R1.1 Initial ideas (part 2)

I had started to post some of the concept maps which are part of this extensive part of first questions around ideas, review, mapping of existing work, theme, potential, weaknesses in an earlier post here, and now want to conclude this question with a reworked outline of my initial ideas. For this I referred to the statement of intent that formed the basis for the transition discussion in autumn (keeping its review and context and writing through ideas as they have emerged since then):

Initial Ideas and orientation

I would like to continue at the point where my recent module, Drawing 2 concluded (and am for this statement drawing on my earlier self-assessment with some reworking and expanding for what may lie ahead). The final projects (m(e)use|use me; the Hornet Tree, the Critical Review on an expanded field of drawing) as well as the realisation to the Parallel Project, Parallel Praxis, all begun to articulate a notion and practice of drawing in an expanded, interdisciplinary field. Here, drawing emerges as a set of enquiries, methods and processes in which performance, photography, writing, installation and more traditional drawing processes interact and mutually inform each other.

The parallel project indeed relates and looks back to the previous module itself, it reorganises the materials and lets them become something else still. The video is not merely a narration, an instruction; I begun to include the key clips – visual, and also found sound recordings – in the work to author it and let it unfold. In this sense, it draws on a number of senses and sensations, and indeed revolves around an exploration of a body (mine) as drawing tool, investigating the reaches of what constitutes an extended field of drawing. It speaks out of the screen to ask the viewer to engage directly with some other materials. With this, it resonates with both Joan Jonas’s and Katrina Palmers’s work: they engage, performatively, and in doing so make visible and audible that engagement between artist and audience, viewer, reader, interlocutor. Will it work? Does it fail? What happens instead? In this parallel project, there is a literal voice – mine – and in its clarity it also helps to articulate all those other voices that are involved in my art-making, an art-making  that is visual, textual, increasingly dares to be performative; it takes in things I learned before: critical social theory; dialectics; a body/dreamwork coaching and counselling training; a dissatisfaction with academic publishing; a keenness on finding those other spaces and places that are never entirely utopian but offer a hunch, a first step from here to there.

Besides the actual projects that constitute the body of work of Drawing 2, there is something also in the tools that I used and which for the assessment submission refigured as a portfolio without large sheets of paper but instead a series of folders and pouches that relate and point towards some of the digital parts (FB albums, e.g.). This process of working with materials that are common, and in some ways mimic office work processes was important and I feel it may also structure some of my future enquiries. It also deepened my engagement with a movement between digital and analogue (continuing from DI&C). It also continues with questions over what constitutes site, audience, work > explored in different ways and always with an exploration of this movement digital/analogue (initially: gap, agency, control (generative systems, drawing machines); then: what constitutes drawing; the kind of tools: office tools).

In this, and as a first step into Body of Work I have begun to explore the notion of hybridity (is that interdisciplinarity?) within an expanded drawing practice. For this purpose, I have started a series of investigations that take the questions and processes of these initial steps in Assignment 1 and explore their scope for an artistic practice: created and transposing concept maps; guide books etc. Also: having submitted and accepted a conference talk at that Society of Artistic Research conference in late March in Zurich around the work of the Gap and its wider relevance, I have begun to (a) explore further routes around this work (a void, a gap between two filing cabinets as a starting point towards investigating relationship, distance, agency and control as well as notions of a gap between analogue and digital processes within an institutional setting) and (b) the notion of a conference talk as performance, instruction, screening and thus to enquire into this particular format and modality, which I hope will be instructive for the further development of both BoW and Research.

The issues with regards to voice/ themes and practice that clarified during this final Level 2 module were:

  • humour and how I instigate processes that allow me to arrive at resolved pieces
  • the relationship to conceptual and intellectual concerns (institutional critique, production of space)
  • working across a range of media/approaches and finding ways to integrate them with each other and use that integration in innovative ways (photography, writing, performance, drawing)

It is then on the basis of these emerging working practices, conceptual concerns and emerging clarity and articulation of voice that I would like to approach Level 3. I find these first respective assignment pointers for Research and BoW useful in relation to review and investigate existing work to date (and have kept a good part of such review as context for articulating my first moves within Research). I also find some of the overlap but fairly little actual integration confusing, and it took me a while to make sense of the individual exercises and questions and how they do/ not relate between the two modules. As both first assignments are strongly focussed on planning ahead and specifying approaches, means, literatures I find myself hesitating: while I have a clear sense of direction I am at this moment wary of specifying this too far in advance as I generally review and refine on the basis of some work already done and articulate e.g. theory/concept post-practice (to feed into a new cycle). With this in mind, I have spend considerable time with some of the questions, have also reviewed some of the Level 2 pieces in some detail; but crucially, started to do a series of new investigations and enquiries to allow me to test some thoughts, refine these build in these. 

The theme and interest is refined to some extent as for the Research to be an investigation into 

The site of Interdisciplinarity in Drawing Practice, 

and for the Body of Work a Theme of Significance being

Drawing/ Contact (Modality, Practice, Site)

With these two related themes, I would like to pursue and clarify the approach towards an embodied, sensorial and expanded field of drawing as artistic practice. There are a number of technical skills and approaches I am interested in: moving image/ video (possibly even 16mm film); darkroom techniques; screenprinting; performance; but none of these are fixed and I trust that the suitability of any of these will emerge in relation to the actual projects. Similarly, I am very interested in pursuing further my investigations into sites (interior/exterior) as well as movement between these. It may make sense to prepare and arrange for an actual site to serve as a field site for the Body of Work (and thus move it out of ongoing work arrangements).

Following the Concept Mapping (Q1.3), the most promising and salient themes that animate my interest are geographical and environmental following my investigations into the institutional corridor and an artistic practice that engages it: they concern site, direction, orientation, movement, exit; gaps, possibilities for other spaces that sit aside, elsewhere; and as such follow on from the Gap, Green and Parallel Praxis. Related to the production of space, these touch on questions of performance, the sensorial, institutional critique and the sensorial.

There is a continuous theme running throughout which concerns questions over copy, reproduction, repetition and difference, and, as it becomes clear in the later part of the module, this concerns both the surface, the background of the actual artwork as well as that it stretches beyond and outwards from it: what kind of space do we perceive, live, practice?

4 thoughts on “R1.1 Initial ideas (part 2)”

  1. Are there photos anywhere of the material you sent in for D2 assessment? Or details of how you presented that particular mixture of materials?

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      1. Thanks! I missed that when you posted it originally. I’ve been thinking about what ‘they’ want and why, above and beyond final pieces of work, and wondered how you’d ended up addressing that.

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