Tabula Rasa – Again

 

 

Finished preping the studio for continuing work on the various pieces. Clearing surfaces and reorganising work is always refreshing and a necessary part of embarking on new ideas. Not exactly that this is a new idea, the work continues, but I need the space as the work will become quite physical. Not strenuous, rather a question of doing, experimenting and redoing. I used the term tabula rasa for a post at the beginning of the MA. Now that things are nearing the end, the new tabula is set for this and future work. What is more, I did it one day before schedule. This in itself is not important but it does confirm my estimated deadlines as realistic.

 

Clearing the Decks and Timetabling

There are only about four months left before the final show. I have a great deal to do and therefore need to organise myself so that I can fully concentrate on making and preparations. Now that the blog site is sorted after its difficulties, I am clearing the decks to complete the work.

Yesterday and today I began reorganising the studio and clearing surfaces for working. It is a long and painstaking process as many months of work has to be stored elsewhere with great care.

Piece 1. Piece 2 can be worked on simultaneously on another table and I can begin piece 3 concurrently.

Below is a list of things to do. It is by no means exhaustive but it gives me a framework around which to plan activities. As for a timetable, I feel that the best timetable is to work as hard and do as much as possible well in advance. I hope to have pieces 1 and 2 completed by mid April. Piece three completed by mid May and any collateral works at the same time. I am aware not to dispers my focus on too many things.

I have titles for 1 and 2 but not three as yet

  • Prep studio for continuing work
  • Electrician to connect kiln not possible due to COVID=19
  • vent window
  • complete piece 1
  • complete piece two
  • first firings
  • post first firing work
  • second firings
  • finishing
  • displays
  • vitrine
  • speaker housings
  • acoustic content
  • sound recording
  • sound production
  • arduino setups
  • sensor coding
  • testing
  • piece 3
  • video
  • display for piece 3
  • writing
  • symposium 2
  • critical evaluation
  • blog curation and Unit 2 assessment
  • packing
  • publication
  • marketing
  • installation

Workflow Timetable: Deadlines (approximate)

  • Prep studio – March 10
  • kiln – March 31
  • speakers – March 31
  • pieces 1 and 2: first firings – April 15
  • Symposium – April 20 for 26
  • arduinos – April 30
  • marketing – April 30 onwards
  • sound – April 30 – May 15
  • pieces 1 and 2: second firing and finish – May 1
  • displays – May 31
  • Publication ready to proof – May 31
  • piece 3 – May 31
  • critical evaluation – May 31 for July
  • packing – June 15
  • installation – June 23 – July 1
  • blog curation – ongoing until July 1
  • Show – July 9 – 15
  • Take down – July 16 – 17

A Place for Tags and Categories

 
It has taken me all this time to work out a useful function (for me) for these two classification criteria. This has been an important result of the blog curation process. Simply put, categories are very wide groupings similar to chapters in a book. They tell something of the area of interest but not its content. Tags can be likened to the contents section of a book. It is there where one searches for a particular term used, name, place, process, etc. Tags like content will list all the relevant words that I might find useful in the future if I wish to search for something. For example, if I want to look up a particular artist I have written about and cannot remember where to find it, I type the name and all the posts that contain that name will appear. There is an even more powerful function, and that is, if I want to refine the search because too many posts appear in the search, I can type two or more keywords, or tags. This will narrow the search results to only those posts that contain all those words. 

So far I have 1092 tags. This may seem a large number and no doubt will continue to increase. However, the number is of no consequence. It is only important if one wants the tag cloud plugin to say something useful. But the cloud plugins only deal with a small and limited number of tags. For this reason I have decided to remove the tag cloud widget from the side bar. As for categories, I have been able to cull them to be less confusing.
 

Restarting Blender… and Making

 

 

I have been back two full days and restarting making as always is hard. The excitement of returning to work is tempered by the reality of settling in and organising a workflow. Having spent half the day on Blender tutorials I said to my self, making is so much more satisfying. Mid-afternoon I made a sketch of the conversant piece while still not dry, and took measurements to keep its companion piece on the same scale.  Then I made a tiny model for which I shall make tomorrow its companion maquette before starting on the large scale piece.

 

 

Over the Summer I looked at Blender and how to use it to create 3D renderings. However, some time has passed and I have forgotten a lot of it as I had never worked with it before. So, I am restarting my learning from the top with videos on the fundamentals. I feel much more at home with the user interface which means I can get on quickly. 

The plan is to go through several videos every day, in between making and writing. By December I should be able to do pretty much what I want for the final show if needed. This seems late in the day to be starting this in earnest but my aims with respect to  3D rendering are relatively modest for now.

See links to videos in Resources with the aim of building a library of tutorials.

 

Tutorial 6: 15 October 2019. Jonathan Kearney

 

Tuesday’s tutorial covered a number of points I would like to pursue further in future blogs. We talked about two main things: the sound element of the project proposal and the challenges that these and other aspects present in terms of the exhibition space. 

The time away from the studio has allowed me to think about my practice in a more objective way and select out or rather prioritise elements, focusing what I do to concentrate its effect while making it possible for it to be more open. 

We discussed three principle acoustic elements in the proposal: ultra low frequency, normal sounds embedded in the sculptures, and separate narrative audio.

It was a very good thing I spent a lot of time familiarising myself with the spaces and the show dynamics during the Summer. The spaces can be quite challenging and there is also the question of logistics and installation. These challenges also present opportunities to create a show that is flexible and modular capable of being shown in other spaces and contexts.

The interactive bass sounds aim at: drawing people in, mitigating any disruption in collective spaces, affecting the space at a physical / corporeal level.

The narrative sounds work on a different level altogether. We discussed how the bass and narrative sounds would interact. This will need a lot of experimentation and testing so that the bass is audible while listening to the narrative on headphones. I think that because the bass will fluctuate in volume as opposed to the headphone’s constant narrative, a dislocation will result in further layering of meaning.

A third sound layer will be provided by the sounds embedded in the sculptures. Talking with Jonathan clarified the direction I should take with these sounds. The pieces would probably work best with abstract sounds correlating with the sculptural forms. To have spoken or representational sounds appear to me at odds with the static, ‘silent’ nature of sculptural form. This is another technical matter to experiment.  

We briefly discussed the Arduino and headphones, whether the latter should be wireless to allow visitors to walk around setting a spatial conversation between the sounds, sculptures and any other visual element that might be included.

The idea of different scales of listening creating circumscribed or diffuse space in the installation is an interesting idea but again will need careful working out:

  • the diffuse bass interactively fluctuating in volume and vibrating the space
  • the abstract embedded sounds circumscribing a tight horizon of perception, drawing in the listener
  • the headphone narrative being a more rational layer creating that tension between the rational and the emotional I often talk about.

I mentioned that the installation is a form of shrine. But on reflection what I am doing is not so much building a shrine as enshrining notions. I think this is a much looser and and open term that gives me much greater freedom than what I had thought earlier – mythopoeia. I can still use the term mythopoeia but in narrower contexts to describe part of what I am doing. 

I believe that this idea of enshrinement come at a critical moment in the current process before I start to immerse myself in the final project  

We also discussed the opening night as a moment in which the work might not be fully appreciated because of the nature of such gatherings. I see the opening as more of a social event , P.R, that may or may not yield appropriate interest. Really, if someone wants to see work, they will not come on the opening night, something I know from experience. 

I explained how part of my methodology is to make the sculptures empathetic to a certain extent. Not with a covert anthropomorphic form, but something more alien. So far the unfired porcelain gives me a sense of this but after the firing process it will be interesting to see how this affects my ideas, display and handling of the works. 

I am still incorporating the idea of an alimentary canal, digesting and assimilating ideas from a world of ancestry and connectedness; an alien landscape that is part of us. 

With respect to the large suspended sculpture, and the word Icon, Jonathan spoke about religious icons being ‘written’ after after many hours of meditating before painting. This process creates a space that allows an icon to be a window to another world. 

I told Jonathan that at the beginning of the course I was open to explore new and familiar materials and methods. He asked If this had been a challenge, that is to say, trying to push processes that had been previously defined and clear. 

I have found the process immensely enjoyable, getting underneath the process and it has developed my ability to better articulate what I am doing and why to myself. The PP is now less dispersed; I have used my energy to look at different things gradually delineating a clearer picture that can be taken into the future making a methodology without wondering what if I did this or that. My endeavour has been to work within a chaotic coherence out of which can emerge a more focused trajectory that draws in ideas in its wake. 

We finally discussed the Amputation post and the amputation video at the end of it. This is something I would like to continue and formalise into a more polished performance.

Jonathan said that the ideas make sense with what I have been doing and that there is a clear trajectory and evidence of testing and pushing this along. Although there is still a lot to do, technical issues to resolve with testing, but he can visualise the coherence of what I am doing. 

 


 

What to do next

Explore the ideas of shrine and icon and the relationship between them.

Look at the idea of a tent, reveal and enclose as in shrine and icon.

Middle Eastern stone shrines to the invisible god

Consider / plan / curate the making of further amputation videos.

Design audio experiments to assess questions of balance, comprehensibility and significance between the varying sources.

Think about displaying text on screen as well as through headphones offering alternative ways of delivering.

 

Experiment 2 for conversant pieces

 

 Porcelain components for second conversant piece.

 

This piece, the second in the series, was a departure from the vertical vessel. I count this as the second failure of the series. It moves on from the former work but I am still not happy with how I relate the form. I am not feeling it enough; working too much from the head; the work is too rigid. Perhaps this is because I am contemporaneously resolving some practical problems such as how to embed the sound and making the pieces so they fit the large kiln. I am pleased, though, with the material quality, its surface but not its formal quality. It does not convey the organic sense I am looking for. It has, however, crossed some boundaries and as a stand alone piece it could well work – just not as part of the installation as I envisage it at the moment, but that could change and it may still appear in the final show depending on its context and how it is displayed.

I am looking to make something that is like a body, but not a recognisable one. To have human elements without any human iconography. To engender an empathy in an alien form; to convey the animal in the human, with the human trapped in the body, latent, nascent, trembling with what it might become.

 

About to Start Unit 2

 
I have been away from the studio now for over four weeks. I shall be back in around a week after a prolonged period abroad. I worked over the Summer months on 3D works, coded and learned some VR rendering. This has been a belated Summer coming at the right time. A chance to complete the Research Statement, curate the blog, reacquainting myself with the past year and clarifying the Project Proposal. I have flown, walked, swum, eaten and looked at some art but I have made none.  

Being away from my work has brought it closer and into greater focus. The work for the coming nine months is now much clearer: what to do, and more importantly, what not to do. Had I continued as I was, I would have been in a process of desperate and confusing accretion rather than distillation and consolidation.

The research statement is submitted, although I will continue to revise and resubmit it – it is a nervy process and something might come up nearer the deadline; I don’t think I have ever been so in hand with a piece of writing as this. The blog curation is nearly completed and I shall keep sifting through it, milling the information ever more finely. As for the Project Proposal, that is an ongoing document which for now has the lineaments of the final show and future work. 

I still have a great deal of learning and experimenting ahead, particularly with the digital and display aspects of the work. However, when I get back into the studio next week, I will be able to immerse myself fully in making with a clear direction of where to go and how to get there.
 

Third Phase of Unit One: Continued

 

I have returned to Forest Hill from the Camberwell College library with an armful of books and eyes set on the horizon. In the previous post I took a broad, summary view of what I have done so far. One major characteristic of my methodology to date has been my intention to limit new artistic influences. My reasons for this are twofold: it has been an opportunity to re-evaluate my practice and articulate its synthesis whilst keeping things open and in order to do so maintain a clear view of the context and content. 

The need to write the Research Paper now, is catalysing a process of finding new sources from within the contemporary artistic field which lie outside my own familiar domain (in all senses). I see this period as a time for drilling into the content of my work and looking at new artistic sources within and external to the paper. The time has come to take off one set of clothes and put on another.

I am not looking for direction, that I have in abundance, but rather for greater depth of means and idea. I have to be mindful not to overcomplicate things but this I can avoid by paring down to the essentials what I elaborate, again selecting, distilling, in this case correspondences with writers and other artists. The cuttings themselves will be useful for some other projects. The books I have taken out today and will borrow in the future I feel will help me in this regard: whether confirming, refuting or synthesising my ideas, any of these processes arising will prove valuable along the way to build on my understanding of things.

Put another way, so far during the first two phases I have been largely self-referential and self originating. I feel now in the position to absorb new influences into a robust framework that is stable enough not to be disrupted towards confusion and sufficiently flexible to adapt to new ideas and contexts.

 

Third Phase of Unit One

 

Janet’s final show is now over. The works de-installed and packed, I now sit in the library at Camberwell looking at books. So many interesting books; it is a good way to introduce the third phase of unite one. The First phase was one of doing and as I did so, of looking around within a familiar space. From this space I moved in and out forming ideas, refuting others, articulating, clarifying and creating generalities out of which specifics could be selected, filtered and distilled.

The second phase has been one of articulating a thesis, closing some windows and passing through the one that is left to find myself in a vast landscape. It has been a time of deciding on a general direction and envisaging some sort of outcome partly manifest in the final show. I currently find myself in the narrow waist of an hourglass. Much time and many ideas have passed through and I now find myself on the threshold of what is to come. I have a clear idea of what that might be but I have yet to focus on particulars.

Being in Camberwell on and off for around three weeks has given me time away from the blog journal and making. I am forgetting and remembering, sloughing the superfluous which nevertheless has informed my journey. I now have a new perspective leading to a third phase.

The third phase is one where, although what I shall be concentrating on is more or less settled in form, the actual details of making, contextual framework, presentation, background are not yet clarified. This is a time where, having identified the domain in which I will be working, I can focus more deeply on every aspect of the work(s), layering deep sediments to form the body of this practice, making connections, meanings, engagements, and expressions, through techniques, symbols and tropes, modalities and affects.

It is a fascinating process because I now have to plan the works whilst keeping the process open. This I need to do because the making side of things can take a very long time. I also have to experiment new methods and techniques in order to incorporate the ideas I am working with. In addition, I have to contextualise those ideas and forms to position them meaningfully in the contemporary environment trying not to lose sight of where they have come from and the future.

What I have written here is a broad sense of what I am to do. What this is specifically, I shall write about later. For now I am still moving bodies in a mental space which are waiting to be reified and exposed. It is all so very open…

 

Critique on Latest Study

 

Porcelain high relief in drying box 18 x 19 x 11cm

 

This study has led me to reflect on what I am currently doing both in terms of work and conceptual content. Working small on a large scale idea is not always easy. It is different in the way one part relates to another, everything is seen at a glance rather than experiencing a gradual discovery as an informal circular dance is choreographed around the work. Viewing distances are bodily contract towards immobility as I end up very close to the work, without glasses, in an attempt to restore a large scale visual relationship.

In this work my thoughts have focused on a particular set of notions and shifted from an Apollonian ideal found in the Studies for H to a more Dionysian sense of things. The subjects remain the same and the methodology similar but with its content altered in someway. As always a dichotomy is expressing itself like night and day. 

The study has been difficult to accept in terms of its composition but I have learnt a great deal in how I could approach a more ambitious work. This would be many times larger which itself presents a number of technical issues of drying out and weight. I may have to construct a specific humidity box to maintain the necessary moisture content over a prolonged period. Then again covering may be the only thing necessary since the mass of material will keep its moisture content more readily due to the reduced evaporation caused by a decreased surface to volume ratio.

Its implied motion suggests to me an animation in the form of a ‘dance’ that traces ideas underlying the work. In addition it is in high relief whereas what I envisage as a finished work extends in height and may be on a circular base: perhaps a subliminal allusion to old master depictions of the Tower of Babel: an icon of chaos and the hubris of man (and women?).

 

 

But what is it I am doing, evoking the weight of generations, the struggle for life, are these metaphors for humanity? This latter question refers to my previous post title, ‘What is the Difference’. This is not a de-humanisation but rather a de-centering of the anthropic view of things. We are part of the whole and not separated from it, a view that has proliferated during the Anthropocene. We are as subject to the same blind and dispassionate forces that brought us about as any other part of nature… with one difference. We have a heightened capacity to change our behaviour. But the individual dynamic is not the same as that of the group and this creates an inertia which naturally tends towards conserving the status quo. Which way things will go is still in the balance; a race against time for the majority of future humans. Extinction is unlikely to be total but annihilation of a large number if not majority of people is certainly a clear possibility.  

 


 

It has just occurred to me, why am I writing all this down, I have never done such a thing, why post so much since I hold all these thoughts in my mind as I work? One, it provides a contemporary document that may prove valuable in the future: the memory plays tricks and history is constantly retold in the light of the present. Two, writing practice has enabled me to move more rapidly through ideas, build on them, alter them and articulate them more clearly.