M y tutorial with Sarah last week has really helped me to clarify what direction I’m heading in initially with the result that I have amended my proposal – I recorded the session on my new ipad (what a marvel it is!) so I was able to make quite detailed notes – this is a summary:
I have been questioning the relevance of the ‘failure’ part of my proposal – I felt that the concept of ‘failure’ might come in at a later date but that chance and unpredictability are more central to my methodologies at this moment in time. Through the critical frameworks module I have become interested in phenomenology and Sarah explained that this is not a conceptualisation but a lived act (embodied) and could be a useful framework for testing out ideas and making work, I feel this is relevant to the work I want to make this year. It is important for me to start making work/to act! We discussed Newlyn Harbour as the starting point to focus my work and to think about how I am translating the sensory experience of being there. How do the paintings I have been doing lately relate? With this in mind it’s possible to revise my proposal in the next week as it was not too late at this point in the module. I have produced 20 of the 100 paintings I set out to do (a task I set myself at the beginning of the module as I had an itch about painting – maybe I was missing out on a process and I wanted to find out) but I don’t feel that I am a painter’ rather, a mark maker. There followed a discussion on the authenticity of the mark and the challenge to make a mark that responds accurately to a sensory experience, given the baggage that we all carry. For example how could I capture the feeling of the wind blowing on my face? My response was to think about what material I would use as opposed to a mark that could translate this experience. Sarah thought that my previous work (BA) explored the notion of trace rather than expression and asked how I had translated my current ideas into a painting – she said it would have been beneficial to have actual work to talk about and to bring in work that I could point to as an example of an idea, also it is more rewarding for her too. I will take this on board for the next tutorial. She also suggested that rather than make 100 paintings I could make 20 sound pieces, 20 sculptural objects, 20 paintings, 20 drawings, 20 video clips etc. One of my objectives could be to find out what is a trace (through making not thinking) and to explore the notions of trace residue. The questions that arise from this tutorial are:
What is the equivalent, on a piece of paper/canvas, of a sensory experience? What other ways are there to translate a sensory experience?
What constitutes a trace or residue in relation to my work?
How is it possible to create/capture a sensory experience as a phenomenological experience for someone else?
How does my experience seep into an artwork?
How can I judge (critical reflection) whether I have successfully translated this experience?
How can I ‘draw’ this (out/from a place)?
So 2 main themes have emerged
- The translation from place to artwork
- What is it that is lost or abandoned and what happens in the time between an object being useful and of no use
Revision of proposal with tutorial notes you can find it here – RosieMAproposal
Research Paul Crowther writings on Merleau Ponty
Exploration of indexical marks and trace residues through the making of the 100 works detailed above.