Timur's Frankenstein

Title X

Abstract: what is this document?; what do you want the reader to get from this text?

The following text on method is an attempt to fix certain ideas and document my making process, which I see as fluid and constantly transforming. Ideas tend to disappear without making, so I treat this text as a kind of mediator, filtering net, aid tool in case i loose myself again and again. Please consider this text as confused one, not defined, failed to communicate, happy at times and handless at another.

Introduction: Give outline of the text and make the points you want to get across clear. (200 words) X

Current Practice (resource: here you can use the text made in the last session, interview…)

What are you working on now?;

At the moment I am formulating my current work by collecting objects from the environment every day I find myself, like studio or streets, combining them into small sculptural objects

Does the size have a practical aspect (exercise)? Or does it have to do with approachability, in the way we encounter thing in everyday life?

Size does not really matter, it could vary, but mostly it's the objects I can carry while driving the bike, which I guess actually influences the size of the objects in the final installation.

, without putting too much attention to the bigger picture of the work. Bigger world out of smaller things, done in a precise detail, creates itself rather unconsciously and intuitively through an everyday practice of interacting with materials and objects, making small discoveries each step of the way.

How important is the intuitive aspect of it? Does it have to do with an idea of "channeling" the world?

Intuition is a very important aspect i find in material practice, its definitely channeling, but most of the times the unconscious one, which i enjoy a lot. I am producing things without having a prior idea about them and in the process of creating i get the ideas i apply instantly.

I am making photographic notes almost everyday of curious and ambiguous situations happening to objects and materials around me, being interested in the occasional situation they find themselves or i find them by taking a picture.

[Is the physical disappearance of the things part of the work? Do they remain existent as sculptures or only as photographs? Maybe you are answering this here, but I am not sure I understood:] Photographic practice is the parallel one, i do it anyways and it informs my sculptural practice, i am working on the line of thought or the construction of how both of the practices can benefit from each other. At the moment they are not connected at all.

I project these situations or use directly some of the parts in my sculptural practice, merging the worlds of seeing and making together. Its hard to see any similarity at the moment with my previous work, except that they both have sculptural character. Difference may be that working with the flower, i worked with the figurative nature and long-existed symbolics and in the present work, i tend to go more abstract by combining meanings and qualities of existing objects or altering them by physical action, trying to create something i havent seen before, or experienced before.

What do you want to work on?

Relating the process of creating smaller sculptures and discovering their physical and conceptual properties in future work i would like to form bigger and more complex worlds from them.

[By adding more small things or by replicating them in a bigger size?] I would like smaller sculptures to co-exist in the form of bigger installations.

Complex and over-complex character and meanings, possible speculative realities and situations.

[What role does the maker have in this intention? (I am referring to your GC maybe) But I had the impression that you were creating a world around someone.] On my last group-crit i made everything around the maker and made him disappear too, in my future work i would like to zoom out a bit of the personal practice of the maker and try to take a more macro approach by creating map-like installations.

I would like to explore the moment of fixture, the way that photograph works as it fixes and takes liveness away from the captured situations, i would like to transmit it to the my sculptural installation and discover the properties of this necrosis.

[Is it a necrosis? Or does the photograph possibly have another life by itself?] Thats my own speculation. I'd like to see it as necrosis and would like to see sculptures around as the products of fallen apart necrosis. Medium of photography does not really interest me that much separately.

Who can help you and how? (50)

What helps a lot is conversating about my current work with closest peers of mine, formulating thoughts while speaking. Manifesting ideas in the real world. Thinking out loud in an intimate conversation. Most comfortably one to one.

Relation to previous practice

The motive of the flower with human face features, slightly tilted in its nature, heading forward. The mold of the mold of the mold, arranged in a continuous horizontal pattern strip, hanging on the wall.

[Can you give more info on the size?] Dimensions of the work is 30x80cm. Deriving from an image, flower got its physical existence, be being sculpted out of two-component apoxy plastic. Then pressed in to the plastic with the hot vacuuming machine, creating a mold, tool for further multiplication. Three flowers, from three different materials have been casted out of the plastic mold. Finished work has a form of a strip of a latex mold created by applying latex milk layer by layer on top of the previously casted flowers. Idea or a concept of the 'fast flower' came out of my wish co combine two things: economic speed of production of the neoliberal world and the concept of accessible beauty and cuteness of decorative items.

[The process seems quite slow to me in its production (many stages of work). Does that relationship between handmade, somehow slow production, and mechanical speed reproduction mean something for you? Also, the process of making sounds quite interesting to me, is there an intention in showing that process?] Work was a part of the larger installation, which supposed to look like a workshop where particular work would be done on creating the signature of the flower, discovering its properties, applying rituals, summarizing the making and embedding meaning into particular sign, in this case a flower, so i would relate to it as a preparatory and experimentation process before the production line, prototyping zone. To show the process of making was the part of the work, i wanted to speculate on a profession and craft of producing powerful symbolism within speculated territory.

The multiplication of flowers and molds as an end object would refer to the rapid production of beauty within dutch economy.

The slideshow work was part of ‘KREXPEXFEX’, a solo-exhibition which took place in an apartment gallery in Oslo. The slideshow was shown in the kitchen which was dark.There was a table and chairs beside the projection. The piece was a series of 30 images projected onto a wall. The images consisted of famous politicians, cultural, religious and artistic representatives in different settings and times. The nose of each person was digitally manipulated. The nose was uniquely formed on each face, given a different length, curvature and direction. The images were political and humorous in nature.
 Images in the slideshow were edited in Photoshop and collated in a random order. All of them were found on the internet by daily browsing through websites and social networks. Every nose was altered in a different way, depending on the character and the situation. Some of the noses were made bigger, some weaker and some of them pixelated. Before exhibiting they were published online via a Facebook page. 
The work was a reflection on the character and status of the global political situation. Using the metaphor of the mutating Pinocchio nose, the work sought to uncover the lies and corruption embedded in the character of politicians.

I’m slowly demystifying writing as a practice and recognising that it is a structure. The same is happening with art making. I think I had a romantic and poetic education, a naïve understanding that one could sit and start writing, you can have an epiphany. I have been thinking on the questions of what, why and how: I think these three questions will help me

On a writing practice: I write down little sentences which are manifestations of my thought process: I post on facebook: “there will be just nothing underneath” (a follow up to “no Earth” ). Sometimes a modified sentence (I wish these bills were real = I wish these bills were real dollar bills because they are brilliant”) and sometimes from scratch “tripping autonomy” ; “no economy for tripping autonomy”. I see them as compressed meanings= I would like to use language in my artworks = I would like to use typography, write they on something (for instance) OUTCOMES:= I see it as plain sentences made with sticky film, flag, LED, posters, sticky letters, projecting (exterior/interior), scratching, stitching, Tshirts. [how can you work with the serial nature of the texts (they are mutating). The slogan needs to exist for some time and it needs to be shared. CONTEXTS: On a shopping window: “I’m contacting you in confidence”. Simple type, using the medium and mode of production as advertising; it legitimised its presence. It was a Dutch artist. I realised it was a big project. These sentences were reproduced throughout Europe, using lines from corporate e-mails [or spam mails]. I would like to communicate outside the gallery context. In the example I gave I knew it must have been made by an artist (was it street art? So I was puzzled). [So it wasn’t street art, it wasn’t Banksy, it was art] [More here about possible outcomes] [Consider economy and speed in relation to the structure of the texts themselves and the structure of their distribution. How could the last be different? Think through the consequences of giving them another life] ] I am now using these phrases to work with form: compressed ideas to use as things. E.G.: “fast Flowers”. The production of flowers in the Netherlands. I convert them into tilted arrangements. “Lethal attachment” : Broomsticks smashed together, interesting effect, visualising this… Embroidery: use sweat shirt as a body, like tattoos [repository, a library]. Other embroidery options: towel, curtains, baseball caps, socks, shoes…

How does your current work connect to previous projects you have done? (resource: here you can use the descriptions made in the first sessions) (200)

Relation to a larger context

As previously i used to work exclusively with 2-dimensional world, i decided to explore material practice by learning the basic molding techniques and possible ways of using latex exclusively as a forming material. Simply bringing something from 2D int 3D by using material and my hands was inspiring enough for me at the moment. This work has been produced in school context and has been intended for learning purposes only, i didn't think of any specific context at the time, except that it should hang on the wall, whether its a home wall or a gallery space wall.

[Would the context change the work?] For this particular work i planned that it could exist in both contexts: domesticity and gallery space. Though i guess everything you put inside of your home becomes retinal at some point.

Who helped you and how? X

Outline practices or ideas that go beyond the scope of your personal work. Write briefly about other projects or theoretical material which share an affinity with your project. It is simply about showing an awareness of a broader context, which you will later build upon in your project proposal and writing component in the second year (you may have covered some of this in your interview) (200)

X

Research strands

Consider the possibilities open to you and where you would take your work in the near future. Don't just give a list of book titles or works but outline in your own words what issues are at stake (200)

a piece of media (YouTube clip, film, TV show) https://www.youtube.com/watch?v=ucKk_H71B74 https://www.youtube.com/watch?v=pZl3kyiJrgU https://www.youtube.com/watch?v=w0RQA9TqX1o

First video: Game show people falling into the water, with silly costumes. UK accent? The players need to make shapes with their body, and try to trespass a wall that contains that caved out shape. Only few succeeds. They mostly fall into the water. Wearing silver suits and helmets. The crowd is cheering. PLAY AREA! Everybody in the audience is making the shapes with their body, people are very happy. Second video: small about 4 years old russian girl in a house. It's christmas time, there is a tree in the back. A reallyyyy big bowl of brown jelly where she puts her hands in and finds a packet of... something russian. Looks like candy. They are small toys, little plastic animals wraped in layers of packaging. There are drawings in the packet, with small texts. There is a man but we can only see his hands. He speaks to the child. Can't really point out the direct connection to his work, but video 1 is a great metaphor to today's situation. A metaphor for how society shapes you. How economy pushes you on how to be in shape: being feminine or masculine, or having a family or a certain job. One acts to be a certain shape, you don't succeed, and fall into a pond of humiliation. Wall moving: accelleration, you must act, you must survive. Also interested in the shapes: abstract, words, numbers, so not only human shapes. Metaphorical shapes.

NOTES (Nick) Game show, 'Hole in the Wall' Australian? Silver body suits and coloured helmets Reminiscent of Takeshi's Castle (Japanese gameshow)

Girl getting toys out of brown goo at Christmas Small purple dogs Jump cuts POV camera, static,

Sophie: 'can you explain it?'

Not a direct connection to the work Hole in the wall a great metaphor for today's situation, globally, economically, socially, a metaphor for how society shapes you. Economies are really pushing you towards getting in shape, having a profession, having a family, being masculine, etc. Funny but also very sad. You act to form a certain shape, but rarely do you fit it, so you fall into the abyss of humiliation. Walls moving towards you, you have to act, take a shape, in order to survive. What is the menaing of the different shapes. Some are more abstract. Sometimes they use words, calculations. It is all metaphorical.

Youtube channel: 'Miss Katy' Parents of the young girl advertising toys with the help of their daughter The way of filming and speaking to the daughter, the amount of toys, pretending to care about her but exploiting her to make money. Horrifying. Performance economy. Every aspect of life (children, playtime) exploited. The way that parents bribe their children with toys, in order that they behave. It's all fucked up Not sure how it relates to the work. As a child you consume videos. Control mechanisms working on both sides of the image. Celebrating birthday in Dubai - insane amount of decorations. Her brother has a separate channel. Pink limo.

Johanna: what kind of life is this girl going to have? first as someone who is given everything, second as someone who interacts with her parents through a camera

The parents' tone is very infantilising. You could remain this way for the rest of your life. The way children are raised in Russia. Treated like a doll. Second video: miss catty youtube channe, is organised by the parents of the girl. They advertise toys with the help of the daughter. Parents are using the daughter to advertise. The way the guy films and is speaking, the amount of toys they give her to play with, pretending to care about her... but actually making money on the chils. Fucked up, and horrifies Timur. At the same time it is interesting to see how parents spoil their kids. They bribe them with things, in order to make them behave. Children constantly stimulated by stuff. Not sure how this relates to my work, but it is very symbolic. The consumption of the video: cartoons, but also youtube. The way youtube goes automatically to these videos, so when children look at this alone, they come into this loop. Evil fucked up.

Relationship between parents and children seems trange: keeping children children and not letting them grow up. Seems to be a eastern way. Seems that they became extremely ritch through this activity.

a text you are reading which has a useful relation to your work Failure. Documents of Contemporary Art. Edited by Lisa Le Feuvre MIT PRESS

https://sculptureatpratt.files.wordpress.com/2015/07/lisa-le-feuvre-failure-whitechapel-documents-of-contemporary-art-1.pdf

Text: Reading it from time to time. 'Failure' from the Documents of Contemporary Art series. Different perspectives: artist, philosopher, assistant. The inevitable moment of failure while making art. fears, anxieties. desctructive thoughts. serves a therapeutic function maybe. challenging to make things for yourself. a psychological helping hand. Doesn't necessarily relate to a current work, but to a process of making. All of them are revealing (no favourites) Artists don't always speak about these things, it's quite intimate or vulnerable. It's a big or interesting question. Trying to embed certain ideas of failure or turn them into form

Steve: how so?

Perfectionist, using the computer a lot, trying to break from using the screen and make something with the hands. skills/no skills/de-skilling I cannot continue, this is a failure. Training yourself to continue, there is no progress without failure. Small hints, a cheatlist. Overcoming

Steve: if you're a silicon valley millionaire you have to have failed, it's part of your CV. you have to have a spectacular failure

Enjoying failure - relating to the way of being raised with a need to satisfy your parents and not having permission to fail. Art, as a territory, gives you the opportunity to fail.

Steve: fail harder, fail better

WRITING THOUGHTS ON What UNIVERSAL FEAR

Relationship between failure and representation. How to integrate this failure? Does it have to be explicit?

tripping autonomy the autonomy is always unstable