Detach to interact (experimental performances)

This is an experimental series of performances that will commence for the week all day except for 28/10/2014.

 

I became intrigued by the idea that the term ‘cyborg’, originally meant to refer to more simplified technological integration to human physiology, such as someone riding a bike (see James Geary ‘The Body electric: page 5). This I felt had a sense of hilarity.

In contemporary western culture it is not deemed unusual to communicate only using the means of social networking sites, email or mobile phones. Through these means communication has become more accessible; however there are some senses in the wake of technological advancement which are becoming obsolete to communication, such as touch and smell, (face to face contact). According to Professor Dacher Keltner ‘touch is truly fundamental to human communication, bonding and health’. Furthermore it is essential in human development to form attachment to not only one another but objects (see Bowlby and attachment theory). This series of performances aims to highlight this severance of attachment and add a sense of mourning for the loss of the tangible in a sequence according to some of the stages of grief; denial and isolation, anger, bargaining and depression.

Performance 1 (Denial).

Performance 1 (Denial).

Performance 1 (Anger).

Performance 1 (Anger).

Performance 1 (Bargaining).

Performance 1 (Bargaining).

Performance 1 (Depression).

Performance 1 (Depression).

Bill Viola. (Earth, Air, Fire, Water).

Location- St Paul's Cathedral, London.

Description- this small yet modest video dominates its surroundings with strong imagery. The first video art piece to be commissioned by a church in Britain. As you enter the church there is dominant familiar biblical imagery all around you. Then you approach this well situated video art piece in congruent with the architecture. On the left a man is being enveloped by earth and pulled up, a woman is tied by her arms and being bombarded by a strong wind, a man is being engulfed by fire and then transcends and the last image is of a man hung upside down and being drenched with water.

Experience- Shockingly  to some these images of martyrdom and sacrifice are not unfamiliar in these surroundings, in fact this is almost a 21st century adaptation of the art that surrounds it. you have a strong feeling of belief and the power of nature. This is a really good example of a well chosen site.

 

Detach to interact (process pictures and notes).

 

Performance 1 (Denial).

 

-This is the idea :  I would use bellow pumps and inflatables to represent the human respiratory system.

-I decided against the use of a chair for now as I feel a full body action would add more of a sense of hilarity.

 

 

 

 

 

 

 

-Perhaps rather than making a direct replica of a human lung or heart it might be more interesting if they were just a globular like form as the bellow pumps themselves are already representative of a respiratory  system.

 

 

 

 

 

 

- After trying different methods of joining translucent shower curtain material the most effective outcome was a heat join.

-However  it is a lengthy process to produce even a small inflatable. So for the experimental performance I think it would be quicker to use plastic dust sheeting  and cloth tape.

 

 

 

 

 

 

 

-Without the use of a chair it seemed vital to have a skeletal  structure and to add an interesting contrast using steel as the medium.

 

 

 

 

 

 

Performance 2 (Anger).

 

-In keeping with the idea of prosthetic and human physiology I explored the option of attaching an exoskeleton to my body.

-Mimicking the movement of an umbrella arm.

 

 

- A simple arm joint spring system should suffice.

-I have to calculate body mass in relation to the size and distances of the arms.

-(Research a way to create a movable wood spine to create ease of movement.)

- I would like to make a specially design corset but as there is not enough time for the prototype a back pack will be adequate. 

 

 

- Ready to build prototype. As many of the measurements need to be accurate for the arms to draw, I have produced a 1-10 scale drawing to follow.

-Prototype successful but extra straps needed to have a stronger body hold.

 

 

Performance 3 (Bargaining).

 

-(A time machine.) With reference to the stage of grief, referred to as bargaining, the wish is to go back in time to change the past. If the concept is a simplistic cyborg there is a  theory that states , relative to a person walking, when you are in a car you get to your location faster in time. In a way this is time traveling.

-My time machine will consist of an old office chair/roundabout that should only spin anti- clockwise.

- To input the idea of prosthetic's there needs to be more of a physical action to spin. However for this experiment it produced an acceptable outcome. 

 

 

 

 

 

 

 

Performance 4 (Depression).

 

-I have decided to re-incorporate the umbrellas for this performance and attach them to my body to signify the bonds of depression, but also the rays of hope that keep you from going under.

-Preferably  a wood exoskeleton would be the best look and in keeping with the idea of a post-human creature.

-However due to the time scale and the lack of understanding of the movement of the objects I am working with; a wood frame will suffice to create the desired effect for this experiment. 

 

 

 

 

 

 

 

 

 

 

Process Sketch 1.

Process Sketch 1.

Process Sketch 2.

Process Sketch 2.

infatable expement 1.

infatable expement 1.

process photo 1.

process photo 1.

Process Sketch 1.

Process Sketch 1.

Process Sketch 2.

Process Sketch 2.

Process Sketch 3. 1-10 scale.

Process Sketch 3. 1-10 scale.

Process Sketch 1. on a box.

Process Sketch 1. on a box.

Process Sketch 1.

Process Sketch 1.

Process Photo 1.

Process Photo 1.

The Secondary Market.

The secondary market consists of art work that has already been sold. It creates a market that promotes the artist and can increase the value of the art work, however it is not clear  whether the artist will directly benefit financially from the sale of an art piece. What can be beneficial for the artist is that the resale of an art piece can in turn draw attention to new art work.   

The hybridisation of commercial gallery space and non-profit art spaces

Today the parameters between the commercial gallery space and the non-profit art space are becoming thinner to give way for a hybridised approach to a galley space. In this hybrid commercial scene the negative connotations attached to the commercial galley space are beginning to disintegrate as within many  commercial galleries they are opting for non selling exhibitions where the artists are allowed to work on experimental/alternative projects or artists in residence schemes. Does therefore 'commercial gallery' just simply mean that the art can be purchased. 

visit to ARCADECARDIFF.

Queens Arcade, Queens Street Cardiff.

ARCADECARDIFF is a non-profit art space allowing freedom for alternative and experimental art projects both welcoming the established practicing artist and those interested in the world of art. Offering opportunities  for the viewing public who would otherwise not visit galleries a chance to gain insight into contemporary art scene.

Extending their space into interactive apps that engage a vast audience beyond the conventional "gallery space".

The wishboat app is part of a project by Sean Vicary and Steve Knight Download the wishboat app to your iPhone or iPad. 

Attention test 2014

I feel driven in a way to transcend beyond the parameters of my usual mediums and return to a child's perspective of the world. To enjoy the object in it's simplistic movement, to play, so I am finding those objects (umbrellas,  bikes, music box) that transport me to this place of deep feeling.  To draw attention to the unusual and as some would perceive as perplexing. With reference to that idea I have been experimenting with a sequence of performances. The first of which  is called "Attention Test" . In this performance I perform in different public locations and social situations ringing a service bell , I then wait and observe reactions and then leave.  I am seduced by the idea of objectification in the sense of ' the act of representing an abstraction as a physical thing' (thefreedictionary.com).  My findings were,  the attention test only worked in two ways the obscure,(people could not identify where the sound was coming from) and confrontational (when you approach the person directly). Any thing in between these parameters appeared to draw little or no attention. 

 

Physical Kinetics

Kinetics are present in every art piece, the idea of movement, a gentle motion. I am more intrigued by the idea of struggle or forced movement,this precarious struggle to make the artwork move with me, breath with me;  perhaps a struggle to bring life to the work. I am currently working on a form of prosthetic arms that attach to my back and draw lines based on my movement. I am looking for a new way to put pen to paper that is not governed by a program parameters (drawing machine /drawing apps), the action restricted only by my own interactions.

Artists to refer to:

Susan Adams.

http://www.susan-adams.co.uk/

Janine Antoni "Loving Care"

http://www.marthagarzon.com/contemporary_art/2011/01/janine-antoni-loving-care-lick-and-lather/

Heather Hansen.

http://www.youtube.com/watch?v=C4oBc-o1npg 

Rebecca Horn.

 

Kinetic Art

When I exhibited 'Primordial Jelly' in 2013, when of the jellies fell during the show. I rushed over to correct this pulling the jelly with one of the strings. Suddenly there was a burst of laughter and clapping from the viewing public, this surprised and intrigued me, the awkward, curious performance of it. This in turn inspired my current practice.