Listen to audio files through LMS, titles to be advised
https://channel.louisiana.dk/video/karin-mamma-andersson-paintings-weapons
I chose to write about this video as it resonated with me the most. Her practice of collecting visual stimuli for her work, her love of books, and art history. Below are both notes and thoughts from the video:
material brain - in the studio. Its where artists can find the keys to open the doors to practice.
don't start over each time - need a lot of books to remind me of what is possible,
so many books, surrounded by art history - resonates with me as I love the materiality of books, I find comfort in the feel of the paper, turning the pages, the anticipation of what is coming next whether that is visually or narratively.
collect pictures from books and magazines - picture bank studio
art is a cycle - you know whether you are before or after an exhibition
after an exhibition you are vulnerable, you have handed over all your weapons, your self-confidence is at the gallery and the exhibition
You have to look at the pictures you have you've done to understand you actually did them.- I do this. I seem to detach from my work once it is completed and almost forget that I produced it. It is no longer from or about me, it has its own life and I need to reflect and revisit old work to remind myself that I actually did it.
Hard to start a new process right away as its almost like you have finished a story. - need to find new material that motivates you on to something new. - end of the MA year last year, it felt like a break and I needed to start something new. Sometimes it's not about starting new though, it might be about looking at it from a different angle.
Andersson then goes on to describe a series of photos of 1968 athlete that removes her clothing to finish the race and compares the nakedness to the stripping down of practice to find clarity. She discusses how artists strip down their practice to be seen and understood. This echoes my own path this year as I have simplified my practice down to lines and material away from the dense patterns I was using.
I found it quite heartening to hear her discuss the desire to create films, and that she refers to it as a ‘crazy dream’ I’m surprised that it is held at a distance like this, but perhaps space for film to enter her practice has not arisen yet. I think you know when a technique or material feels right, these things occur when the timing is correct and you are open to the opportunity.
Andersson goes on to describe her practice and particularly one painting and how it came together and the significance of colour.
Discussing development Andersson states that as an artist we go round in circles in different directions and that it is rarely a linear development. Likening it to a game of monopoly where you must go back to the start, so it feels like you have made a great deal of progress but from the outside, you haven't travelled very far. Similar to therapy were you must revisit issues repetitively to really get to the core and find the clarity.
She believes we are a product of our time and that it so more visible now more than ever due to the various communication networks we have that bring us together and allow us to share. It is fascinating to see artists that are separated by both distance and culture are actually inspired by similar themes.
I am inspired by her collections and categorising of inspirational images in her studio. I am envious of her space. I consider how we collect things now and her method is largely analogy, physical images stored in folders. I collect images but they are curated into digital boards on Pinterest or folders on my hard drive. I do feel that I get more from the actual printed images.
Andersson goes on to discuss that innate subjectivity of artists in their work. That even if you try to remove oneself from the work there is a signature that is present, that you can not pretend to be someone else an that it will show through the work.
She likens an exhibition to a dream as she states that there is no plot, no start or end, that exhibitions have a defuse and vague mood to them instead. I disagree with that, I think it is perfectly viable to have a plot or story to an exhibition. You can plan and construct a show to take the viewer on a journey, you can even go so far to provide instructions if you wish for it to be constructed or read in a particular manner. I think it is okay if she personally wishes for her shows to be diffuse and dreamlike but I think it's too far to say all exhibitions are like that.
I do agree with Andersson when she states that there is strength in growth and in being open to changing viewpoints and thoughts within the practice. To Be constantly reflective is how we can evolve and maintain a practice that is exciting and engaging without becoming stagnant.
Later on in the film, she goes back to the process of filling a void when her studio is empty and that she feels weak when her works are not around her. There is a desire to produce something better than last time and to be more precise and elegant in her expression. That for artists it is a drive that keeps us motivated.