“Metempsychosis” (The Making Of)
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“Metempsychosis” (The Making Of)
“PARABLE” (Part1) Keep in mind this film is meant for an analogue TV, here is a widely available version for anyone to experience.
Earlier this year I saw a lecture on sound in art given by Eva Peterson (http://rockndolestar.blogspot.co.uk/2012/10/dont-be-shy-with-little-flame-eva.html), who quite like myself is a musician and artist. Since that lecture, ideas of sound creating a space has been hugely influential to my work, not just in “Noi”, but also in my later piece “PARABLE” in which the sound is a huge part of the cinematic relationship that the images in the film have with the viewer, music has so many emotional connotations, you are always taking in and even subconsciously reflecting from the themes and styles of sound and music. I feel like the pieces of audio and music that make up the first instalment of my film have actually worked very well to create a successful dynamic, cinematic experience.
“PARABLE” Interesting how immersing myself in my own video piece actually effected my own perception of it entirely, almost allowing me to witness my own discussions and semiology. I placed one chair in front of a very small analogue TV, this was a very purposeful display, my video is a conversation with one person and not many. It is a cinematic not to entertain, but to show. It was successful in doing that, although as a bi product of this method of display I unintentionally had created a performance and a sculpture using the audiences participation. People did not just spectate the video, but i think I speak for everyone who sat in the chair that this piece immersed you with the work to the point you know you where meant to be sat down and observed, creating the natural emotions anyone would be feeling during a performance.
“PARABLE” (Part 1)
One of the biggest themes of conversations I’ve had with myself surrounds massive questions, philosophical and theological. I’d say there are way too many ideas and outcomes to discuss here, but what I will say is I am currently undergoing a massive writing project named “Symposium of a Young Mind” and this is basically a in depth yet, possibly oversimplified documentation of ideas, concepts, and views of perception that I feel aren’t forcibly announced, but are represented as my truth in my work and experiences alive that have lead me to develop these ideas. I basically begin at the routes of society and make the attempt to explain every notion and everything I see and think about, all tough impossible, this task to myself is one worth investing my time into. My film is a very personal yet very commentary piece of work. Once again I have taken the influences from experiencing the world surrounding me. It reflects ideas of mortality, theology, religion, being, existence, self consciousness, logic, narcissism and what it means to me, being an artist. From part one all these elements may not translate, it is the first instalment of a large film.
Strange, how the piece itself once taken form starts to teach me more about my own art, in the processes I go through to complete my works. Watch as the words burn away in time, almost like forgetting, how some still linger afterwards, but have lost their meaning and relationship with the viewer. This was emotionally interesting, actually seeing myself, what burning a book I own felt like.
This piece is formally a kind of minimalistic, conceptualism. Using every element of the piece to add to the depth of conversation and relationships a viewer can make. The title, obviously the big give away refers to what the piece implies but, I feel like the notion is there, its authority in documenting the conceptual moment in time all these politically intertwined religious preachers destroy their own texts as a statement. That they are reclaiming their intimate relationship with their God as their own.
“Reappropriation”
I have made work with religious connotations before, I’m referencing the piece “To Be Human”, the stained glass window I made last year. This work reflects my perception of what is going on in the world right now. With religion being almost at the forefront of controversy. Which to me is strange and odd, although religion itself at this day in age, when taken literally can be, not entirely brainwashing, but very limiting to ones freedom of thought, expression and human rights. It is odd because of what has happened in various religious and cultural communities. So to speak religion and cultures are almost simultaneously divided regionally on the globe and what we have currently are different, individual takes on religious scriptures. So the religion itself, speaking generally is more subjective in most western parts of the world than it has ever been. Thus making the only party represented by these subjective impressions, the individual. Recently, due to a number of happenings, religious freedom and freedom of belief has come under threat due to the actions of minorities, who take liberty in referring to themselves as part of a religious group, yet house ideologies that are completely opposite to people who worship under the same god and read the same texts. It is difficult to comprehend, but it comes down to the simple fact that religion is a powerful, suggestive political implement, that can be used to justify any form of behaviour, totally interpretable by the reader. The idea that one may acknowledge this and accept this to be the situation, may have the ability to overcome any form of religious discrimination based on the actions of others affiliated by their God. In other words remove the materialisation of the religion, take away the texts power and understand it isn't the paper on ink that makes up a belief, it is the personal connotations and interpretations of the text that makes your religion not only meaningful, but intact and unaffected by the destruction of such a symbol. The very idea that religion although referred to in extremism as the culprit, people always forget, it is the ideology that fuels the imagery that religion paints.
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“My practice in many ways tries to discuss personal views in such a way that words would find hard to concur. I try to expose myself to as much of the world and its vast human related content as I can. Subject matter that I indulge in I see in possibly a very unique perspective. I feel the need to possibly comment on these reactions I have to life, conversations that I have with myself manifested deeply into the connotations and signage of my work. These concepts may have an individual and controversial impact on anyone who tries to understand my work as they are not me. They haven't seen, read, experienced the input I have and they haven't spent a vast amount of time thinking. Just sitting and thinking. I probably spend most of my time working on pieces, actually doing no physical things at all, but thinking. It is the most important process of my art, for it must attempt to carry the depth and ideas that my thinking develops.”
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“One theme I see that runs through my whole practice is linguistics and language, the idea that art is fundamentaly understood by everyone with the ability to sense. I see the beauty and the relationships that such a subject with no limitations or prejudices can entail.”
One theme I see that runs through my whole practice is linguistics and language, the idea that art is fundamentaly understood by everyone with the ability to sense. I see the beauty and the relationships that such a subject with no limitations or prejudices can entail. In this piece in order for it to become successful, I would need to create art without subjective connotations, possibly using a minimalist approach to manifesting a possible physical sculpture that has a relationship with the music.
The concepts fuelling these pieces, or project I should say is the idea that I can describe something using different elements of language and still arrive at the same conclusion. For example; Using poetry, written word, music and notation and through sculpture, I have formed a relationship between these forms of display, that all communicate via the connotations and linguistic concepts of what is being commentated.
“Noi” During a small experimental mini exhibition towards the beginning of this year, I showed “Noi”. I knew before hand this piece would evolve as at this stage in time I had only the music and a few ideas. Seeing this piece find it’s way around my other work was interesting in terms of what it is showing visually, not just to me, but to the audience. It’s semiology is very bare. I mean visually it offers the transcript of a moment I have documented in time. Without the audio the imagery I am expecting the viewer to manifest is lost. Music is almost another language to me, but to other people without the audio the connection between my writing and the audience is limited. Thus bringing me to the imagery of the most significant part of the happening I am attempting to envisage. The warming touches of the hands. Allowing this to become part of the piece gave me the opportunity to see what this could mean to me. I had planned to show this piece originally with the audio, but right now I feel these works are separate, not because they are tangibly different, but because the significance of the display will be noticed or translated differently by different audiences. Displaying them together, to me, would convey confusion. The conversation between me, my work and the viewer must be specific, but infinitely deep and impressionable. Learning to develop this visual language from the beginning of my practise was almost like learning to talk. I mean to start with; not only are you unfamiliar with any dialogue or sense of materiality but, it is all felt in the emotion and the connotations of the conversations created. I think typically good art, communicates very well. Experimentation is key in making work that tries to create something that words cannot describe.
“Noi” Dark, lonely, but surrounded by familiar faces. Dancing? Who dances at the train station in the dark, Such peculiarity, remarkable, Such an exuberance of Love, Life & Beauty,
Beautiful she says, That’s how small things are to her, Hug? She asks me to embrace her, The lonely man with a sorrowing smile,
Her hands are cold, does she feel what I feel on the outside?
I warm her hands, her smile warms my heart, Passion is the cure for poisonous emotions.
“Noi”
This piece of music, I composed in reflection to a simple interaction with a woman named Noi. I had this interaction at a very difficult moment in my life, following some very tragic news that sent me a little off course. This person approached me out of everyone else stood on the platform waiting for the train and spoke to me. She wasn’t like everyone else, she was special. Her impression on me, will be in my memory everlasting. I am sure she has most likely already forgotten me. I have captured this moment, the moment she asked me to warm her hands in the cold of British winter and created this scene, an interaction between strangers, and the effect interacting with someone with such a beautiful outlook on the world. It is often those who’s lives are patterned with limitations and disability that see the world in the brightest light and take little for granted. I painted the environment with this in mind using sound, that my passion for musics ability to paint has allowed me to share with everyone.
FABLab collaboration with TSOA for LightNight 2016. First Meeting. Looks Like its going to be a really fun project, getting young, budding artists involved with making tech!
Society business cards at the Tate and apparel. Hopefully we can raise some money for projects and trips.
I am currently directing a project in collaboration with FABLab for Light Night Liverpool 2016.