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

 

 

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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.

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.

JAMES RICHARDS

‘ROSEBUD’

-Correlation between two films; How they work against one another and how they evoke sensations from the artists experiences from the use water and prints. A conversation between two films.

Richards speaks about the more personal use of a small under water camera. This idea that you can reproduce something quite casually and cheaply with just the extension of a hand. This comment reminded me straight away of how I use my mobile phone as a direct, cheap source to directly resonate with my own personal happenings.

RADIO AT NIGHT

Resists completion through it’s constant usage of manipulation – My relate through the fact of my work not necessarily feeling like it needs to be a finished ‘piece’ but an ongoing reaction, experience into the changes of my sleep condition/.

‘MIGRATORY MOTOR COMPLEX’ @VENICE & CHAPTER

Sounds which triggered memories towards my sleep paralysis – and of which reminded me of sounds I’ve recorded with my mobile phone. Looking and listening to the speakers at the chapel whilst being in Venice, felt more powerful. The space and atmosphere added to the eeriness of the sounds.

Looking into and seeing work which moves from room to room and space to space has inspired me to pin point this within the progression towards my installation. As Richards states himself; “you don’t just read a piece of work but across works”.

 

Laure Prouvost; Installation

Much of Prouvost’s installation work has played upon this dreamlike sequence. Possibly one of her most famous works which is displayed below, creates this type of montage. You’re forced to focus on areas of the films where a different range of sounds and visuals are emerging. The artist calls out different directives which emphasise on the dreamy atmosphere and hallucinogenic scenes.

I see myself relating tremendously to Prouvost as she herself talks of this fact of creating deeply engaging environments which consume their viewers. Her ‘Swallow’ video plays on senses and her reiterating of heavy breathing and and this whispery voice. You find yourself going from feeling quite calm to on edge and confused. This is another hugely influencing factor on my current practice. How a noise or an action can change a persons perception in seconds, simply fascinates me. Feeling like you are in the artists head-space can feel odd and invasive but also intriguing and exciting.

The installation is based around the artist’s six-month residency in Italy and the multisensory collage transmits the wide variety of what she saw and experienced during her stay. There’s a vibrancy to her collages, whether in film or 2D which I find elevate the personal touches of senses and the human body. Scenes go from clear to disorientated. Prouvost captures this, slight invasive quality to her censored experiences – The changing of the camera angles, voices and blurred touches have inspired me greatly, I find my head spinning at times, I’m not sure if that’s because I’m easily taken in by things but I felt sucked in. I think dealing with sleep paralysis often automatically makes me want to look intensely with art which has such an eerie domineer. For some, this would mean you’d avoid anything creepy in the slightest but I continue to have this want for more whether it makes me worse or not.

A curator named Laura Hoptman claimed that the installation was a “horizontal cloud of information”. A constant conflict of sensory ventures. One moment you’re focused and in a bubble and then the next, you’re questioning it’s slight eeriness.

I did originally consider having the background walls as collages in my degree installation but although my work also has this dreamlike atmosphere, the harshness of the black made the most sense to feeling isolated and sucked into my surroundings. I’ve seen my collages as pieces to a puzzle, fragments of my condition, little reactions but not so much a definitive part which speaks for the ongoing qualities of my experience and what comes with it. As artist’s who both look at experience, I guess it’s important to find a quality which explores and explains you as an artist.

 

Laure Prouvost, Farfromwords: car mirrors eat raspberries when swimming through the sun, to swallow sweet smells, 2013, installed at Whitechapel Gallery. COURTESY THE ARTIST AND MOTINTERNATIONAL, LONDON
Laure Prouvost, Farfromwords: car mirrors eat raspberries when swimming through the sun, to swallow sweet smells, 2013

Screen Shot 2018-04-16 at 19.36.14

https://frieze.com/article/focus-laure-prouvost

The Wanderer, 2011, HD video still
The Wanderer, 2011, HD video still

Screen Shot 2018-04-16 at 19.36.36Screen Shot 2018-04-16 at 19.37.08

SECOND Year’s Site Venue work

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The latest exhibition I’ve been apart of is the second years, ‘Site Specific’ event. They all focused on making little scenes inside of shoe boxes and other small boxes. Overall it was a quite successful event but I think some music could have helped the atmosphere. I think people who used lights, felt slightly more successful. Everything was clearer to see and they stud out.