A reflective commentary reviewing your work and critically reflecting on both tutor and peer reviews of your work:
The eventual BoW submission includes some of the works I created in autumn 2020. Rather than it being about the site of Stromverteilen (as discussed in BoW 4), it consists of four covers, these are three works, two processes, they are installed in situ at the edge between village and forest.
The first work that resolved was Im Walde 14-23: a series of almost 70 A3 sized cyanotype contact prints taken in the woods. It was initially conceived as gallery-wall based work, covering a corner of a white cube. I laid it out (as a loose grid, based on chronological columns) at the end of the road, facing the woods.
The second work that resolved was the Walnut tree of touch (a potential blanket) as site specific installation of a piece of furniture on the meadow next to the forest. The 36 double-sided cyanotypes were the first series I started while here and completed it during October 2020. It’s form was to be a curtain hanging in the centre of the room where Im Walde was up on the wall. Following many discussions around care and maintenance work (for the transformer blankets which make up the third work in this submission), I realised that this Walnut tree could become a blanket, a cover also, yet wanted to leave it intact, able to assemble and disassemble. Looking for a place for it around the site, and enjoying the abundance of the meadow so much while walking across it, my gran’s sewing machine became the table, the blanket merely a possibility on top of it, held down with a heart-shaped stone that I found one day further in the woods. For this work, the instructions to touch that I experimented with and put for critique a number of times evolved and became a softly spoken, chronological yet fragmented narration of how this work (and in fact the others) came into existence. For any on site installation this audio needs further resolution (rather than being played merely through an iphone speaker; and possibly it needs a version in German too), for a digital presentation (or audio guide) it provides the hook, an intimacy inviting viewers to linger and step closer.
The ambition of the two transformer blanket processes is possibly larger still as they were continually sited and attended over three weeks each, with usually twice daily visits to maintain, adjust, tie down, roll up or out, and to trace markings across them. These created two large drawings, of 160×350 cm each, the status of these drawings vis-a-vis the process of their making remained insecure. The suggestion was to invite viewers into them through some form of immersion, I remained hesitant as to luminance, the sublime in some of photographic records I had created of them. That I had created and explored a whole range of viewing devices and tools (along with many others that moved) came to help me resolve the request for immersion and the idea of playful fragmentation: I rolled the first one, the one with high chroma ink drops up along the sheets that they were and placed them along the edge in what I now know are wild peach trees. One faces skywards, one along the edge of meadow, path and wood. You step in, closer, crouch down, peek up, the sun plays with the marks and the tracing paper, the view shifts and reflects back into the long roll of indexical drawing. The second blanket (graphite) became literally a cover for the transformer station again, it tore when I removed it on a wet day in December, it dried brittle and as it shrunk it does no longer cover the station fully. It invites you to explore the surface of the station, of touching it, possibly pondering if you can climb atop.
The two transformer blankets are the lighter, more playful objects, they sit along the edge of village site, the Walnut tree sits on the meadow behind, the Im Walde prints lie in front. One is a literal cover, a blanket, the others play and subvert the notion of cover, covering, blanket and ceiling. They fold both in space and in time: the potentiality of the Walnut tree possibly the most expansive notion of a blanket.
The site installation thus engages different dimensions, connecting through a drawing/contact methodology the four objects and processes. The durational nature of each making process sits at the same time lightly within this transitional space.
The main feedback from peers and tutors concern the following themes:
Abundance and excess: the BoW submission is tight and concise: three works, four objects, all relating to the site they are not placed in
Ambition of site: this edge site is vast and extents both into the village and well beyond; the works are all substantial in dimension and in connection hold their place as interventions that are at once weighty and playful.Immersiveness: the two transformer blankets offer immersiveness in close-up, onto the drawing paper and beyond or through it. The digital translation of the entire BoW is not visually immersive but seeks intimacy, attachment through audio narration
Access: The works are experiential, the site performative, who steps in and closer is a different matter and for SYP. The personal statement along with the narrations are inviting, approachable, their layering and complexity become clearer once you linger. If you walk on, the visuals linger along with a notion that something is sited.