Having received my tutor report for A4 from Robert, I must admit I felt reassured that the conceptual was well received going forward. The time gap between A3 and interventions for me made the assignment take on an added pressure to deliver after the big build up. This was compounded by the limited time I could undertake the work so overall I feel happy about the feedback and glad I continued to take risks. And now going on with A5, to continue producing a few more formations and interventions so I can select from a wider group of case studies is a clear enough brief.Read More
After concluding my theorisation in A3, I set about using A4 to bring this concept into the public space. This is not only an evolution of formations as a strategy, but also a return to A1, where I presented my notational impulses of photographing shadow patterns which I regard as a form of ephemeral street art. Even now I continue to make notations whenever inspired. Together with my approach to framing shadow patterns within a standardised form of A4 paper before returning a 1:1 scale rendering to its place of creation; a way of seeing has evolved both for interior and exterior spaces which is interconnected in its various forms.Read More
Back in May I had the opportunity to finish my time up in Liverpool by putting into practice the theory for my BoW in the public space, before heading to my new pastures of Kuala Lumpur. While this wasn’t completely a now or never situation, my coming 6-12 months will be limited to the domestic space where I could, in theory continue with my formations strategy which is based upon working within the confines of home much like Uta Barth. In addition my accessibility to photo quality printing is not the same as what I had previously in my studio space, making the logistics of the process more inhibiting.
There was a sense of unknown how the ideas would translate outside, however I had undertaken plenty of research beforehand on site-specificity and participation. After a period of getting the technique and process right, I gathered 6 completed interventions on the public space around Liverpool.Read More
As I mentioned in my previous post, I have started working with my ideas of shadowgrams and formations in the public space.
I quickly realised that working with a camera setup was too slow and intrusive. Much like my notations and many of my earlier OCA projects, I drew on the incognito characteristic of the smartphone which allows me greater mobility and dexterity in operating within the public realm. My ‘gear’ was now reduced to a simple A4 wallet which I carried chalk (for dark surfaces and paint stick (for light surfaces) and an A4 card to mark the space. I could then use the wallet for transporting the prints for installation. In a way, the wallet has become part of the “…presence of the artist…” which then “…endows places with a ‘unique’ distinction.” (Kwon, 1997, p.105).Read More
This case study is grounded in the theory I presented in A3 in a domestic space. While I considered those earlier formations to be a form of visual meditation, the interventions in the public space take on a dynamic course of action akin to street art. The process requires a “fluid mobility” that embraces “…site specificity as a nomadic practice.” (Kwon, 1997, p.100).Read More
Prior to entering the public space to commence with experimenting for A4, I have had (too much) time to consider how my A4 paper placeholders will be affectively used. Scale becomes a matter of concern in making a coherent formation. Shadows outside are significantly larger outdoors compared to the contained graphic compositions in the image space when working indoors. So if I was to try to create a mosaic of time and light on an exterior surface, I will need to consider the size of the object that the shadow is being cast from.Read More
Following on from my previous post, the second essay my tutor recommended I read was Claire Bishop’s controversial piece The Social Turn: Collaboration and its Discontents (2006). It did not put me off engaging with public space per say, but it did stimulate some self-reflection on just how involved I want to engage my work publicly and whether or not I was prepared to “…renounce authorial presence in favour of allowing participants to speak through him or her.” (Bishop, 2006, p.183).Read More
There has been an extended break since I completed A3 for BoW. After coming to a satisfactory conclusion to how my visual strategy and theory behind formations works, the focus shifted with me and my tutor how best to bring it into the public space. Two recommended essays from Robert really did help me to decide how, and where I should engage with participation and site-specificty. Firstly, Miwon Kwon’s essay One Place after Another: Notes on Site Specificity (1997) provides a strong overview on how the artists role has evolved from “…a maker of aesthetic objects…” to “…a facilitator, educator, coordinator, and bureaucrat.” (Kwon, 1997, p.103). This alludes to not only the multiplicity of roles the artist undertakes, but perhaps also the levels of meaning that can be attributed to the work. Kwon refers to the work of Richard Serra in how size, scale, location of the work are collaborators when determining how a work will be initiated in a specific space (see fig. 1.). In this sense Serra is as much a spatial consultant as he is a maker of sculpture. It is in this spirit that I see my formations being determined by the light and shadow patterns unique to the surface I attach my gaze.Read More