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- Week 5 Mar 18th Be aware of burn out or possible stopping points, challenge with an activity from the list provided to move work in to another dimension/area/scale/technique. Mon 19 Mar: Tutorial DK ART WEEK DUBAI
Tutorial with David KeffordArt practice relies on uncertainty, being reactive – avoid catastrophism. Trying not to have the ‘big life decisions’ impact on practice. Finding the balance.Brief discussion on my background: commercial background, not being compliant, resistant/resilient – being confident in own skin – not worrying about where you fit in – an interloper – the knife edge of embracing or being interested in breaking boundaries. GRAYSON PERRY materials & context – overcome, uniqueness – allowing it to marinate, a long slow burnWhat do I want from the work – removal or inclusion. Feelings and emotions as part of the work – being incorporated without being confessional – ambiguity or elusive – not purely aesthetic – more human.-how to convey emotions/feeling through form – associations – memoriesDavid Keffords personal input: disconnect between audience & work is always unsatisfactory, create direct conversation - socially engaged – collab/performance – relational aesthetics – social spaceRoutine – maintain contact at Tashkeel – routine – how am I working with it, allow others to relate to – binary – order, chaos – organics – happy accidents – manifest – to what levels of extremity does this go? Create activities or task to push ie: drawing with opposite hand, mark making, doodling, regimented – a spontaneous act – be unknown, allow that to happen. Set actions, boundaries & structures to adhere to – ie: must be A5, in pencil etc. create own systems, what will the psychological affects be.Thinking of the square/frame as a cyclic form, allowing and recording the reflections – photos of the pieces – before they become pieces – the photos may be interesting.Immersive, environment – event – theatre – sensation – spectacle – all the tropes.Christian Boltanski – drawing on the senses, touch, materiality, incorporating it in.Franz West – Adaptives – kinetic work –Awareness that the professionalism of the art work and artwork have trapped me – not allowing work to expand the confinement of the frame/ the hand/ the art world.Caroline Broadhead – moving through the scale and work in to installation.Live performance – work into space. Take work and space out, remove from the commercial aspect, edge & messy – physical & mental mess.Cultivate an attitude of disruption – draw inspiration from the artists such as Turrell and Balka, move work from being easily digestible – move it in to discontent. Stop being the ‘good girl’ – move away from compliance, correctness, break the veneer – get under the skinMove in to sculpture – discuss the foam felt geo sculpture which looks heard but isn’t – subversive – artifice – ‘supposed to be this but actually this’ – think Richard Serra’s verb listMaking doodles etc,Project planning for spaceDiversify and expand into installation work.Actions (if any)
- Move in to sculpture – discuss the foam felt geo sculpture which looks heard but isn’t
- think Richard Serra’s verb list
- Making doodles etc,
- Project planning for space
- Diversify and expand into installation work.
- Create a system
- Possible for performance
- Research artist discussed and how they can inform work
- Keep notes of reflections and discussions I’m having about my work.