6th Feb
arouse - sensual - reclamation of terms now linked with sexuality
anticipation - so mundane that you don't acknowledge it - how pranks work
are all events anticipated? - mental states - deadening of anticipation
anticipation is linked to desire -
8th Feb
exploring materials - record all - camera
snowbase
Lists
cellulose fiber
- paper making - crude
- papermaking fine - blended
- papermaking fine - vat blended
- papermaking fine - poured over image
- papermaking pigmented
- paper and plaster mixed
- paper and wax mixed
- paper sculpted - blocks - pva
- paper wax resist
- paper wax-resist - dye
- paper wax resist - water-soluble pigment
wax
- poured over for tile
- poured over with image stencil
- pour with wax crayon image
- pour then stencil while hot?
- pour mix pigment tile
- mix pigment design
- mix pigment design and then clear pour
- cut blocks and melt together
- cut pigment blocks
- construct 3D bocks with wax - will need to be thick
- pour wax and plaster
- wax and paper
- wax on canvas
- pigment wax on canvas
- wax stencils on canvas
- wax pour and sieve snowbase
plaster tiles
1 plain tile - paint
2 plain tile pencil
3 plain tile pen
4 plain tile carve
5 plain tile - wax resist
6 plain tile dye
7 plain tile wax-resist dye
8 plain tile wax resist paint
9 plain tile wax resist water-soluble graphite
10 plain tile stencil
11 plain tile stencil and wax pour
12 plain tile stencil and dye
13 plain tile stencil and water soluble pigment
14 plain tile glue and snowbase - sieve
Canvas
layer and remove
layer with geometry
layer and remove
layer with geometry
layer and remove
layer with geometry
some layer and remove
some wax layer with pigment
some wax layer and resist
some glue and snowbase
6th Feb
hedonism
hedonistic
/ˌhɛdəˈnɪstɪk,ˌhiːdəˈnɪstɪk/
adjective
engaged in the pursuit of pleasure; sensually self-indulgent.
"a hedonistic existence of booze, drugs, and parties"
The definition of hedonism is the relentless pursuit of pleasure. An example of hedonism is an ethical theory suggesting the pursuit of pleasure should be the ultimate goal. An example of hedonism is a constant quest for pleasure and satisfaction.
10 Feb
relationship, succumb to the material - could be a person -
16 Feb
Working through process and meaning and the need to hide the meaning from the audience to enable the process to happen. Privacy and restrictions in a country of privacy. The restriction of person and personality. Silencing the work in the manner I silence my practice and my thoughts What does it mean to withhold practice?
To bind, to control, to hold in, to scaffold, to contain, to conceal, to seal.
25 Feb
Making drawing tools with the wax by adding the materials / graphite and wax is a lock lubricant
25 Feb
Material tensions graphite on tile is the module, the stacks reflect the series as they have the organic unnatural relationship
The relationships between the unnatural materials become complex
Emergence- layers of things that become more complex from the simplicity
In a nutshell- 3 -Emergence video on youtube
Chatting with Silvia:
Distance - minimal multiples, fabric prints? Poetry is personal
Tashkeel displays process, structure and environment, makers space, ‘inside the artist studio’ unfinished, mystery, self. Outcome not important, process style out - disagree - why? Why is it important? Stuckists - formalists, death of the author (manifesto) - Kevin Jones - links to poetry, process - why am i against showing process and hiding outcome? - control, restrictions, mean - expectation of work, beautiful and anticipation restricted.
Session: Caroline Wright
Tania Kovacs - all the islands of ll the seas - 2016, 196 drawings, 32 parts
Treachery of images - Rene Magritte - its not a pipe it a painting of a pipe.
Sara barker - layered garments on past patterns - 2016
Synthesis, knit together
Notes for crit: muting - restrictions, voice, other - consent, give the audience consent - withdrawing consent - knowledge the work exists,
Agency of mechanisms, operations, systems
See it without seeing it (earl) (projection on to it)
Prior knowledge of the work changes perception
25 Feb - walking B
Fundamentally layers
Transcribable to a lot of different ideas, which is good.
Concern about the squares
Layers we can embellish on
Squares are rubbish fo that
Layers are a journey
Layers are emotion
The things we pile up to hide what’s really going on
I like the layer thing
The bottom layer needs a bit of intrigue
Something going on but obscured
Enticing but out of reach
Who put the layer there?
Maybe I did?
Maybe I should
An interactive piece
Peeling away the layers
But never getting to the truth
Maybe the more layers we put on we create something really cool
The way we want to be perceived
But who judges what’s cool?
Whose mind’s eye are we trying to please?
Are more layers more false?
Are they false?
To go back
Your layers
Some are dark
Some are light
good/bad?
naughty/nice?
sinister/kind?
Private and open
Hot and cold
Wet and dry
Does it matter how they are arranged?
Why can we see them like this?
Why are they all the same thickness?
Intersection - Angela Glajcar
Dark ones weight
What happens if a dark one is at the top
Control situations at all times
My mistakes was my honesty - always my honesty
House them in a box - a mirrored box, the top tile is perfect, the others are reflected in the sides, partially.
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Anticipation & expectation
Shouldn’t mangled
-
Exposes inner weakness
explore/exploit what can’t be controlled
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Metaphors -
thin and brittle like an idea,
Hot and hard to handle like emotions(?)
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Anxiety - emotions
The tiles in stacks are different from the tile surfaces - they are different pieces but of the same material. Stacked tiles don't have to have faces - perhaps some of the tiles can be displayed and it alludes to the possibility of surface in the piles - would they be displayed together.
Expectation - continuum - previous subject matters
28 Feb 2020
Body weight
Tired
Tiled
Doubts
Expectations
Separate the thing we love and hate - song lyric
Layers of my tainted lust - song lyrics
What happens if I dip the paper in the wax, if I draw and create on the paper and encase it in wax. What about a whole book - will it still move?Books in plaster
Books in paper fiber
Encase in and of themselves - this makes me feel like i'm going to vomit
What happens when you encase something in itself - a metaphor for the self - our conscious - transparent or not - do we need to see, it's the same question - what do we choose to reveal about the work (ourselves) the layers of the self exposed)
Plaster in the wax
Use the broken pieces - can they be bonded using the wax?
Do they want to be bonded with wax
The wax mutes the plaster pieces
It gives transparency to the paper pieces
What happens if I mix the snow base with the wax? - need to do that in a pot
For the wax to coat the object/layers/pages/moments it needs to be melted, it has to be changed, to me manipulated for the purpose of the project. It's in its natural state, quiet, then it's warmed up and it's being changed , it goes through a process, it's not asked, it just conforms.
In its thin layers it is fragile, delicate,
Thinking about exhibition and how works are displayed - there is an overwhelm to the accordion book image from yesterday - they are stacked, uncontrolled but trying to conform
Fizzing,
Stirring round,
The warm liquid draws you in
Engulfing your fibers
Taking you over
You become one
No longer separable
The texture a mix of fluff and gloop
I want to put my finger in but I resist you
Keeping distance from this exploration of texture
Missing the point it feels
Like I’ve betrayed myself
Needing to touch, to find space within the mess
Spread across the ground
You’re peeled underlayer is smooth
The ripples of the paper present
Scars
Edges imperfect
Weak and fragmenting
No bounding happening,
they deceive you
Pretending to be retaining but leaving you at the slightest touch
Timing of experiments - why do they always happen at night
We’re changing
Together
Because of each other
Your heat heat turns me
I succumb to you
Your pushing make me wet and I let you in
The desire to absorb you is too great
Like sponge I draw you in
All of my air pockets are filled with you
Suffocating me
Bubbles rising
My particles are frustrated by the resistance
Just fold in to me
We want to come together of course
See what we can build
But we’re just putty in someone else's hands it seems
Our destinies are decided and although we’re together for a moment we will not last
What if the wax is coloured gray with paint and dries transparent
Is there a wax that dries transparent
Blending the snowbase feels aggressive
How can I use the materials without being aggressive
29 Feb 2020
One time only experience. Once it’s done it’s done. To break something open that can’t be resealed, so see something that will never be repeated, the experience of a moment, encapsulated, contained. The mono print, the charcoal drawing, things that change with each repetition. James Turrells sky pieces have so many variables they are never experienced the same way. The motion of viewing can be repeated but the outcome will not. The anxiety of the lack of control, to claim something that is unclaimable, the false reality of the Truman show. We are never repeating behaviours/actions/thoughts, we perceive we are as we have done similar things but the environmental factors, cellular factors will have changed. The layering of experiences, of sensations that we try to store in our consciousness. They inform the future unconsciously, building up like towers of layers of information.
The humanity of touch, and mechanisation. When using the hand it will be different. Machines provide distance, removes variables. Repeating processes that provide non-repeating outcomes. Mistakes, flaws. Opportunities.
The multiple singular. Singular/plural
1 Mar
Need to draw some conclusions, ie. used Turrell as an example but haven’t concluded anything in general or in the context of your work. Its more like an essay question which you have to discuss rather than a long hand response
What's the recurring theme? Anxiety? Control?
Its paradoxical that your work explores lack of control and anxiety
But the purpose of the course is to eventually produce a body of work that you are happy with (have less anxiety about/have got under control)
Thats pretty fucked up
Why is it absurd that i explore lack of control?
Monoprints have an intrinsic lack of control no?
The work you are proposing above
Its exploring the accidental
Its finding control in a place where you are removing control
Until you find control
And then its not accidental anymore
You are rationalising a lack of control as control because you have set it up to be accidental
Hence the paradox
Its a conclusion
If your essays and body of work conclude the above is that not good enough?
Is a successful outcome an honest one or a conceited one? - I think honest, if it doesn't work just admit it and carry on until you figure it out.
So in the context of this project, what constitutes success>
What makes you sit back and go YES, done, hang it up, khalas?
You're trying to convey your intention to an audience, if they receive your intention then its successful, if they don’t then perhaps its not.
And what is the intention here?
To explore anxiety?
To make people feel something, the frustration of restriction. Of not being able to get out what you need to, to release and let go. To always be restricted. The anxiety of overwhelm, Chaos, and trying to gain control, to reign it in.
Some people might feel happy when restricted
Other feed off chaos
But the course doesn't want you to explore your emotions, does it, you said.
no , its got to be removed from the artists, the royal ‘we’, a statement on society… that always comes from the individual's perception so its tough to remove oneself.
4th March
To write poems in the materials. Too literal? Perhaps I should try.
Large scale poems with the small scale works.
Just piles of material with the poems.
The session in the garden was a tad windy. It didnt go to plan but I found it very performative. Writing the work out gave a physicality to the words. They need to be in the materials of the poems subject.
