Meeting with Judit Bodor.

26/6/2015.

I had a very exciting and informative meeting with the curator Judit Bodor. After a looking at and dissecting through the body of work presented in my portfolio; with Judit's extensive knowledge of exhibiting performance pieces a few key elements were highlighted. The question that Judit started with was, 'what as a curator would I buy? what is the work' ? After careful discussions and consideration it was decided that the main pieces of the work were the performative actions, which are ephemeral and do not achieve re-enchantment through the use of the photos or video footage. In this particular case however, as naturally the exoskeletons became more autonomous and have been used within the actions, they  have a lifespan of their own, then of course you also have the mark-making.   It was agreed that after the act itself, although the mark-making and exoskeletons have a relationship they no longer belong together. It was suggested therefore that two spaces could exist to exhibit, but how would the viewer ever be given the opportunity of discovery? Judit suggested that rather than separate titles, a more subtle way of highlighting the connection would be to have them all under the same title. Other alternatives were discussed, such as (what could be considered to be a performative act),  audio files, where I reflected on the performances. However I later decided that this would add too many dimensions to the work. The other option was the artist statement that referred to the exoskeletons, however I have now decided that the second artist statement is to be an extract of the first statement, also underlining the connection between the exoskeletons and the marks-making. Perhaps in the future photography could be used, this I feel would have to be more in the way the artist 'Vito Acconc' used photography. This would show the images as part of the performative act rather than documentation of the act.

Construction of 'Adapted'

The construction of my own light space installation to hang my exoskeletons in started with a renering on auto cad, which originally consisted of a space 24 x 16ft, curved in two ways. However the funds available to me would not be enough to achieve this. I happened upon an installation by THE NEW BARBARIANS, 1997–99 Translucent resin, fibreglass 79 x 69 x 137 cm (31 x 271/8 x 54 in) Infinity cove: Painted medium-ply board dimensions variable.

In this installation they have created an infinity cove which only had the main corners of the room curved, which seemed to be just as affective. Disappointedly using acrylic like 'Douglas Wheeler' was not an option for me so I set to work building my infinity room which would measure  8x16ft with a wooden baton infrastructurewith MDF and flexible MDF. Of course this means that mine would never be as perfect as some of the spaces I have looked at, although it should still be quite effective.

Artist Statement.

TEMMAH.

Title: ADAPT.

4/9/2015 : 6-9 pm

Integral to the pursuit of understanding, human beings extend themselves - combining flesh with machine to excel beyond limitations, we progress, struggling to adapt to new parameters. This co-existence is not necessarily one of harmony; as tensions build we remain flesh and bone, only displaced from our bodies.

These exoskeletons were produced over the duration of one year and designed to apply to my body, moving with it and producing gestures. Orchestrated from an emotional starting point as the result of past traumatic experiences I embody these feelings. I aimed to treat my body as unable/obsolete, creating friction between body control and exoskeletons in the pursuit to leave marks at events in different locations.

As the exoskeletons’ developed more opposing forces were added giving them their own sense of autonomy. It became clear that not only were they becoming extended flesh, but something far more interesting. We were juxtaposed beings co-existing through my movements; these devices were given their own lifespan. Now isolated from their original surroundings they exist displaced from me. Without flesh what is their identity?

Tom Martin (seminar curatorship)

5/8/2015.

Tom gave a quick talk about curatorship and we looked at different artists and exhibitions, ones that worked and ones that disappointed.

We looked at an interesting fashon exhibit by Alexander Mcqueen which had some interesting exhibition methods that really break the boundaries' of conventiononal fashion display.

'Light Show' (book)

In order to create the space that I was to create for the masters exhibition it was decided that an effective option was to create a space that was mute, so the objects could be the sole purpose of the space. In perperation for this, I researchedlight space installations and artists such as 'Doug Wheeler'. In his creation pure white spaces almost look infinitive. His use of LED lighting and perfectly curved acrylic panels seemed to be the reason for this illusion.

I was reminded of the first place I encountered spaces such as this in a movie call 'Mission to Mars' 2000.

visit to Prof. Andre Stitt's studio.

1/7/2015.

Chapter: Richard Woods (Inclosure Acts).

We entered the space and were told to view the installation  first before reading any material. My first apparent notion was to consider the floor which looked to be covered with vinyl tiles and the adhesive was wearing off or possibly purposely left like this? It  was a bizarre feeling under foot. You did not have to assess closely to see that they had been clearly printed by hand. Then my attention drifted up to the objects in the room trying to assess their narrative,  which was not directly apparent at first other than they were wooden structures on tiles that makes you vaguely think of farms from an Arial view as the tiles were painted green. However this green was a very acidic colour which made you think of artificial assimilation.  Within the three rooms of this installation  the last aspect at first seemed to be large canvases with prints that looked like windows/ cladding from Tudor houses? As I continued to investigate the three rooms that were originally four, but the wall has been taken down between the two so we will say four rooms. You notice the pattern of the floor changes at different points in the rooms, four colour changes. As you adapted to the flooring you become more aware of the objects in the room, which were not perfectly joined, attention to the handmade again. There is a significant urge to touch but being aware of your environment there is hesitation, then the invigilator of the show sits on one of the wooden structures, interesting I rush over to join in this action, ah what a relief. We then had a discussion with the invigilator about what we all thought; everyone on the MFA seemed to have assessed the work in a similar way. Our attention was drawn to the title ‘inclosure acts’ which is referring to, according to the annoying use of Wikipedia in the flier, as a series of acts during 1604-1914 where common land was enclosed by land owners. Then this was followed by a rigorous determining of the work by the representative  of the artist about the meaning of the work. We were then told that what I had first deemed as printed canvases on the wall were in fact aluminium and the lino, I was so convinced I was walking on was in fact made of MDF tongue and groove, the artist had also purposely not adhered them to the floor correctly. It was stated that the artist was referring to the artificially simulated and at the same time drawing attention to the handmade. It was then discussed what that control over the point of perception has on the viewer, and as an artist and a viewer do we expect something different from the art that the 'institution' has to offer.

Seminar (Prof. Andre Stitt).

03/06/2015.

Performing Political Acts.

This seminar was centred around the time referred to as 'the troubles', which was during Irelands civil war.  In particular how performance art helped address, target and reveal important issues that needed to be discussed and as a result possibly heal or allow a refusal to be a victim in a time of such horror and conflict. Andre stated that although the artists that are presented are from southern and Northern Ireland, his position situated in Northern Ireland means it was mostly from that point of view. However through the act of performance  it allowed him to be placed outside of those parameters and exist in a form of non space; where he could  not only be protected by the artistic act but to be able to voice issues that were otherwise being denied. After locating the very complex subject matter, which of course it would be because no conflict can be simply outlined, Andre then began to talk about the origins of performance in Ireland, in particular Belfast. Andre talked about the influential visit of performance artist Joseph Boyse whose lectures/work shops had a lasting effect upon the area. Continuing the discourse with reference to his own work throughout, such as his series of graffiti  tagging pieces called 'art is not a mirror it’s a fucking hammer'. There were many artists during those times dealing with the subject matter such as performance artist Alastair Maclennan, in particular his work 'Target', John Carson, Nick Stewart and Tara Babble. After the talk finished Prof. Andre provided an answer to a question  about peace, Andre exclaimed that mankind when under threat we can all become barbaric and that perhaps mankind is not capable of peace. Which I completely agree with, there have been many psychology studies around this subject which include the Stanford prison experiment with the prisoners and the prison guards.

Mentoring with artist. (arcadecardiff)

15/5/2015

With Mark Devereux and Nicola Dale.

I was lucky enough to have a mentoring meeting with Nicola Dale.

Issues discussed were mostly in reference to exhibiting residue from performances and the major issues that artists have when the work starts to become aware of the context within its situated. Of course this is now an essential aspect of my work. We discussed her work in relation to mine and dissection's that had to be made in order to accomplish the show. We were discussing how many pieces to exhibit,  although Nicola commented that she would have wanted to show everything in her exhibition in arcade Cardiff, however this would have cluttered the exhibition . I then discussed the idea of disassociation,  allowing the viewer to form their own narrative in relation to the work. This Nicola  believed would work well as long as it was achieved in the right way.  I discussed creating an environment for the exoskeletons which was separate. Exhibiting in this context  would allow the objects  to be viewed on their own. Furthermore, exhibiting only one painting, depicting the marks made by  each exoskeleton located in a completely different room. Nicola said this was intriguing but shemade a really interesting suggestion. What if one more exoskeleton was made and that its only purpose was to wear it in a ritual walk   between the two spaces,  allowing that physical connection  that is relative to my position.

Later that dayfor the Chapter Car Boutique I was talking with Mark Devereux  Projects, it will be a privilege exhibit next to such prestigious individuals.

London Trip.

Barbican Art Centre.

Discussions with Prof. Andre,  along the journey around Cardiff informed the questions that arose whilst looking at each exhibit.

Magnificent Obsessions: The Artist as Collector.

This exhibition was an intriguing example of how collections of objects and  how the obsessions of the artists informs their art practice or vice versa. My major concern for this exhibition: what to decipher why each artist choose those particular objects to display? To reflect my research question, how to exhibit live art residue? What to exclude, what to show  and how to show it? There were in this exhibit  many different examples of exhibiting objects. However all of them were impeded by the institution in which they were located. Ref:  ‘Inside the white cube’. There were some exceptions, which were mostly executed by installation pieces created by the objects/artifacts’.  For example; in Howard Hodgkin’s exhibit,  a completely different space inside the gallery was created, it was isolated. As you enter it was almost as if you were entering a domestic space, mostly due to the rather unexpected green colour of the walls .  Dr Lakra, displayed a record collection with a record player. Perhaps however, as in the clay exhibition in Cardiff museum, it would have been more immersive if you were able to play the records. This of course could be problematic with a personal collection. Jim Shaw created another domestic narrative.  Martin Wong/Danh Vo exhibit  covered the walls from floor to ceiling with the curiosities’ ,also accumulated around the edge of the space wood flooring was inserted. This exhibit  I feel would have been more immersive if the floor was completely covered. In the Andy Warhol back room, there was a wall covered in wallpaper which also allowed for a metaphoric exit of the gallery space. Pae White hung a collection of scarf’s and what looked to be tea towels, hung and spread across the space. Edmund de Waal in his case created a collection positioned in a way not dissimilar from his installations of ceramics. In the case of Hanne Darboven a piled up method was used, creating the experience when you could not quite focus on any one thing. Peter Blake and his collection of masks  was positioned on the wall,  this was not dissimilar from the shape they would be in, in order to fit in the corner of an attic. Arman had an intriguing collection of gas masks. In the case of other artists such as Damien Hirst, Hiroshi Sugimoto and Martin Parr their intriguing  curiosities’ were all positioned in a museum  spectacle, once again an informed decision that seems to reflect the artwork of the artist. Of course another thing, all of these objects have in common, apart from belonging to post-war contemporary artists, is that  they are they were all men. Apart from the curator Lydia Yee, who is female. What an intriguing and stimulating show , however I will remain baffled as to why  such a large show of the collections of artists, only belong to male artists ?

Roman Signer: Slow Movement.

Along a very misleading room with a wooden floor; made from a soft wood, beech. There was a faint line, marked it seemed with a  slightly red paint residue. Then you look to the right at a video which directly informs you that a red kayak  has been dragged. Then knowingly following the trail of the kayak, around the long curved space that seems never ending, and then behold there is the kayak. How disappointing, this gave too much information to the viewer. This way of exhibiting  was really relevant to my current position,  in  that too much information does not allow the possibility of discovery and destroys the experience.  I feel this will be particularly relevant in the final module, as we are showing in an art institution, so the viewing public are more likely to be more informed.  If one was to observe a car crash, you would only need the tire marks on the road to induce that there had been one.

Seminar (Amelia Johnstone).

6/5/2015.

Can images breathe?

There is an interesting central debate between mine and Amelia’s work that emulates around the idea of physical activity when mark making. However, Amelia’s practice has other concerns such as the aesthetics of her back pack, which seems to be theatrical in nature, making reference to folk law. Amelia also seems to have religion as an imperative motivator for her work, where as mine is more of an internal thought process centered around current debates about the future of man and technology. Furthermore, Amelia’s back ground is in illustration so the marks made are much more considered and figurative, where as my focus is to allow the device more autonomy, so there is a conflict of interest, a play of power between me and the device. This seminar has offered me new and defined insights in to my subject matter to consider.

Seminar (Steve Thoption and Clive Cazeaux).

29/4/2015.

Critical Reflection.

For this seminar there was more of a debate centered around the idea of critical writing, some of the points made were as previously discussed in  that when writing critically one must make sure that every point of view is considered and to make sure there is tension in the debate. In groups of two we were then asked to bring up an example from our own research. I discussed the idea of the 'geometric trap' when mark making with body.

Realisation Module Brief.

29/4/2015.

In this module brief ‘Realisation’ there will be four submissions. Critical Study of 3,000 words, which is actually more concerning than doing a dissertation as the word count is so minute that it will have to be extremely focused, which enables us to condense and review our research. It was discussed that the critical study should reflect our research and context throughout the MFA program, always grounding it with our 'position'. An exhibition, which will be for the most part autonomously organised using our abilities gained whilst on the masters’ course, which is to be a self sufficient professional artist. As in previous modules there is a PDP, however this one is to be extremely condensed 1,000-2,000 words. The last submission is the viva which we have previously attempted on the position module; this is a verbal explanation of our work and an opportunity to fill in the gaps between practise and context.

Exploration. (Feedback).

24/4/2015.

Following a detailed critique for the summative presentation of my work  with the core tutors of the MFA course, it was discussed that perhaps the drawing in itself and or the documentation footage does not work as viewers might find the physical connection between the exoskeleton, remnants  and a continued event unclear. On reflection, perhaps as the field of performance is a developing aspect of my practice, my performance aspect may instead of giving a true and honest account of myself as an artist, is in fact too revealing, inadvertently displaying who I am; which can be viewed as ‘unconvincing and self-conscious’. However in contrast to this view in my review in Buzz magazine it was stated that  ‘an experimental drawing-performance and gave the impression of being introverted, with strict focus. When the audience were invited to approach as she drew, there was a feeling of spying in on a private ceremony.’ SINNEAD ALI

If the performances were theatrical and choreographed in their approach then it would not have been a true interpretation of the experimental nature of the work; which is a basic interaction with a new parameter or body attachment which I am unfamiliar with.

 In addition, when the documentation footage was exhibited, it was commented that the footage was found to ‘cluttered’. When exhibiting a particular field of research a system emerges that becomes familiar and although certain aspects of the work were redefined and condensed, the work should be pushed to the outer limits of its capability. In conclusion it was important to experiment exhibiting in this way as through analysing the findings of these conflicting reports it will allow the work to progress. The work needs to allow a forced direction of the viewer to fall away, to reveal the exoskeleton tool and in its self. This has left me with a paradoxical view of my position.

http://akerrscreate.tumblr.com/

Clear Cut 'Interface'.

The performance was adapted to suit the space and a smaller amount of paper was used to allow the audience to walk around. The lighting which was chosen, allowed the viewer to be able to see the drawing/performance but had a unexpected and interesting consequence of overlapping shadows which some viewers commented 'added to the experience'. In future therefore, lighting needs to be a more considered element.

As the space 'MADE' is limited, if I was invited to show in the space again I would project live feed to the front of the space.  To enable even a large audience, as the one on the 23rd April to view the full event.

Co-inhabit.

-Projection and etching.

Whilst experimenting with exhibiting techniques for  the work 'Co-inhabit,' it was important that the etching was viewed as relevant as the projection. Therefore it was decided that there would not be blackout material, allowing the projection to be blurred and merged with the etching, providing a unity and a sense of balance between the two.

Action Painting.

12/03/2015.

'The big moment came when it was decided to paint... Just to paint. The gesture on the canvas was a gesture of liberation, from value political, aesthetic, moral'. Artnews December 1952, The American Action Painters By Harold Rosenberg. This is the first use of the term 'action painting' but what is its contemporary context? Is there a connection to our primal selves, our instincts are still present. The question here is are we trying to connect to our primal selves? Ref: cave paintings in the paleolithic era?.

 Ushio Shinohara.

Yoko Ono.

yves klein.

Doing everything wrong.

I am creating an environment for the co-inhabit project in which I will use a new exoskeleton  to scratch the environment. Further questioning what is a mark? In order to make the environment easier to mark and to also allow a chance of a continued event to happen, I am purposely preparing my plywood surfaces in way that will reduce the chances of the paint to adhere to the surface in other words 'doing everything wrong'.

e.g. Making the surface greasy using wax and petroleum jelly.

Using acrylic co polymer on top of the greasy surface.

Using cheap poster paint and adding water.

White washing with silk emulsion and spraying polish.

Blobbing paint on and adding dust to create  uneven surfaces.

ref:

Anselm Kiefer Exhibition (Royal Academy of Arts).

January 02, 2015

https://www.royalacademy.org.uk/article/kiefer-and-chipperfield-talk-space.