tutorial reflections 1: what is (source) material?

— following my 2nd BoW tutorial last week, I want to write up a few posts exploring some of the key themes going forward. This is the first one, the other ones are likely to be:

  • what are expectations of self/object/viewer in the work?
  • what about the smallness of things?

For the past few months, I had a sense of what events, gestures or questions would become source material for the project (they were significant, they generated questions for myself and they invited to be explored and shifted in register). Following the tutorial, I however think, that my source material is far broader and more extensive than I had previously anticipated.

It was becoming evident when discussing what I had and notably what the role of the lens-based material is. I tend to sketch with the phone, and yet I hadn’t thought of including virtually any of the photographs as work (the moving image clips possibly, but also not really).

It was also then becoming clearer as to discussing why an event/ gesture/ question is part of the project (and which ones I overlook); and whether I had collected and explore enough for assignment. I had far too much, Doug seemed to indicate I was an assignment further on that 2, and also that there was not enough time to even go through material that was already on the blog/instagram, let alone the material that was still sitting aside/offline.

This has been turning in my head and so I wanted to explore it further. With my parents, I went on a day out yesterday and I designated the day as exploration. I used the camera a lot to observe what came to attention and recorded a series of questions.

Here they are: road signs, positions of bridges, then an artificial mountain of a mining extraction and its position within a field of wind turbines, cloud formation, incidental signage and finds.

The questions or interest revolved around connections while moving, and of bridges/crossings.

— I recognise that earlier bigger projects also started to follow a line of adjacent/ juxtaposed propositions and questions (notably: the line) to place a series of themes next to each other or in relation with each other. I will explore existing material with this in mind to see what it is that leads me to include within the project or to consider part of the project (i.e.: to ask what is the connection/contact/moving-with that I am interested in and how does it manifest and when).

sketchbook: four events (drawing/contact)

event may not be the right word; it may be encounter, meeting, contact. — bear with me.

the first was rather momentous in my encounters of strangers, in the woods, while in conversation with my mother, while being nominally sixteen, while roaming woods on my own, while being not from here. it was so extraordinary, and yet however so long anticipated that it pierced my conception of what was going on.

it sowed an idea of what ‘performance’, ‘expanded field of drawing’, ‘set of experiments’ for BoW may look like; i found another one that similarly important and since then two more happened.

they are 1:1 encounters in different contextual settings: (1) a door to a concert hall while exiting a large meeting; (2) a car stopping while i cross the roads between two tracks in the woods; (3) my mother showing me a corner in the train station where she would as a teenager wait before going home after school; (4) and my friend inviting me to try the garden gate of abandoned flats.

two of them (the first two, one hand touching one shoulder, then the other another while leaving a conference; and the encounter on the road) i pursued a little further, in different directions. i have the sense there are more openings within them; the latter two still only exist in record.

if drawing is about contact, an expanded field of drawing, a relational construct and a space as well as a possible absence (see my concept map), then these are the questions i can ask of these encounters. until now i would generally just play with them in writing and rewriting, posting them in facebook, narrating them and seeing what resides in them verbally. this is the first attempt to use other means.

for (2) i was recording a drawing alongside the roadside demarcation by video when i heard the car behind me braking, stopping and then he asked. all that got recorded. i tell my mother later. then i post it; then i start typing on my mother’s father’s typewriter. i write three scenarios over a few occasions and reframe the account on pages of scrap paper. the drawing is typewriter ink on my dad’s scrap paper.

i am posting all three sets in complete and chronological order as they currently are:

for (1) i begin with writing out the event, then beginning to sketch the choreography, the movement of bodies out of the concert hall, the brief meeting inside the entrance door and the moving on; later i rephotograph the see-through in the sketchbook:

— for (4–abandoned garden) i have a couple of photo sketches, and it may remain with these. for (3–train station hall) i have only a memory so far.

what interests me:

  • contact: encounters, brief, random, that stick with me, that are significant, that contain movement: a coming and going; a boundary negotiated.
  • the don’t exist in actual form but are translated, mediated, pushed along
  • in that sense they also contain an absence, a negotiation of that
  • they are each rather geographical, i mean: they are productive of space as a body/relational concept and presence.
  • they are also performative (clarify what i mean with that)
  • all are personally significant, they are intimate in one form or another, i make them public.