Collect words No meaning intended Typefaces draw me in Font fable fondle my eyes I pile them Holding them, like precious stones Mountain like they form on paper A breeze scatters them and meaning is found Is meaning found? Perhaps It’s wanted so it appears.
Tidied up, grabbed at will. This is nonsense , the mind seeks meaning and random is ignored. Sentences constructed are nonsensical sense. The hand, the eye, the mind betray me and work together to build structures I don’t want.
The of fit and on biggest and all bikes bra and conflicts its i aborted moments patterns hold between speaks about drip I believe video of big few with about beauty are follow of in came doors of doors was paint the and cream do a by and re in an a the the in to.
favourites carefully need man it. like part saw new the interior and I can't juxtaposition house and public all you of blue film can is the of (very) lights come art at.
Lay them all out, as an observer, drink them in, ad taxonomies at will, basic and traceable. And still the mind finds meaning where none is intended. Such is the everyday, perhaps life has no meaning but we find it anyway, in love, in movement, in sound and in symbols.
myth can time simplified to new artists can't come by oldest out tricked carefully came, coming, watch writers need juxtaposition like out worshippers blue consideration history project man for fun when appreciation giant very taking reverse reflections tiles new curated.
I went shopping for craft supplies and finally they had the graphite putty and double graphite powder available. I snapped them up and went home to explore
I moved on from this to a canvas that had been inactive for over a year. It sat motionless with its geometric grayscale lines staring at me from the bookcase. so I decided to play.
I HATED it immediately! So I took it to the shower and hosed it down.
Some of it washed off and left traces. This opportunity gave space for the graphite powder, applied with wet fingers like paint. A WORK IN PROGRESS
potential for the sensory experience of touch, sensory awareness without physical data. anticipation, blind artist researching objects and touch, Kimberley will be helpful, material encounter and anticipation. heightened awareness, an altered state that we experience in an instance, you're heightened awareness as you go in. Newness. This lack of experience, uniqueness, primacy of touching, material encounter. once it's happened it can't be experienced. is the work about the experience, are we creating an
disruption - normal and accepted anticipated interaction - piece in the pods - could be a space that quite analogue, sensory experience
john cage - 4.33 piece, - stage setting exercise - unanticipated - exists differently at that moment
inviting the audience into the piece - the anticipation of the participation for the artist and the participant predictability of putting art work out there increasing the scale of the lack of control - sound, movement
Kira O’Reilly - body work and blood - invited people to cut the body 1-1 - the audience can refuse to participate marina - distance, table, audience
when does potential become risk and the risk become too great, - how do fear and experience and the response go, is its step to far.
live arts festival in Scotland - annual -
where does the invitation come in to it, at what point does the artist connect with the viewer - does it still have a value,
how does the invitation - selfishness - think of others - care - as women - make sure everyone else is okay - procrastination through cultural way of being - gendered bias, - cultural conditioning- 'our work' making it a toil and acceptable - develop a piece
Thoughts on touch, when is the tension of moment actually done? When is the initial sensation over> How long do goosebumps last?
Before you even start? They are a symptom of anticipation
Sometimes an indicator of the frisson of the thrill. So actually happen in the moment after the anticipation and the experience of initially felt
I use the book form and couldn't explain is, it just felt right. Now I'm writing and thinking about the primacy of touch, a lack of experiential information first hand, I can see a link between narrative as depicted in prose and poetry. An author leads you, page by page, somewhere, the anticipation is intrinsic, it is what maintains the action of turning the page.
Book as Anticipation Containment. A 'page turner' whats going to happen next, how will the material/line/substrate behave as we flip it over. What will be revealed...
Interruption Heston blithe then Antihithis study - antonyms Can these be applied to this form Glory holes- photographic sense? Negatives work - analogue photography, can you photograph something as a negative, what would work? Too obvious Bridget Riley Weaver - anne Albers The writing over in Notts castle Being watched and written about How can the participants Control feel sor the opposite how will the audience react. Can cater for aspects or your audience? Should you be?
Displaying Interruption Heston b…
Why do I deny myself pleasure? I hold back Refrain Contain Silence my desires, Until they explode I stop drawing I stop my touch I refuse to commit Why do I deny myself so much?
A review of the summer, the aspect of change. New job, new thoughts, new activities.
moving from making to walking to running. Towards the end of the 2nd year, I experienced a number of transitions both artistic, personal and professional. I began to seek space by walking in the evenings, alone, in my neighbourhood. There was no reasoning behind it but one day I ran instead, and I never stopped. I have spent the summer running through the varying degrees of heat and humidity, finding a quiet space in the pounding of the pavement. The experience of running in the hostile Middle-eastern climate was visceral, the air so dense with moisture it bombards the skin, filling the lungs weighting clothing with its dampness. The tactility of the experience lead to an anticipation of event. The longing to get out of the cool ac and the freedom of exposure to extremes. Hot air has a smell, its violates your nostrils, occasionally bringing with it the fragrances of evening pollinating tress and smell of over heating cars and hot tarmac.
I moved out of teaching in to a position at an arts institution/gallery space in Dubai. The summer was spent getting to grips with the new role and facilitating workshops for adults and children to while away some of the hours inside out fo the Dubai heat.
On the personal level, I have been questioning and exploring the affects of cultural conditioning, the expectations of both society and the self, as imposed by cultural conditioning. How much influence our upbringing, relationships and circumstances have on our attitudes, values and beliefs. Its been a tough and highly personal journey but I do feel like I have grown and opened as a being to wider options.
I have spent a large potion of time reading and writing, mainly poetry alongside fiction works and some theory. Exploring the sensations of touch, longing and anticipation. Poetry tends to cover topics of romance, heartbreak: effectively its a way of expressing intense emotions. I found myself anticipating these emotions, desiring them or considering how they effect me as the reader. The words evoke a sense of empathy, stirring memories of similar experience. shared experience.
I began to consider how art works create the shared experience, but how many audience members are not aware of the shared experience in the moment. We tend to move daily, consumed by our own experience, considering our next move, our needs, wants and desires. Occasionally we are aware of the requirements of our loved ones and friends, the basic needs that we may facilitate or them, I'm thinking of those of my daughter or my husband. The reality is that these are my assumptions of their needs and desires, they are informed by snippets of conversation or by my own needs and desires in the case of my daughter.
Living is a shared experience, we share space and breath, but how often do we actually acknowledge the community aspect of living other than to complain about interacts or lack of space etc.
With the growing debate on climate crisis there has been heightened awareness of the shared experience, pf the shared responsibility of humans. We are more aware of the act of consumption. It has been argued that to live is to consume. I am intrigued by the way we consume space and art.
The consumption of art in institutions tends to be a shared experience, in the larger museums and galleries it is rare to be alone with a piece of art work, even in the smaller spaces there will be a security officer, gallery assistant or even a cleaners present.
Public artworks are created and placed in spaces where consumption is shared, the experience of the work is shared, it is effectively designed for the shared experience.
The artworks that have struck me the most, and I keep coming back to are those of James Turrell's 'Deer Shelter' and Miroslaw Balka's 'How It Is' as they were inherently shared experiences, Balka's piece commented on the shared experience of the concentration camps in Poland, but as an individual entering the spaces the experience is purely internal and personal. The shared space is experienced and consumed in an entirely different manner given that the way we consume and interpret experience is dependent and informed by our preexisting memories of space, art and experience.
