Studio Work Proposal
Modified over time, I realized by midterm that it would be impossible to achieve the third large panel, 36 x 36. I was challenged by that piece anyway, with the decision to stick with the nostalgic objects, material remnants of Mom. The third panel needs to be on the same theme.
1. Aims and Objectives: Capture and Suspend Memory
Create objects, where possible, by threes to echo Instagram formatting.
a. Ongoing creation of 10 x 10-inch Container 2 and then 3.
b. Ongoing 8 x 8-inch Container to capture, in the end, the thickness of 291 layers of toner.
c. Create two large panels with overlap of vellum, carrying on with further investigations in transparency, binding, shroud/veil.
d. Explore video archives of 2021 Instagram scroll.
e. Create the reverse transfer panel for a collection of GPS routes collected while walking a circle at the pond location.
I intend to remain rooted in conceptual work that began in DRWG 311. While a huge departure from how I have worked in the past, it is NOT a departure from how I have acted in the world.
I want to listen/respond to the material as this has served these practices to this point.
Questions/possibilities surface through my process, but for the Container pieces, I have had to put those questions to the side. Parameters are set by corresponding dates and a replicated practice.
2. Methods and Processes
- apply daily Instagram photo Container 2 ongoing to Container 3
- link to memory, time, ephemera.
- connect with single Instagram photo taken each day for 291 days.
- access images from Instagram and cross posts from Facebook, paying attention to caption and access words, another capture
- capture second generation of Instagram photograph through captions 2021
- reflect on that day five years ago
- paint in the traditions of acrylic and oil on panels and vellum to suspend memory
-video archive 2021 Instagram archive
Reverse Transfers
Container 1 - 8 October 2015 to 14 January 2016
Began Fall Semester in DRW311 2020
completed after DRW 311 and during Christmas break on January 14
Container 2 -15 January 2016 to 20 April 2016
Began during Christmas break 2021
Container 3 – 21 April 2016 -
Video scrolls are being explored, in addition to other work.
3. Outcomes
10 x 10-inch Container(s) in relief (see above) as well as two 36 x 36 panels, shrouded in one layer of oil painted vellum.
4. Bibliography and Context
I have looked at these contexts deliberately and in detail in my Traces Reflections, but will log some of these, although I anticipate that this list will grow.
Jeffrey Spalding
Eric Cameron
On Kawara
Idris Khan
Dustin Yellin, David Spriggs, René Derouin (explorations for fourth year)
Each of these artists, surprisingly, all men, are true curiosities for me, most recently, Idris Khan. I’m buried in research and take a deep interest into the conceptual notions/practices of artists at the moment.
Ann Hamilton - current
Richard Tuttle - current
5. Timeline
I am putting my nose to the grindstone and barrelling straight ahead. I’m building little maquettes for a class, Mapping Magic and Language, using suspended transparencies in very small ways, so the resulting experiments may lead me to further study.
The second Container was completed on January 14 and a third started on January 15. The application is a two to three hour ritual every day. This project will be ongoing until July 26, 2021. I will paint into the 36 x 36 acrylics begun in DRWG 311 during the summer months.
I expect this framework to be fluid in nature.
I have finished the underpaintings for three new panels and have purchased the supplies for the oil painted veils for the three. I was able to paint the oil on vellum for two of these panels, successfully for the final critique in April.
The detail work required in the painting of my mother’s robe in oil told me that the table runner would require as much or more time. I will carry on with the series of three once the Winter Semester is finished.
6. Synoposis
I want to continue to explore the suspension of memory, using as my subject, one walk around one pond and taking one photograph of one bush each day for 291 days. I am considering the containment of memory. Covid 19 has brought up issues of impermanence. Rituals serve to suspend memory and histories. I have been walking a second circle for the past five years and work is beginning to generate from that practice.