As well as recording people’s disturbed thoughts and dreams, I recently started messaging people through social media, seeing if i’d get any responses and If so, how much they’d expose and feel comfortable with sharing. I had a few ignored which was actually quite interesting in itself and then these three stand out responses. My friend Grace Cupper in particular shared a fair amount, I was a little overwhelmed but seeing this contrast between different levels of behaviour and context of what people are happy to expose is something I want to explore further into. This idea of horrible thoughts you put to the back of your mind and try not to think about and then how much different peoples minds work when in comes to the fact of actual exposure. I think asking at-least 20 odd people would be far more interesting though and give so many more ranges in responses. I guess just getting out of own headspace and documenting others issues has kind of broadened my thought process and helped me to consider other ways of connecting with an audience.
Within my last tutorial, a good point made which seemed to stick with me was the fact in previous video developments, I’ve tended to layer and work into them too much. I seem to get this idea in my head that everything needs working into a lot to feel complete. I maybe even throw too many different ideas and thought processes into one piece and in doing so, the strong visuals and moments become lost. So in this latest piece, I’ve kept these factors in mind and cut down on the amount of overlaying, speeds and general multi-medium usages. I’ve still layered where I felt necessary but to a point where I felt made sense and worked appropriately with the composing visual.
Using a group of boomerangs (an app which repeats for a number of a seconds, which is basically a mini video loop) and some previous documented sounds, I have built this collage of imagery sequences. The main elements I want to reflect were the moment of transcendency, a moment where one is coming out or into a deep form of sleep paralysis. This feeling of just getting to the point of feeling yourself moving again, the paralysis is surrendering itself to a point and you’re just getting to the point of ‘normality’ again (even if this takes a few minutes or hours to process and feel okay again). The recordings are all instant reactions to triggers from my sleep. Whether its conversations, odd sounds or visuals, they all give me this sudden recognition to a memory or a weird feeling related to my sleep. Not always an obvious trigger but possibly a subconscious moment, which later reacts over the following nights sleep but the fact remains of still recording these moments which trigger a part of my brain. Buzzing sounds are a popular outcome to awakening more so and it feels like somethings trying to escape my ears. Sometimes lights flicker and i get sudden shocks, ‘I see the light’ – If i can’t joke about these things these days, what can I do to be honest. The boomerangs of myself, felt like an instant exposure and reaction to the more sexualised moments within my sleep paralysis and refer back to previous work I’ve made around the confusion I get with them (enjoyment? Sexual abuse?).
In further research I think i need to keep these recordings going and see how an even larger buildup of visuals impact the above spoken about. Consider ways of presenting again – what makes most sense?…
Nauman’s video/installations have always influenced my work in particular, ideas around repetition, isolation, eeriness and perhaps feeling uncomfortable to an extent are subjects I’ve tended to focus around and there is this obvious love for wordplay running through much of Nauman’s work, elements 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? How far would you push your limits, in terms of what you’re happy to participate in and feel comfortable doing? Feelings towards obsession and a recurring crude and dense nature feel important in Nauman’s work, I guess you could say some of the video installations in particular, feel ‘jokery’ and slightly silly but at the same time still feel a bit disturbing and messed up?
He related the body to surrounding objects which show the impact of Minimalism’s (an extreme form of abstract art developed in the USA in the 1960’s and typified by artworks composed of simple geometric shapes based on the square and the rectangle) new ideas about the relationship between the viewer and the sculptural object. His occasional attraction to abstraction and sculptural concerns such as gravity also betray these sorts of influencing.
Nauman produced a number of films and videos in which he captured himself performing various repetitive, task-like exercises within the privacy of his studio—from bouncing against a corner of the room to slowly and purposely walking around perimeters. Nauman had withdrawn his own presence, shifting the focus of his work to manipulating the movement and experience of the beholder.
Performance Corridor (1969) marks the pivotal moment of this transition. The work originated as a prop for a solitary, videotaped performance, Walk with Contrapposto (1968), in which Nauman is seen walking up and down a narrow passageway, shifting his hips back and forth with each step in an exaggerated imitation of the conventional pose of classical sculpture. The corridor itself was a makeshift structure: two parallel wall-boards form a 20-inch-wide passage that is blocked at one end; the narrow space could just contain the movement of the artist’s body. For the Whitney Museum in New York’s seminal 1969 show, Anti-Illusion: Procedures/Materials, Nauman transferred this prop to a public exhibition space, where it was left to the individual beholder, deprived of instructions, to decide whether or not to enter the structure and how to move through it.
We’re now getting to the point of really needing to consider ways of publicising our work and raising funds for our degree show and a paper sale seemed perfectly fitting! I’m proud to have sold 2/3 pieces and it was a great way to show how truly diverse we are as year group. Raising nearly 500 pounds was more than we ever anticipated and we hope to make more events like this which should be just as or even more of a success!
For the past few weeks I’ve really started trying to think about the best ways to reach out to another part of myself. I’m still in the process of fully understanding this need to document ongoing thoughts and collage fragments of processes but one thing I’m currently certain of is that using text and building collage of a longer period of time (in comparison to last year) has made me read the work in so much more context. It feels to have resinated with me far more, it leaves time to question, make more appropriate decisions and possibly open up far more than i ever would have anticipated.
Voog is interested in the subject of intimacy, using visuals not for aesthetic but daily routine/personal life sharing. I found relation through this idea in the fact that I’m also documenting myself for personal reasons, maybe not always in the same way but in a way which invites you into someones personal space and thoughts. Considering the consequences – Voog looks at how this is then publicised on media.
She records herself and this idea of routine through a webcam, you kind of feel like you’re being invasive but can’t help but look. I really enjoyed the distorted effect of the imagery gave, it gave this sense of realism and honesty whilst she moved around the house doing different things; having a bath, talking on the phone etc. It kind of feels like you are spying on her, this idea that we’re just living robots, we just keep going until we end.
Ana Voog had seven million people watching her on the internet every day before social media even existed. Voog was the one-woman star of anacam, a daily webcam broadcast where she shared the most intimate aspects of her life on screen in silent broadcasts. Viewers with a dial-up connection could (and did) watch her sleep, eat, write, have sex and even give birth to her first child.