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.

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.

 

 

 

 

 

 

 

VIDEOS

A post which is expressing the ongoing processes of my videos.

It all starts with the use of the direct contact of a mobile phone or digital camera and builds from there on-wards.

SOUNDS

BOOMERANGS

Movement immediacy – direct reflections upon awakening.

SENSATIONS

Learning not to go overboard with layering and editing so that I loose the tactile immediacy qualities of the boomerangs.

EXPERIENCES

My video developments have become this sort of ongoing process from when I first started and accepted the fact of having a sleep condition (17/09/15). Rounded up the more significant processes over my journey which demonstrate not only how much my techniques have built but how much and how many different experiences I’ve had over this duration of time. From amateur to refinement and confident selections.

EXPERIENCE VIDEO DEVELOPMENTS

My video developments have become this sort of ongoing process from when I first started and accepted the fact of having a sleep condition (17/09/15). I’ve rounded up the more significant processes over my journey which demonstrate not only how much my techniques have built but how much and how many different experiences I’ve had over this duration of time.

Looking back the first felt a lot more amateur. There were some interesting distorting and slowly emerging layering techniques but you can see there was still a lot more which could be done with it.

When I got to the point of formative, I considered recordings which recorded myself imitating what I could remember moments after awakening and before this recorded myself sleeping on a few various occasions.

I felt by doing this I could put to the test, if I actually do move or doing anything at all – How much is in my head? And then actually reenact what I can remember from the sleep paralysis. This way it doesn’t feel as artificial and I don’t get into the habit of having to make parts up which I’m struggling to remember.

One of my favourite parts at the point was the broken, pixelated part with the mask. If gives an unexpected, shock factor. It reminds me of the on edge feeling I got when watching the film ‘The Strangers’ – In this film, a group of masked individuals, tormented a couple until they eventually killed them. I mean I don’t want anyone dying here but it’s that on edge, intense atmosphere which inspired and what I relate to with my experiences.

I’ve finally got to a point now of refining and selecting which parts of my ongoing videos need to be longer or shorter than others. I’ve added blurred close-ups which demonstrate weird, uncomfortable noises of myself and Jodie. Jodie is referenced in my work due to the large impact-ful stage of my condition where it became very sexualised. I think this had a big thing to do with how much close time I spent with her during that period. Jodie is a very touchy, needy person and I’m quite the opposite so maybe this came out confusingly internally.  The heavy breathing and odd noises represent the noises I thought I was making when struggling to awake at this period especially.

Now that I’m so used of the experiences, even when really vile, I try to just accept and wait for them to pass but the moment something new emerges it’s like another mind fuck.

Mixing collaged layers with singular images works well I think. You are getting an enticing experience which is then conflicted by the intensity of what the visuals are actually displaying.

I just love the idea that people are getting a feeling from my experiences and different people are reading it in different ways just as I do the more my experiences change, enhance and begin to stop.

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”.