Recap of Open Group Crits - 4th year talk : 23rd Feb, 2018.
I began by showing a looped video of the (in progress) animation "there is salt in my bones, mountains in my lungs."
This mixed media animation is compiled of both hand drawn material, collaged photographs and video clips I have compiled through experimentation with materials in my studio practice. The video is a partial visual representation of a poem I have written of the same name.
The video was accompanied with a live reading of the poem, and following this, I read my artist statement, explaining the importance of transdisciplinary art in my practice and the merging of science, art, ecology and poetry.
I discussed my manifesto from the beginning of 4th year and how an artist is always researching and exploring, we are curious beings and so we should find inspiration everywhere. I discussed the materials used in the collages and how each have relationships to the body or to the natural environment as I see it in my mind. I focus mainly on hard/soft materials that hold a posture or slump or have an intriguing tactile quality, shape or colour.
I spoke about how this manifesto was inspired by how as children, we naturally explore the world around us without criticism or self doubt. It is not until we explore the world that we learn concepts of fear and societal values and social norms. Though my art, I aim to revert back to that child-like state in which I experiment with materials, words and my surroundings in a non judgemental way. Embracing all the information I can gather, simply for the sake of learning.
I opened the floor to the audience to ask various questions and hold an open discussion:
Q: What did you research prior to looking into marine life and why are you now researching the coral reef?
A: I began researching the affect of human activity on the planet as this was the topic for my thesis. The Anthropocene describes when humans impact the fauna and natural environment; for example, climate change. Through researching this topic I began to notice similarities between the human body and the ocean itself. I read a book on ecology that described how we as a species have evolved from the sea, and we ourselves have oceans inside us. This became the inspiration for this piece.
Prior to this research, I was looking at biomaterials such as fungi and slime mould (neither a fungi, nor animal and without a brain, it moves with a pulsating motion and can solve mazes when porridge oats are used as a food source.) [see https://www.youtube.com/watch?v=5UfMU9TsoEM ]
I was interested in how artists use biomaterials to make installations and interactive works without just using bacteria in petri dishes. There is a danger with combining science and art, that the artist loses their own artistic vision and only recreates what scientists already know. This makes the work futile and redundant. I want to create a balance in my work between the scientific information and the more creative, and poetic inspiration I find in everyday objects, cinema and conversations with friends.
Q: How do you see this piece developing? Will it be an installation?
A: Yeah, I see this being a part of an interactive installation. I still have lots of elements to add into this piece, and am thinking about lengthening the video and then displaying it as if it is inside a cave. I am thinking of creating soft possibly quilted forms disguised as rocks that emerge from the floor, and have the viewers sit comfortably in the space as the video and audio play. The walls would be covered in more 'rocks' but make from different materials with flora protruding from it.
Q: Why do you use poetry in your work and how do you feel you will incorporate it? eg. Through writing in a video?
A: Possibly, I feel like at the moment I'm thinking about mainly audio and recording the poetry so it can be mainly an audio piece or perhaps with performative elements. I could also think about inscribing some of the 'rocks' with words from the poem to add another layer to the work, so that the audience can find small details in the work the longer they sit with the piece.
Q: Have you thought about performance before?
A: Yes, I've gone to a few performance workshops and have realised that I definitely express myself through language a lot more naturally than movement. I have a few ideas for future performances that incorporate some influences I've been researching.
One idea is to create a cape or fabric 'armour' which is dyed with bacteria called 'streptomyces', or allowing the slime mould to create a pattern across fabric with a natural green dye. Artist and material designer Natsai Audrey uses strepomyces as a process of dying fabric for commercial clothing. [see http://natsaiaudrey.co.uk/ ] This idea stems from how Chinese Han Dynasty burial suits were used to protect the wearer in the afterlife and they would essentially become 'immortal'. Ironically, the concept has some truth to it as Jade is porous and so after the wearer has decomposed, their DNA is still trapped within the jade of the burial suits, making them forver 'present' and in some ways 'immortal'. [see https://www.theguardian.com/culture/2012/may/03/han-dynasty-immortality-suits-show ]
Finally I showed the audience my research blog, folders and notebooks. I answered brief questions about finding artists and the technicalities of laying out a research folder. I spoke about researching indiscriminantly at first and collecting information much like a magpie based on what you as an individual find interesting. This store of information can help to spark ideas and art pieces and will eventually lead to artist research and secondary sources. Everything you do, be it watch a film, or talk to a friend is research. Visiting galleries, artist talks or even documenting your everyday surroundings can lead to ideas that are worthwhile. Sometimes, it is the subconscious research that fuels my practice in the most efficient way. Overcoming fears of criticism and judgement of the work at first is key to creating ideas from the research stage. Skill will come with practice, and a critical eye when used effectively in the later stages can help when bringing these ideas to reality.
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