Reflections since the last tutorial
Still painting,
working on filming the process - need to source cameras - front-facing fixed camera, continuous shoot.
- writing during the process - the work link together but still concerned by the overtly sensual nature of writing
- Trying to consider the paintings as objects - having trouble with this, during the process it feels natural to see them as objects in production almost, but after they feel heavy with my process and not like object but like accounts
Discussion and recommendations
Notes and discussions with Hayley Lock:
Sent Hayley an email with links to blog posts that go with exhibition proposals
Feedback on exhibition proposal - a few options which is a good thing. - think simple and manageable - pick 1 or 2 options - movement before potential - clarity - pin work down.
Questions: What are the sounds proposed? What are the museum signs?
Response: Sounds would be long play recording - an anonymous noise that may be very loud or very subtle that plays for a moment - a second, 10 seconds, intermittently and randomly. The idea that some audience members will never hear the sound while others do but for different lengths, giving mixed experiences. Responding to the definitions of anticipation and expectation.
museum signs: Trigger warnings - ‘Beware of flashing lights’ - ‘Please be advised: This production contains strobe lighting effects, sudden loud noises, theatrical fog.haze, scenes of violence, adult language, sexual situations, adult humour and content’ - but the content is the sign so there is no ‘trigger’, only the anticipation/expectation of one occuring.
Hayley and the other tutors noted that projection mapping is a high-level skill, install takes time, software expensive, only one blackout room - it’s a big ask for the exhibition - let it go.
I need to ask what do I mean by anticipation and expectation
think about how I will display the mixed media pieces - these are about control - my anticipation - my experience -
the process is somewhat intrinsic with the work and more important if discussing the artist’s anticipation and expectation -
consider Touch: material - touch - fleeting, physical, momentary, stories, talked around it, people we love, (already read Linden’s Touch, revisiting at moment, reading Primacy of Drawing and Vit-D)
See them as performative - presenting the performance - hidden with the references - the audience does not need to understand - writing to accompany -
My concern is that the work (both writing and visual/audio pieces) are sensual - not sexual, Hayley advised to focus on the framing - be articulate -
What the audience receive:
Mixed media - audience observe pieces that come from my experience of anticipation and expectation in making
sound- audience experience of anticipation and expectation
signs - audience experience of anticipation and expectation
Agreed actions (if any)
Writing the proposal:
- find a way in - reference touch, the moment, the fleeting experience
- the idea of the display - be more explicit in terms of the actual display
- remove the mundane and culture - or reference clearly in terms of materials and domestic and familiar
- record and document - film and audio making
- keep re-writing the exhibition proposal document.