SUMMATIVE ASSESSMENT KEY POSTS

PDP TUESDAY

Artist Statement –

I work primarily with a mobile phone and a digital camera, the qualities of which I use to record the intimacy of the everyday experience, in particular my sleep paralysis. Sleep paralysis is a condition that takes form during moments of falling in and out of deep sleep.

I aim to create consuming environments and surroundings using sound, video and installation. As a result of these conditions; Physical sensations are evoked as well as confusion, claustrophobia and pain.

I find it important for the audience to be experiencing what I experience to some level. A constant relationship and conversation emerges and my on-going work tests the boundaries of how far these matters can be pushed.

Consolidation (Subject);

Contextualisation –

1.JAMES RICHARDS

2.BRUCE NAUMAN

3.LANGLANDS & BELL: INTERNET GIANTS – IKON, BIRMINGHAM

Documentation –

1.EXHIBITIONS

2.SOUNDS

3.VIDEOS

Exposure (Field);

Contextualisation –

1.RIE NAKAJIMA; CYCLIC – IKON, BIRMINGHAM

2.JOAN JONAS; A PIONEER OF PERFORMANCE @TATE MODERN

Documentation –

1.EXHIBITION CONSTRUCTION&BUILD

2.EXHIBITION LAYOUTS

 

 

Advertisements

EXHIBITION LAYOUTS

POWERPOINT CAD OF EXHIBITION

32266564_1709846159103190_2553270216800862208_n

32169211_1709845932436546_5549878056090337280_nI’ve been spending the past week or so building and setting up my exhibition. I originally wanted my TV’s to be at this angle shown in the image above. This worked well in my last gap crit but with the TV’s being on plinths and the walls being black, the headphones in the top right corner become lost and I feel like the audience may dismiss them when it comes to the show.

As shown below, the headphones have been moved so that as you walk in, they are in front of you. I’ve moved one of the strobe lights so that it highlights them too. I’m hoping that people will put them on and take in the atmosphere of the installation whilst listening to my ongoing documentary – this idea that you are listening to my experiences as well as feeling them and watching them.

I’ve attached a lot of the wiring with wire clips as I felt it was the best way to make it look neater and blend in with the blackness of the installation. I’ve also decided to face the strobe lights more towards the corners of the room instead of in the audiences faces. I’ve realised from doing this that you still get the intensity and disorientation from the lighting but just not to a point of not being able to look or take in anything else going on in the installation. I’ve thought very carefully on how they are positioned and it was important for them to not also highlight parts of construction which would distract you from the art on show.

James Richards and Joan Jonas’ installations have been big influences to the production of my installation. This idea that each part of the installation expresses a different part of my sleeping condition. There’s similar aspects within them and they all end up connecting but they still hold their own entities well.

32370391_1712880505466422_1066745811901087744_n

 

ARTIST STATEMENT

I work primarily with a mobile phone and a digital camera, the qualities of which I use to record the intimacy of the everyday experience, in particular my sleep paralysis. Sleep paralysis is a condition that takes form during moments of falling in and out of deep sleep.

I aim to create consuming environments and surroundings using sound, video and installation. As a result of these conditions; Physical sensations are evoked as well as confusion, claustrophobia and pain.

I find it important for the audience to be experiencing what I experience to some level. A constant relationship and conversation emerges and my on-going work tests the boundaries of how far these matters can be pushed.

Collaborative page on @JodieJohn’s.com ‘Artist Space’ page

32239551_1709845799103226_7324727700084490240_n

32234263_10208925537736167_3425778537922035712_n

As I’ve recently been attempting to sell and promote my work, I course friend Jodie offered me to have a page on her website. I couldn’t pass at the opportunity and I’m looking forward to seeing how this all goes down considering how much money she’s been making and how popular the websites became!

Artist’s Collecting Society prize SUBMISSION

I’ve recently came across an opportunity to win a funding and artist space for a year. Maybe this is slightly optimistic but I couldn’t miss the chance to have a decent space to extend my practice. This would be a great stepping stone towards starting an MA also, I’d have a break from education nut still be developing myself as an artist.

Picture1Picture3Picture2

BRUCE NAUMAN

BBC 1 DVD

How tension – Tiredness – not so much a story but an activity of reaction – passage of time.

 

FURTHER THOUGHTS AND RESEARCH

Much of Nauman’s work focus around subjects of mockery and playing on others weaknesses become apparent. And I guess it was specific’s such as these which then started making me think about the boundaries of how comfortable you are as the audience watching or observing one’s work? – Recording myself in a way which exploits my inner thoughts. Feelings towards obsession and a recurring crude and dense nature feel important in Nauman’s work also – My ‘Convent’ piece has this crude, raw nature also, although slightly edited in places to emphasise on my own confusions and experiences, there is still this element of unpolished and honesty.

SOUNDS

Continuing research further with sound – Ubu.com – (100’s of information on Avant-Garde artist’s and art primarily focused in sound, video, film, text, performance).

Nauman’s ‘Soundtrack from First Violin Film’ (1969) made me think of how when the audience enter, how I can play my work in a way which sets a particular tone.

Nauman’s sound pieces often express his voice amongst others, feeling on edge of asphyxiation and with gasping and snarling builds feels of claustrophobia and intimidation.

Personal and intriguing attitude to the sound work; throughout, the tone of voices, the inflection, and variations in rhythms dramatically shift meanings, from diplomatic to psychotic, pleading to bullying, anxiety to mockery – A mashup of feelings and emotions which I’m forever relating to, the things I watch, talk about and feel in moments of sleep, can change my mood drastically – Governed by my own inhabited experiences. Use of repetition, changes in volumes and levels in the artists voice create a confusion for the viewer of where the sounds coming from.

SOUNDS

The ongoing developments of my sound work, used with digital technology, demonstrating immediacy and a way of documenting – trigger sounds.

MOBILE PHONE RECORDINGS, 2017/18

CONVENT, 2017 

-Inspired from Annabelle Craven’s workshop on the topic of ‘Neology’ – ANNABELLE CRAVEN-JONES NEOLOGY

The progression from ‘Convent’ to ‘Documentary Sounds’ was a significant step as this was the point where I fully opened up to my experiences in more of a raw way. There was no hiding and I laid all the cards out on the table, there was no hiding with Documentary Sounds. It felt like a weight off my shoulders after keeping a lot in.

DOCUMENTARY SOUNDS; DISCLOSURES, 2018

KIDDY LIFTS // WORK KITCHEN– ‘MMMMMMEHHUH & CHHOOOOO’, 2018

Inspired from Bruce Nauman, echoed/ vibrating sounds which have an intensity and un-comfortableness – the fact of your own voice being an annoying trigger, noises out of boredom or frustration for example which relate to the dark nature of my condition but also create an uncomfortable feeling for the viewer – automatically taking part in my experiences with no immediate escape.