MA, taken from screenshots, categorised and picked ‘favourites’ (violent, obnoxious, shockingly funny) to created the have dress
Ribbons have an invitation to be undone, used to tide the dress together to be destroyed in a performance of respecting the comments and taking ownership of them, taking power with the it words without credit to them
Not supposed to be neat, give impression of the weight they encompass that are being dragged around
Displaying people’s colours
Creating flags for the differentia people
Series of 10 for the final exhibition
The 'contact zone’
‘social space where disparate cultures meet, clash, and grapple with each other, often in highly asymmetrical relations of domination and subordination- such as colonialism and slavery, of their aftermaths’ – Mary Louise Pratt
Donna Haraway – extends this, dog show jumping at trials
‘Contact zones are fraught with danger, with the practices of encounter and conquest, but they are also places of possibility, places where peace might be made’
‘no one comes out of the contact zone the same as they went into it’ – Donna Haraway
Why do you make art?
What are you in contact with?
Noticing what I’m in contact with
Then thinking how am I influenced or changed by that contact
Questions - with Catherine and Lucy
Ryan Gander - visiting artist last year I would be interested in.
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