While we generally don’t actually remember more as time passes of certain events, as is the nature of memory decay; the more often we access a memory the more often it is prone to changes. Things we were once doubtful if we actually remembered become “facts” and details that were filled by our brain change dependant on our mood and any other primers that could change our interpretation of the events. So in the case of memory, a line can expand and change form.
In relation to the work that I am creating, then yes a line can perform all of those functions. Thinking of memory as a set of pathways jumping around from cue to retrieval to further cues and such and so forth, different paths (lines) may be skipped in order to come to the same memory (i.e different cues may produce the same memory).
Can the line be folded? What is a line that is folded; a path from point a to b at a set distance. Now if that is folded the distance is shortened. My illustrations act as new faster cues for the memory instead of trying to access the memory in a separate possibly longer act of retrieval.
In terms of bridging, our brain fills in the gaps of our memory with believable or desirable information, so in a way the empty pathways are being bridged with plausible material.
This one had me puzzled for a bit. It both does and does not become something else. When a line bends and reconnects to itself we call that a ‘circle’; it is now defined by as a shape. However what is a circle symbolically and physically? It in closes something or creates a boundary. Symbolically circles can represent unification. A line accomplishes both of these tasks, and the means to create the circle.
So yes a line can bend, we may call it something else for clarification purposes but it is still, in its essence just a line.
Much like the previous question, can a line move, can a line bend looks at the possibility of expanding or changing conceptual boundaries. As long as its perceived as the same boundary just changed in its outline, then that line has bent.
Can a line move? This question I think is based on perception; is it seen as the same line, or is a new line being drawn? We could physically move a line, if say it was placed in the wrong spot, its material moveable, or only a fraction changed, then the line would move. A line would also appear to have moved if it functions exactly the same as before just in a new spot. For example the line at a stop light might have been ‘moved’ back a foot to give pedestrians more space. However, that material, paint on asphalt isn’t moveable rather its the perception that the line has moved.
So when does a line not move? I think in that case it also comes down to perception and semantics “had to redraw the line”, or “a new line was drawn”. This phrasing I think is used when the line is either of different quality of the previous (literally poorly drawn) or placed in such an unrecognizable spot that it denotes clarification and erasure of the previous line, whether physical or conceptual (regarding the stop sign analogy to a pedestrian who passes by every so often the line may have moved, but to the person who actually did the painting the line was redrawn). Often this language of a new line being drawn is used when the bonds of a concept are being stretched, rather than reduced. It’s as if we can imagine this imaginary line breaking if we to actually stretch it to include the new definition, but have no problem imaging the line shrinking to tighten up a definition.
The oil paintings of Joshua Flint look like depictions of memories when one tries too hard to access the faded thoughts—worn corners, blurred faces, and transposed scenes that don't quite make sense. Each work has a familiar element that seems to be cast in a dark and foreboding haze like Sandcastle
These paintings and artist’s process were a inspiration towards the type of work I was looking to create in the beginning of the project. His surreal imagery and depiction of memories are what drew me to his work.
Unlike what I was looking into, Flint’s pieces seem to be concentrated on a singular memory and all its absurdities; trying to stay true to the emotional and visual memory of the event no matter the logic on the canvas.
Psychologist Elizabeth Loftus studies memories. More precisely, she studies false memories, when people either remember things that didn't happen or remember...
Learn about memory reconstruction, source monitoring, and flashbulb memories. Created by Carole Yue. Watch the next lesson: https://www.khanacademy.org/test-...
This series, and this video in particular have been very instrumental in my research for my project.
“ ... memory is not a video recorder. It’s the very organic result of neural connections in your brain which can be altered and reformed each time they’re exercised.”
Below is what I am currently working on. I have created three pieces. However I think they can all be pushed further... but I'm still working on how .
This is the one that I find most effective. It combines two memories. The first my sister fell off the top of our pool slide after being stun by a single wasp. Our house at a different time was completely infested by wasps, and right in front of my bedroom door, a hundred wasps sat on the curved staircase banister.
This one combines the memory of my chicken’s feet falling off do to some weird disease, then the last after its death being disposed into a burning barrel, which reminded me of the firework displays we had in our country backyard. As I was painting the colours and composition brought forth the shape of water (literally not the movie), which then triggered a separate memory of witnessing fireworks in Courtenay at the estuary. While I'm pleased that this one covers more memories and from much different points of my life, I'm not as thrilled with the execution
This one is my least favourite in execution and purpose, (it’s important to share failure work in an effort to learn from it). The kid/goat in the front is Elliot a goat my family had for 2 days before he died. The rabbits were also purchased at the same time, the black rabbit died within a week, and the beige (named chestnut died within a year after it got loose in the yard and my dog ate it). The stripes on Elliot are from a separate memory. Chestnut would court my youngest sister whenever she wore her stripped leggings. The pills are for how Elliot died, either not enough medicine or he choked on the pills. The tree, after remembering all of these animal’s deaths I was reminding of the flowering tree that my family had planted for a different pet dog that was hit by a car. Why I'm not particularly happy with this image is because if is focused on very similar events.
Here is what I started working on this semester that I decided to abandon. Once I started it didn’t feel necessary anymore. It wasn’t serving any purpose for me.
Once I decided it wasn’t good anymore I put gesso on it
it is now a painting that has nothing to do with this course. oh well.
I thought it might be beneficial to share some images from my sketch book to show the direction I was thinking of exploring.
This is was at the beginning of the semester when I was still looking at creating a mind-map. I was curious at how different paths could lead to the same outcome and how to visually represent that.
granted I know my writing is chicken scratch, but the illustrations on the left are working out the time-line of how memory interrupts the present. The top as if the person physically drives into the past in a U-turn to be brought back into the present. Below that memories existing in tangent and are grabbed. Both still don't quite satisfy me.
I can be quite the literal person. These were some explorations of what types of lines/curves/equations can be calculated through formula.
While I think I wrote myself into a corner with the last blog post regarding what a line is, I think a line can be broken. A line no matter how broken and far apart it is, is still a line, (if a line can be inferred between two or more points). A dashed line is still a line, because we can, and often fill in the gaps between the spaces. Rather than seeing the points as individuals we often some up their whole into a single entity. But, a line can also be inferred between two points that may not seem to have a relationship towards each other. When viewing a painting, and you find yourself bouncing around the image, there may not be any lines, but your eyes are making them, capturing the spatial relationship between those points on the canvas.
In this course I want to explore the way in which memory acts like a jumbled and/or broken line. How time bends, folds and is redrawn due to memory. Examining the way memory functions with cues and recall, I will create images that combine multiple cues from different memories. Cues whether or not directly related to the memory are the device that allow our brains to recall the information. I will start with one childhood memory and jot down visuals and feelings from that experience. From there I will explore other memories that are recalled by similar experiences. Imagery from different memories will then be combined to create one fantastical images that act as several cues to those particular instances. While the memories will be of my own, I imagine that some images my act as cues for other’s memoires.
Logistically I look to create six 8x10” mixed media paintings that combine different imagery from different memories.
So, I began my work for this coarse following the direction of my previous “course direction post”. Rolled out the paper, got to work, and decided that it wasn’t what I wanted to explore. I'm still interested in memory, but creating a mind map reflecting my memoires of my father isn’t of my interest. I think by the time I started I had come to terms with it, and I didn’t need the piece anymore. I will still post the progressive for that work (late) and my new statement (also late).
Sorry for the change of direction, but I am a lot more excited about my future project.
I think the answer to that question depends on whom you ask or the context. A line (according to my grade 10 mathematics teacher) is only the relationship between points that can be calculated with y=mx+b formula, “a curved line is not a line, but a curve”. So either a.direction or b.connection of points or c.division of area would satisfy his definition granted the line was straight. When the line changes direction, it becomes a new line.
However, the world does not only communicate in terms of mathematics. In visual art, what constitutes as a line is broader; straight, wavy, dashed, continuous, all are acceptable and understood as a type of line. Yet it is within most drawing or painting classes that teach students to look beyond line and instead consider shapes. In the real world objects do not have an outline, an so by drawing one it is only a means of representation instead of accuracy in depiction; unless line is used in terms of pattern or stylistic rendering. So once again all possibilities are met.
What about language? This is where option c.division of area becomes heavily used. Whether someone is “drawing the line” at a certain behaviour or commenting on someone “acting out of line”, line begins to function as a separator rather than just a path or trajectory.
So what do I think a line is ? A connection between points which is straight and that moves continuously in both directions (unless otherwise specified). Which, can act physically or visually as a border. I think from using lines as physical and visual separation tools, line has been woven into the English language as an metaphorical aid to separate behaviours (this is just speculation I have not looked into the history of the word). That being said, I will describe all lines as lines whether dashed, curved or a big mixed up mess, because that is the most common understanding of the term line. After all we don’t all go around speaking in terms of mathematics.
This feels a lot like art philosophy, when asked “what is art” our definitions grew and grew until there wasn’t a broad enough definition to accurately describe art. I feel the same way with line.
For this course I want to explore memory and the complexity of family relationships. Focusing on how memories change their meaning as new information is presented. As a memory changes meaning, does it become a part of the present, and does the present affect the past?
In terms of research I am currently looking at how memory functions. I’m also going to be looking at different representations of time. As well as how other artists tackle delicate family situations. As this is a new direction for my work I welcome any suggestions for artists or writers to read up on.
The piece I wish to create is a mind-map / entanglement of memories and stories of my own and my sisters’ childhood. These will primarily be containing stories, illustrations, and words spoken or acted upon by our father. The goal is to illustrate the difficulty in separating a person who has given so much love but also so much pain and how distance allows for better reflection on the past and current actions. Ultimately this is designed to be a healing piece for myself.
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