*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
