27.02.2020 - 10.03.2020 - Photostudio session

March 10, 2020 in Feb '20, Home, MA3 Resolution and Exh..., Mar '20, Research

Thursday's are the end of the working week in the UAE, it's a quiet day at work. I utilised the time to make use of the photographic studio at work. Precariously transporting all of my tiles to the studio in plastic tubs, shrouded in tissue and bubble wrap, slowing my SUV down over bumps to preserve my precious load.

I considered the state of the works and the black paper background so begain shooting the 'clean' works first, starting with the books.

My leporello books have been hoarded in plastic folders since the end of MA2, their only outing since their conception was the photo session on my living room floor for submission. I felt sorry for their neglected forms; their conjoined pages sleeping peacefully on top of each other or perhaps uncomfortable at the proximity and lack of breathing space, at least if they could breath that is.

Towering in a perilous pile,
teetering on the verge of collapse
I watch you
and pray
for one more moment
just a minute more of time
to admire your form
the innate elegance
of your form
stacked
displaying all your components
subtle foibles
I snap away
capturing this moment infinity
until you tumble down

I splay you open
unceremoniously
you tumble on top of each other
looking for support you cannot give
As your insides slump to the ground
Your mass is sumptuous
A fibre, graphite and tape assemblage

disappointingly only a few piece of soap tile, although their modesty allowed for opportunity. A faux book form as created, a consideration to display, to binding, and construction. how would this function, book of soap? How would it be held together, how long would it last. could the pages be turned, and if they could what or who's story would be told?

Then I stack my wax tiles. These precious morsels of carbon and paraffin, flammable, meltable, solid yet fragile. Tiles of wax impregnated with drawing materials, monoprint combinations of hot liquid and cold pulverulence.

Automatically they take on a taxonomy of tone, the weight of the black pigment heavy at the bottom. This needs to be reset, a second session of differing taxonomies, of weight distribution, of material contrasts.

The light glimmers through their luminous forms, dissipating as the pigment consumes it lower down.

Steadily the plaster tiles of small form are placed neatly in their monolithic form, rising up to greet the wax stronghold, but missing the pinnacle.

Their codification is the antithesis of the wax, they lack luminosity, they are dense in their opacity, they are brittle in their fragility and smooth and powdery in their texture.

The large tiles complete the line up, their absorbing facades are hidden by each other, one lucky subject is exposed for admiration. How does it read to know there is the possibility of more faces to be seen, hidden in a mass of tiles. Multiples defined by the single that is credited with the dominant allocation.

To contrast the classifications and grouping of the previous displays, These large tiles are given an opportunity to communicate. Piled high with a twist, exposing corners and edges that were previously unseen in the towers before. Dialogue ensues between the jostling of placements, the fighting for attention and consideration.

Finally the small tiles are arranged in aesthetics forms, with similar treatments grouped together in camaraderie. A bland a none taxing for of display. No mystery here, purely techniques that may or may not be deemed successful.

06.02.2020 - 04.03.2020 - Google keep notes - moments of reflection and peer discussions

March 04, 2020 in Feb '20, Home, MA3 Resolution and Exh..., Mar '20, Research

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.
-
Anticipation & expectation
Shouldn’t mangled
-
Exposes inner weakness
explore/exploit what can’t be controlled
-
Metaphors -
thin and brittle like an idea,
Hot and hard to handle like emotions(?)
-
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.

24.02.2020 - Group Critique Feedback - hmmmm....

February 25, 2020 in Feb '20, Home, MA3 Resolution and Exh..., Research

So its group crit time, Kimberley had prepped me in the tutorial to be open to negative feedback but it doesn't really prepare you for it. Its been a tough ol'week in life in general so perhaps my armour was not as strong as I and hoped.

The prep from the tutorial was to 'define the experience that you are currently having – process methodology – material encounter, an entanglement of material, define it and flip it, frame it, deliver something – use different language – share at the group crit: don’t let it demoralise if they are negative – I’m testing it,

'don’t let it demoralise if they are negative – I’m testing it,'

In discussing my work with colleagues at work today key words were highlighted, the minimalism of the pieces - the maximalism of the multiples, distance of the bound work - the intimacy of the poetry,

In trying to discuss the work, which is difficult, I formed words prior to the crit:
muting of voice - restriction of other (touch, sight etc) - question of consent - the artist gives consent to the viewer by displaying the work to consume it - is it possible to withdraw one's consent? - the knowledge of the work exists but it can't be consumed.

Changing the language used: mechanism, operations, systems, agency of ...

I've been open about the confusion I have about my own work but my peers seemed even more perplexed than I had expected.

It was highlighted that the prior knowledge of the surface of the tiles provided the expectation to view the beautiful tiles - the frustration of their restriction is informed by that knowledge. If the bound work is displayed without the knowledge of the content the anticipation and expectation is very different and may not exist at all.

It is 'mean' to restrict the surface of the work within the stacks, IF you know that the surface exists. If you do not know what the surface looks like there may be no feeling towards it.

See it without seeing it - prior knowledges changes perception

is it about control? my response was 'always'

so to consider the feedback: the work is not being read in a clear way. I have had positive feedback on the aesthetics of the tiles from both the cohort crit and peers and mentors outside the programme. I, too, think they are extremely aesthetically pleasing but they lack control which does not sit comfortably. Stacking adds control but hides the surface. Can they be stacked with space? or placed in formation to show some of the surface? does the whole surface need to be shown or covered?

I need to really dig in for the contextual research study.

14.02.2020-22.02.2020 Progress for Group Critique Mon 24 Feb

February 23, 2020 in Feb '20, Home, MA3 Resolution and Exh..., Research

I continue with the wax explorations, adding charcoal and graphite to the liquid parafin wax. The colour density is varied, the charcoal disperses completely with the liquid.

The graphite does not submit and settles on the bottom of the cast which then becomes the top surface when removed. As the wax becomes more diluted the graphite groups with its own kind.

In preparation for the Group critique on Monday I have started to take rough images of the work in format, stacking the smaller tiles.

I am intrigued by the volume of the works. I am also provoked by the distance the images give to the work.

The distance between the materials is awkward. The last images portrays this in the arrangement as well. We know that if either pile becomes unstable it is likely to off balance the other, the materials colliding and probably fragmenting.

Binding the materials does not add stability. The action of binding was in itself destabilising and complicated, placing the work in a compromised position.

I want to explore the mechanisms of binding the work, through the materials used (soft ribbons, rubber bands, bandages, paper, tape), and the operations such as punching holes to lace them together, spearing them, melting them, plastering the plaster ones together, binding them with twine while still soft or brittle.

TO DO:

Revisit old work and bind piles together (Using old work for prototyping makes more senses due to time constraints)

Reflectors and ring light. White and black paper roll for photos

White paint books and piles of accordion fold books - bind and stack - unfolded and closed

CONTEXTUAL STUDY

Working through mechanisms of creation and meaning and the need to hide the meaning from the audience to enable the operations 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?

the relationship of operations of creating and consuming.

To bind, to control, to hold in, to scaffold, to contain, to conceal, to seal.

Distance of viewer and artist to work. Weight of artist visible, haptic inherent - viewer dissociation, an enforced segregation.

Exclusion

Occluded viewership

Artists to explore:

Charnel-Joseph H Boutros

Ryan gander

14.02.2020 - wax experiments: dying, casting and printing

February 15, 2020 in Feb '20, Home, MA3 Resolution and Exh..., Research

the wax kettle takes an unseasonably long time to melt the wax contained, Dubai is currently much colder than usual.

My patience is tested as I check, and check and check again. I takes 5 hours to melt, so I turn the temperature down and leave it to melt and keep warm while I sleep.

Fresh the next day I can begin casting. The molds are ready from the day before and I pour. The wax is clear when liquid, its viscosity it tempting and I want to place my hand under the stream. The heat deters.

The experience of pouring the wax provided the knowledge of its changing viscosity as it cools, and how its opacity becomes more dense. The audience of the final pieces do not have that experience, it is mine alone, unless I offer it to them, perhaps via video. But do I want them to have it? Do they need it? Does it add to the work?

garden wax set up

In providing the audience with work that is produced without the method of production visible is mirroring the consumption of goods that we take part in daily, without question. Why is it art demands some questioning of process when consumer goods do not? How does it change our consumption of products when we know the methods of manufacture? Does it change them? Does it change our consumption of art if we see process? This brings me back to the piece by Hassan Sharif pictured below:

b994a3b8-22b0-4603-8512-ac17c74b5a7d-11095-000009afe0afe4b3.png

Hassan Sharif, Cotton (still), 2013. Cotton and single-channel HD video, silent, 20 x 67 x 46 cm, 8 minutes 26 seconds. Courtesy Estate of Hassan Sharif and Gallery Isabelle van den Eynde, Dubai.

http://sharjahart.org/press/sharjah-art-foundation-presents-landamrk-hassan-sharif-retrospective-i

Is process about the work or the artist? is it selfish? Self-indulgent? What does the audience take away from process, or observation of process? What is the artist trying to say by showing process? How does the audience actually read the sharing of process?

I can only speak from ones own experience, in that, process is intimate, it's quiet and focussed moments with material and surface. Process is the out pouring of thought into a visual/physical format; a moment captured in structure of paint or material. An attempt at dialogue with surface, not always completing the intention, sometimes a miscommunication.

12.02.2020 - Documenting progress so far

February 13, 2020 in Feb '20, Home, MA3 Resolution and Exh..., Research

Relatively clean documentation of items created so far. Tomorrow I will continue to make some wax tiles and explore the plain tiles that have recently dried. There are also some paintings that require scaffolding.

As suggested, these will then be bound, stacked and held in groups to be photographed.

Paintings in progress with first or second layer of scaffolding:

Small plaster tiles:

Larger tiles:

Soap tiles (white and clear):

Wax tile:

Cellulose tiles:

10.02.2020 - Tutorial feedback - KF

February 11, 2020 in Feb '20, Home, MA3 Resolution and Exh..., Research

*To be updated once record sheet it back

Reflections since the last tutorial

I have actually surprised myself with the work I have been creating, I am making tiles and writing the process at the same time.
I know it works together but I'm struggling with the connections.
The tactility is present in both but in a contrasting way, the tiles and painting are haptic and I feel that's visible, the sensuality is not. the writing, on the other hand, is sexual. It’s interesting that what is missing from one is present in the other.
I am working on transparency with my practice, as I have been keeping a lot of my activities private, its time now to share them so they can evolve in dialogue together. This includes the manner in which I write about my work on the journal, I have opted for a style that comes naturally rather than trying to make my writing confirm to what I believe is the 'ideal' for university studies.
Ongoing development of the blog, I'm still updating it and have been for the weekend. https://katievw.com/
I'm excited, I feel like something is coming, my anticipation is building, but I'm just not sure what it is yet!

Discussion and recommendations

Notes and discussions with Kimberley Foster:

Discussing the tiles, showing Kimberley the test tile: I felt chaos and control - Kimberley felt calm - what is it beyond my experience of its doing? - complicated with the lines - KF- complicated with the lines - difference between the making- the maker’s experience and the viewing /viewer.

multiples - book to stack to series to pile, moving on from the concertina books to tiles that are stacked on my desk - they are all a form of list - a physical list materials correspondences -

the tension of touch - work that has evolved - heightened sensory experience - touch - Ingold ‘Lines’ - ‘seeing through the ears’ - it about knowing something - feeling it - sensation the close correspondence of something - dialogue or conversation with it - senses are awakened by it. So actually about the feeling within the body not on the body, touch is just one way the feeling is evoked. Book: Touching feeling affect - Eve Kosofsky Sedgewick -

What is it to encounter touch, to bind something - bind - the sensate - the correspondence I have as a maker and the correspondences of the viewer - distance - waiting - is slower than anticipated which is more anxious,

allow people to have this shift - the way we encounter the work - set up the work or allow people to get near it.

multiple, layers, correspondences - threads - connectors - lists are part of the practice - tile lists - containing devices - binders

Cellulose - flattened plateaus - tiles. they are forms of supports - Scaffolding, visible in the drawings

The key thing - layer - material adventure - through a series of processes -

unpack what the layers are - theoretical layers, conceptual layers, physical layers - layers of process -

how many discrete things make a layer? - how do these things happen and how will they sit with each other? -

Practice - nudge it every now and then, another list - a different thing such as a curatorial list -

what if I get my number of tiles, stack them and then in between the layers add something else - combine -

write the list before, lie them side by side, connect them, plateaus -

how do they correspond with each other? - gather group the things I'm doing and document them beautifully - it will give answers - this links with my white books in paint -

subtle collisions - language - verbal, visual, text, follow fibre - subtle correspondences - subtle curations -

some control over the outpouring - herd them, lasso them in - look for similarities - don’t assume that makes sense -

meet the work again - document and photograph it -

lists scaffold an experience -

the work is about holding position - mobilising - the multiples talk about a movement that is implied - in their static and their potential -

I didn’t need to have people see them, its enough to know what’s in them and not have anyone read it, it wasn’t important - it was that it existed and that was enough -

continuum is more important - a relay between each other - where is the nearest I can get to with it -

I am uncomfortable with ‘process’ as a term - selecting the word, another word for process, what does it come with as baggage - look up the process-based artwork - look at the language - KF - define what you terms are right and how you understand them in practice

the pieces have no stopping point - plaster to paper to stitch to projection, same language -

play with the audience - concealing something or alerting them to something -

not looking for something outside, define the experience that you are currently having - process methodology - material encounter, an entanglement of material, define it and flip it, frame it, deliver something - use different language - share at the group crit: don’t let it demoralised if they are negative - I'm testing it,

what is it about the chaos tile that makes it feel chaotic and the experience of the making -

haptic is the audience - people not able to touch the work - very material relationship -

use the critics as a refresh - talk about the physicality of the work - levels of performativity - not performance art - being present in the work - being seen doing it. KF - The important element that arose in the conversation was that you talked about touch and the anticipation of it but it was not about the encounter with the work for the viewer but your own touch and materiality. So the haptic is in your process. You actually do not want people to touch your work. you can explore this.

Agreed actions (if any)

unpack what the layers are - theoretical layers, conceptual layers, physical layers
how many discrete things make a layer? - how do these things happen and how will they sit with each other?
Practice - nudge it with lists - curatorial list, create taxonomies
gather group the things I'm doing and document them beautifully - clear a space for them
write the list before, lie them side by side, connect them, plateaus - how do they correspond with each other?
define the experience that you are currently having
work with the language and find alternative words to describe it
prepare for the critique and use it as a testing space - what readings will the work give

KF - you might be interested in this work by Mario Merz 1971 - Function of 8. see below

09.02.2020 - Bios - PPP

February 10, 2020 in Feb '20, Home, MA3 Resolution and Exh..., Research

Considering my practice and what it is focussed on discussing, I return to my bios and see how relevant they feel.

Most recent and yet still incorrect:

KVW New Bio for Tashkeel Website (Oct 2019)

Katie Venner-Woodbridge, a multi-media artist living and working in Dubai, joined Tashkeel in 2016. Her current research centres around routine: repetition and collision; considering how materiality and tactility interact with and interrupt the Everyday. The overall aim of Katie’s artistic practice is to challenge the audience’s notions of anticipation, expectation and interruption. She has exhibited in various group shows in both the UK and UAE. Katie has recently joined the team at Tashkeel as Professional Practice Coordinator.
Born: 1982
Nationality: British
Disciplines: Weaving, Embroidery, Printmaking, Painting, Mixed Media, Video, Workshop Leader

A casual introductory bio:

I like sushi, touching things and subtle collisions: visual, material, and linguistical. In my practice I have several paths that follow fiber, drawing, new media and text which collide and collude when necessary.

Anticipation, expectations, interruptions and collisions - I like touching stuff.

This feels more truthful.

So when I question what I actually do:

read, write, play, move materials around a surface, encase a moment in material, wait for the outcome with mild trepidation, anticipate, fold, whip, squeeze, swirl, blend, wash, layer, soak, clean, apply, draw, encase, confine, test, repeat, repeat, repeat, layer, subtract, add, move, blend, wash, repeat, write, think, overthink, layer and repeat.