Anthony McCall Line Describing a Cone 1973 (This link is a performance shown 2007). Solid light installation, 30 minutes 16 mm film projector, haze machine. Dimensions variable.
Currently initiating my project is the statement distilled from my body of work,
the event of light making/interacting with surface as well as the duration of time/event and our existence within this.
As I had previously explored through the research of Simone Douglass photography [is] an event transformed into an object...a fixing of light.
In this next stage I wish to remove photography as a tool of producing artifacts of distilled event, and to experience this representation in real-time immediacy without produced product. I wish to create a complete submersive environment in which to explore the time of event, its existence and our position within.
To clarify here, time is duration and event is light making surface, and the existence of this is then perhaps a reflection of our existence and being in real-time.
The CCP provides the grounds upon which I will produce a proposed installment in relation to statement how to encounter smudges, surfaces and the sublime.
How to encounter. How does one encounter? How would one encounter my work?
Moving on from the platform of an image based context, I believe I have had to oppourtunity to physically encounter the surfaces of light. The CCP provides a setting in which these surfaces can be further developed through manipulation and installation within the gallery's walls. I will use the gallery's framework of that of an established spectacle institution to inundate the event of patrons.
Design Proposal to explore the event of light creating surface within the gallery setting, to create a space that immerses participants into a space that questions existence and duration. The event as distilled time, explored in my previously developed images will no longer be static but in motion. Within a gallery the patrons interaction will ultimately from the duration of the event.
My proposal is an event within gallery spaces one and two, with focus on the transitional space between the end of the first and the begining of the second. I will be manipulating the immaterial conditions of the space
The space is not to be altered physically. Only items to be introduced will be devices to impact variable conditions of the space and any partition to hide these from view.
What has emerged within my work is a constant interest in the capturing of light as it interacts with and creates surface; the surfacing of light. Photography had been a method to capture the event and to further distill through product production.
My work has distilled surfacing as it exists in time. Its duration. Its event
The notion of time has always been a thread through my work, yet it was documentation at the Abbotsford Convent that reiterated this. Creating work of the site, for the site and then to view later outside of the site and its event, challenged my previous working method and the way in which I saw time. The event of surfacing and its immediacy that I had been working with was highlighted.
What I have taken from my work thus far is the event of light making/interacting with surface as well as the duration of time/event and our existence within this.
Angelus Novus shows an angel caught on the threshold of time, allowing the coming together of the past and the future in one instant. Occupying a threshold position in space, time and consiousness: between history and myth, bewteen history and myth, between dream and awakening, between antiquity and modernity [...]
The fugure of the angel is dialectics at a stand-still - a frozen moment encapsulating dialectial contradiction. At this moment, the present is allowed access to the past. Here the past and the future, the has-been and the not-yet, come together in a single configuration creating...a monad.
The above passage is an extract from Jane Rendell's essay Where the Thinking Stops published 2002.
Whilst eerily beautiful the allure of Simone Douglass’ photographic pieces is not its aesthetic surface but the state of question celebrated within the frame. Commenting only on the qualities of her work as they lay on the surface does not give merit to her work as a mode of research; the image we see is not a result but a response to investigation.
In her words a photograph “is an event transformed into an object...a fixing of light”[1]. Photography becomes part of the research process with the production of a still image the documentation of a fixed moment of event.
What attracts me to her work is her use of photography in her exploration of knowledge and the sublime, during which her completed images act as a platform to convey such findings to a wider audience as well as aid in further development. Her photograph does not resolve her research but defines the moment to a point in which to communicate meaning.
Simone Douglass explores the medium of photography beyond representational existence by using it to depict visually subliminal events, which upon display then explores the paradox of knowledge. A tension falls between our belief of photographic certainty and the ambiguous nature of subject; the medium facilitates the understanding and truth of product produced. Without one there is not the other.
Her work is a response to existence and this, beyond aesthetic, is what originally drew me to Simone Douglass. In her own thoughts, photography is “a radical departure in which we see ourselves”[2].
What Douglass captures is the falling of light as it lands heavily around us. The state in which light rests on this moment is immediate, yet through production and display, the events duration is prolonged together with ones proof of existence.
The photograph gives us an awareness of our presence in a greater term. What begins is a collapse of real time and then with this, a continuous shift between what is and what is not. The journey of our existence within this has no beginning and no end and progresses with no clear path. What then is our position within time and space?
[1] Simone Douglass in YouTube video, Simone Douglass Artist Talk (Part 1). Uploaded by Arterealgallery May 2011.
[2] Simone Douglass in YouTube video, The Photographic Universe; Simone Douglass with Michael T. Jones | Parson The New School for Design. Uploaded by thenewschoolnyc April 2011.
My Mid Semester review progressed more so a platform for question than that of display. The process of arrangement was not about a chronological sequence (this already takes place here, through blog posts) but an alignment of the ideas and questions that became apparent post-production. In particular the integration of the abbotsford convent documentation within this framework resonated a clarification of ideas. What I saw as a state of confusion, this documentation now stood as a definitive platform for the rest of my work.
I prefer, simply, to state the existence of things in terms of time and/or space.
-Peter Weibel, personal statement. Context Art: Towards a Social Construction of Art, 1994, p47.
Approaching the convent was that of an ephemeral platform. Stories of history past and current exterior physicality activated the interior surface. The words of Weibel together with the direction of brief A/05, I sourced the inter-condition of the site; the heightened condition of space and time as event. In relation to the site, the condition of time was that of a historical sense (through layers and surface removal) as well as the duration of event, in particular the integration of exterior forces within an interior platform. The layers of this condition in various strengths, highlighted the complexity of such a brief; to produce a response that is site related/positioned. Through my previous works I had approached surfaces in the immediacy of their activation via event, so addressing my documentation of the Convent became responsive more so than specific response.
In direct relation to documenting surface behaviours, creating surfaces was a response to giving territory to unterritorialized, ephemeral field. Process of creating was to eliminate pictorial elements and realistic portrayal; only the scale of the project to give a grounding platform. The course was that or reduction and removal to ultimately force one to confine in the surface. Event was introduced through a light source and the event of surface/environment interaction, captured immediately in photographic form.
Pat Brassington's images are at once charming and menacing. They rouse a sense of disquiet as they subtly and humorously scratch at the underbelly of the human condition. In her unique way, Brassington blurs the boundaries of the real and imagined, stripping photography of its authority, bestowing it instead with the logic of dream or fantasy.
-Stills Gallery
The demeanor of Brassington's work is beautiful in execution yet harrowing in content. The tension of the subjects interaction is played by her subdued aesthetic language.
What is particularly enchanting to me is her narrative of small moments and unspoken feelings that begin to extract themselves from their environment, straining themselves from the known into the unknown. A condition of timelessness overcasts itself across the frame, integrating any subject in its path on its journey of endless duration.
The surface of the audio is indefinite, with only the recordings duration giving a set length. We can enter this territory at any point knowing its existence is only in that given time, that event to never be reproduced only recreated. Extruding audio and projecting this without a visual aid, removes its context and identity. The frame of recorded duration confines chaos and territorialises it yet the event remains infinite.
Image by Marcelo Gomes Digawel 'A New Light", Spring/Summer 2012
Curated sequence of documented surfaces. Activated by light, their visual identity is shifted into a single event. The duration of the event is to be questioned.
These events in real time are immediate, the interaction momentary. Yet as documented and redisplayed in an image, prolongs its existence. These events are given duration and begins to show the point of existence between looking and seeing. The medium of photography allows the capturing of one moment, and displayed en mass represents a greater mass of time.
The physicality of these surfaces have been edited out of the frame and no context is given. No understanding of time in a programmatic sense is understood, further delaying the completion of event. We can enter and leave these happenings at anypoint, our interaction not effecting the occurrence. Time is indefinite.
...the frame exploding through the movement it can no longer contain. Art thus captures an element, a fragment, of chaos in the frame and creates or extracts from it not an image or representation, but a sensation...
Framing is the raw condition under which sensations are created...released into the world, made to live a life of their own, to infect and transform other sensations.
Chaos, Territory, Art; Deleuze and the Framing of the Earth, Elizabeth Grosz 2008. p18.
To document the way surfaces perform and the conditions that become evident in relation to surface...To capture a surface behavior.
Trying to catch the moment in which surface performs in time and motion. The event in which light is rebounded or projected onto surface and the role the observer plays in capturing this. Light itself begins to become a surface as it interacts with tangible forms. The event of this interaction changes the visual identity of the physical surface. This is further highlighted by the act of documenting this through still imagery; the brief moment is given stability and a greater period of duration. I do not wish to seek the surfaces in which to document but to capture the event in which performs with physical surface, and this documentation is a response to that. I wish to map my everyday existence, responding to the surfaces that surround my daily program.
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