learning log

Reflection: Drafting interventions

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.

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Exhibition: LightNight - Various Venues

Sometimes Liverpool reminds me how active it is with contemporary arts festivals. LightNight is an annual free event where for one-night only recognised galleries and museums, combined with local an independent pop-ups celebrate arts and culture. Perhaps more inclusive than my experience of the Liverpool Biennial, here more than 100 organisations join together to create a free-flow of talks, workshops, performance, live music, etc.

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Reflection: Case studies and learnings

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).

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Reflection: Entering the public space

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).

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Exhibition: Illuminating the Wilderness and Constellations - Tate Liverpool

Admittedly Illuminating the Wilderness, a film and installation exhibition on the top floor of Tate Liverpool initially does not have a specific relevance to photography. The film is a collaboration with Project Art Works, focusing on people who are highly sensitive to the sensory stimuli of the world and have have complex needs. However the accompanying installation is an evolving piece that starts off as a series of hanging rolls of plain paper which are expressed upon through a series of workshops in the gallery by participating groups from Social Care organisations across Merseyside, culminating in a unique piece of work relevant to its space and place.

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Exhibition: 5Hz & Euphonia - HOME

After a successful exhibition at The Bluecoat in Liverpool last year, artist Emma Smith returned to the North West of England for a repeated presentation of her work Euphonia, together with a new piece, 5Hz at HOME, Manchester.

Smith’s practice centres around human connectivity. She creates site-specific works, a subject of interest for me in BoW based on a period of research and production with a diverse group of “…academics, professionals and hobbyists and drawing on the fields of anthropology, history, psychology, neurology, physics and biology.” (Smith, no date).

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Reflection: A matter of scale

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.

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Exhibition: Liverpool Biennial - Various Venues

Liverpool’s Biennial is now in its 10th edition which is positive in establishing its position on the arts and culture calendar for the city. Although the predictability of its venues and limited amount of prospects for local artists does make it occasionally alienating for the community. It certainly doesn't have the vibe of the Documenta in Kassel, Germany. Which might be an extreme example. But while Kassel is taken over by international artists and tourists there remains a cultural inclusion with its inhabitants that I don’t recognise as much here. Attending the kick-off of the fringe event Independents Biennial back in April there was a collective frustration of people left to squabble over nominal funds and a couple of venues delegated after an arduous box-ticking exercise.

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Exhibition: Shape of Light - Tate Modern

It is not possible to overstate the value of this exhibition in the timing of my entry into L3. I visited Shape of Light at the Tate Modern just prior to enrolling and the exhibition helped to articulate my artist statement and intention for CS. I had the discovery of recognising many influential works of the Korean photographers I have researched and admired the last years. And so compressing this into an exhibition review would not be realistic. What I will do here is discuss the exhibition on its own merit with a separate intention to isolate connections I made from the exhibition in later posts which can form the basis of my research into CS.

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