Friday, 17 November 2017

Notes Page 13

Studio Space Conversations:

A really helpful, thought provoking seminar with Majella on the subject of studios.  What five things are most important in an ideal studio?
Is there a 'post studio' culture that renders studio practice redundant?
Is the studio the context/environment for the work to be seen, so the space becomes the artwork?

I sat with a group of studio painters and drawers and printmakers.  I actually have not had a studio for a few years and am fairly nomadic in this.  If I'm honest, one of the main deciding factors in going for this MA was the studio space available (and that my space actually does tick all five requirements for me).
I suppose I have temporarily adopted a 'post studio practice'.  Situating myself in fields, galleries, launderettes, hostels and residencies.  What happens now I have a base for a year and how is this going to influence my work? It's a different process, planning performative happenings to making pieces. The walks are feeding into the work and there is a gap between the perceptions of the walks and the resulting responses: an area to investigate.  I am making some quick drawings on the walks and in their vitality they contrast with the investigations happening in the studio.

Notes page 12....more print

Drypoint and Photo Polymer

The drypoint process is satisfying in that it is autographic.  I made a drawing from a drawing of a walk (a remembered response to a walk).
The next step is to get direct marks from the walks. Rubbings, tracings, casts etc. 
Photo Polymer lines, details and tones produced are incredible and I would like to try and capture resonances of the walks with this. The other intention is to analyse what happens when there is a distance between the drawing and the image so I can understand what characterises an immediate drawing.

Notes Page 11

Daily responses to the everyday walks.

Monday, 13 November 2017

Notes page 10. Why Print?

 Photo intaglio is a lengthy but exciting process.
I knew I wanted to use an autographic technique and I knew I wanted it to talk of illusion.  I also wanted to mess about with the flat plane and tone and how to break down the difference in creating tone in this process compared to drypoint for instance. I knew I wanted to work on something observational.  Not so conceptual or expressive.  I wanted to make an image.  I drew this image with graphite.  The use of tone was instinctive and I 'felt my way'.  With drypoint or similar I have to think about inventing tone with the marks available. It takes planning.

It is still.  Not in flight.  It's flat. Not folded.

My plate was so subtle I thought it wouldn't catch any ink.

I got carried away with the incidental marks.  Finger prints from latex gloves?

The rag used to clean the edges of the plate became equally intruiging.

More so than the print.

Sunday, 12 November 2017

Notes Page 9

Lygia Clark
Notes from seminar 1st November Kim Charnley

Caminhando is Portuguese for Walking 
I selected this piece because it talks about a lot of themes in my own work.  I discovered it by being given a mobus strip at a workshop on Practice as Research to demonstrate (phenomenologically!) how we can learn/expand/investigate/feel/think…. Just about everything by creating a mobus strip and then cutting into it - again and again (a lived experience).
Clark calls the act a propostition which makes me think of expansive openendedness, it gives things a future, a potential.  The democratic nature of participatory proposition is interesting as is the access and the accompanying instructions. 

Walking is one method I’m using to research.  

She said this:
The first time I cut the caminhando I lived out a ritual. Which was very significant in itself.  And I wished for this same action to be lived out with the greatest possible intensity by the future participants: it is necessary for it to be purely gratuitous and for you not to try to know - while you are cutting - what you are going to cut and what you have already cut.

If I use a mobius strip for this experience it is because it breaks with our space conditioning, the concepts of right - left, averse-reverse etc.  It makes us to live the experience of limitless time and continuous space.

The walking only started to make sense to me once when I was travelling by train and I felt each fragment of the landscape as a wholeness in time,  a totality.

I think we are now the proponents and , through the proposition, there must be a thought and when the spectator expresses this proposition he is actually putting together the characteristics of the work of art at all times.
The object is no longer there to express any concept whatsoever but so that the spectator can reach more responsibility for his own self.

Is there an eventual product?  Is this cultural capital.   
It amuses me to note that I misspelt the title Caminohando.  Inserting mistakenly Camino  -the spanish word for path  -creeping in to the Portuguese Caminhando.  And blending it with hand.
Walking Hand or Hand of the Path (drawing walk or walking drawing - drawking!)

 art objects as separate to the person who makes them interests me, Clark reconnects them.
She is also described as dwelling in not only  the poetic and cognitive issues of the individual but also the collective   She thought deeply about lines, folds, time so discovering her was a confirmation that my enquiry is valid.  I was folding aeroplanes out of paper and losing faith.  What was the point? 

Then I found Lygia Clark and she returned my self belief.

Notes page 8

Field Analogy
Notes from Kim's seminar:
1.11.17    What is a research field?

Field became an analogy for me:  

Field: it has boundaries, perimeters, fences. (these can be trespassed over if necessary)
Focus and relevance: Too wide or fenceless and the digging is not deep enough.
Ideas and philosophies - strain of crop
Similar thinkers with similar problems with commonalities - crop/inahbitants
Different disciplines/ideas create difference and more questions - alien crop (however this can cross fertilise and create more strains) .

Create a map of the research field - topographically but also geologically, the soil and the surface.

Robert Fairbrother, who digs........

Notes Page 7 - Collage

An old piece based on being in and wandering around a place called High Cross House. It's a collage.  It prompted me to try some collage with the maps to marry the marks with the folding with the plotting because it feels disconnected at the moment.  
It was an epiphany and I got overexcited on realising Guy Debord employed collage(Memoirs 1959) and now I could understand why. It felt like I was in the right company, huge confirmation I was resolving things. 

From my journal:

Collage seems to be the best and most appropriate solution to my issue of drawing walking.

It assembles and contains all the disparate but connected elements.  It is more than the sum of its whole.  Formally this process is about disrupting linear thinking.  It is literally a lateral coexistence of disparate elements. Culturally is speaks of communication, of interconnectedness, a material metaphor of the networked world. And possibly a way to encapsulate the simultaneous experiential elements of walking. I'm thinking it could also possibly be the bridge for the argument between conceptual and expressive modes.

Monday, 30 October 2017

November as a Pedestrian

Pedestrian is an umbrella title and one of my experiments within this is a month of documenting my daily, everyday walking activity beginning November 1st.
I imagine it won't be of interest to anyone but me! But putting a time constraint on research in a project and obliging myself to publish brief notes is something I find useful (and also feeds another aspect under analysis re; my non-linear, scatterbrain thinking style).

Pastoral now exists as a working document. I kept a journal and it was a dynamic, organic process that I am still using and adapting.  When I began the project I set myself rules and structure and this enabled free thought and open exploration. It helped me organise my observations, context, ideas, feelings, everything.. and kept it contained in one object (I still can't work out if this is the piece/artefact or whether one day it will be realised in a different way).

For Pedestrian the aims are - alongside the written blog notes - to make an instinctive (visual) response to each walk I log and as these are retrospective of the activity to examine a variety of time based recording methods (technological and 'analogue' or manual, old and new hopefully) to look at the space between what happened and what remains.

Observations to be considered:
Awareness of my body in various ways eg. objectively, subjectively, embodied.
The ambulation through obstacles.
Auditory responses.
Emotional responses.
Sensory awareness
Self consciousness/invisibility
Perception of time.
Interesting incidents....and my reaction to them.
Converting knowledge (walking/drawing confluence/parallel/feedback..)

Spacial representation, perception
Bodily performance v mind performance.
Linear/non linear systems (the desire lines, habits, wayfaring/transporting - Ingold)
Syntax of walking/drawing (dots and lines - Walking as writing or reading - Solnit)
Behaviours of walking (Mauss or Bourdieu)
Urban Design vocabulary, (confluence, furniture....) Semiotic readings, and designed control
Walking as a quiet protest. Pedestrian empowerment.
The politics of roads...
Documentation as product? What is appearing in the banal recounts of the walks?
Drawing and walking as a genre.
and on and on and on........

Sunday, 29 October 2017

Notes page 6

Sunday, 29th October 2017

I don’t know why this is important but it was in my personal diary from September, perhaps it helps me think about the embodiment of walking in comparison to swimming:

The river has undertow, various currents and depths. It is not one line. Time varies, flow varies, direction is not uniform.

Swimming - the skin of the water, the shape of the liquid, the slow steady linemaking of the swimmers.  Doing nothing but swim in lines back and forth, a surface illusion of order.  The water isn’t behaving to order though, even though the currents, ripples and movements are subtle it is still happening. Acting against the ordered lines of the swimmers.

“The question expressed itself as a movement of emotion", I tried to look at this but I didn’t know what my emotions were.  You need a baseline emotion to be able to detect the other emotions ‘moving’.  Its a multiple emotion river: moving with the undertow etc.  We feel the river all at once - all the emotions (current) are present at once. 

Saturday, 28 October 2017

Notes Page 5

Drawing locates me anchors grounds me - connection (pencil meeting paper in this case) with the/a material world (touch) is confirmation of my existence does. As does walking.

Ingold:  The landscape is a tapestry within which lives are woven, not a stage performed on.  "In all these ways-in their texture, their temporality and their literal embeddedness in a landscape of habitation - footprints differ from stamps.  Perhaps, then they should be likened to inscriptions, to lines traced in a surface rather than stamped upon printing there is no relation between the technically effective gesture and the graphic forms it serves to deliver".

I've been dwelling here for a bit, wondering about the likeness of footprints to "as the actual trace of a gestural movement" rather than a print.  Thinking about the 'sensory experience of pressure commonly described as touch.

What I know:
In print the point of connection is the plate and the surface...
The print is rolled, in a pre-made form, it doesn't 'journey' through the landscape of the 'ground'
Print doesn't feel embodied, but inscription can happen-  Intaglio work - and this process could be seen as embodied and investigating touch.

Notes Page 4

A plotting of regular journeys around the supermarket using shopping lists as orientation. (What is the frequency of the journeys/walks? The inclusion of time along with movement would add a 'vertical axis'.)
I use a rough map made from memory of the store and then draw the route on this according to the shopping list (this acts as the score) taking a print from carbon paper underneath to arrive at the documented linear journey.
These results are simplified lines representing the route (as documents/records and/or non-maps)
I've overlaid some of them to experiment with repetition. (I'd like to expand the visual experimentation)

A direct response to the route. (As...... subway drawings)  The body is absent in the process and there is no dialogue between the ideas and the materials. it's printed so the gesture (see notes on embodiment/gesture - Avis Newman) is 'distilled'
There is no sense of movement (the walk itself) from the original activity and the non-maps.

As a functional drawing of words to assist memory - it's interesting to see sensitive mark/composition (who to evidence this?) emerge from the printing, a technique I wanted to employ to dissolve authorship and interrupt touch. Drawing locates me, anchors, grounds me with connection (pencil meeting paper in this case) with the/a material world via touch and is confirmation of my existence . So using print -and photocopying- to interrupt this can interrogate why: the point of connection being the plate and the surface and a certain amount of mechanisation is in action, the emphasis on the aesthetic seems more important than the embodied experience of drawing.

Is there an emotional language beyond the grammar of drawing, in the line itself?

When I look at the resulting drawings I feel something - and I don't believe it's my subjective autoethnographical? memory of the walks/journeys.

I'm beginning to use my invented word pseudocartography.....

In tandem to this is the shorthand piece I am investigating.  I commissioned my Mother (a retired secretary) to write, in longhand, a description of the view from her picture window and then transcribe it into shorthand. I have experimented with text as mark before and wanted to explore it further. I wasn't sure how this might relate to the shopping lists and worried I was reaching for familiar territory and repeating old work, but this revisiting has been important, is giving me insight and is not tangental but insightful.
It relates to Ingold's theory about text being linear.  The shorthand is like a cuneiform - each word or phrase is closer to being read at once, face on rather than in a line although it's still read left to right and makes a linear sentence, the characters are almost like phonic bursts and closer to ideas than words constructed in longhand. Looking at Mum's process like this and the lists with non-maps side by side is giving me more ideas but also insight into the way my non-linear thinking is operating.  I was trying to organise my development by forcing a linear iterative development from piece to piece but this has danced about and reflected back (mining old work) and forth and round and up etc.  Gyroscopic and (flat ontology - DeLander) rhizomatic (Delueze).

Notes Page 13

Studio Space Conversations: A really helpful, thought provoking seminar with Majella on the subject of studios.  What five things are mo...