Eo draft two 8 10 16

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What are you working on now?

SOUND. I am currently making music with synthesisers, thinking about inputs and outputs, which I am producing at the Klangdan studio inside of worm where I also work. I am composing music using ARP 2600 synthesiser and an EMS VCS3 Putney synthesiser.

PLASTER I am also casting a series Piet Zwart co-student’s feet. So far I have cased Viktor S and Rakattak’s feet.

CLAY I have also made more ceramic heads, this time with a stoneware clay, and am building on my previous head works that strive to make something that is unanimously from the past, present and future, and suggest a musicological context.

METAL I have also made some hands out of sheet metal. Which I hope to use as props. The pair of hands took me a long time actually, and had this strange process that often when making them that they were my own hands.

What are you thinking of making?

I am looking to make Socialist artwork that encourages discussion, exchange and togetherness that originates from speaking to others. In my fantasy world I would ideally able to make something that in some way touches on the omnipresent class, gender/sexual difference, and ethnicity-race and sexuality struggles. And critiques cultural and social scientific approaches to dealing with such identity politics. Albeit influenced and inspired from real life situations.

• For example. I am hoping to make some work looking to the ‘basic-income’ scheme that will come into play in Utrecht in January 2017. Work will be extracted through series of interviews. I have a curiosity around this proposed welfare system. Goes deeper into UK experience. Neo-liberal climate of privatization of public services, unions, public space…ect. Had this segway thought of “The cockaigne” land of plenty medieval myth linked to peasant fantasies. I have been thinking to write this myth and have the story travail through multiple languages.

• Write a ‘spaces for democracy text’. I envision this sculpture, costume and music. Dedicating this work to spaces I consider there to be a natural democratic dimention. E.g. Swimming pool, hospital, post office, launderette, bar, club….

• I am hoping to work with gay bars in Rotterdam and produce a series of work, and casts taken from the bar. Particularly café Keerweer, round the corner of Piet a family run business. As I think it is a site where pure community is witnessed. Also narrate why there is a growing extinction of lesbian bars. And how to cultivate a scene in a small place.

• I had past ideas to work with communes in the UK (Braziers Park) and Amsterdam also; although this has not yet mobilized therefore I have my reserves. I have already made contact. Living systems, how politics can manifest. Failed utopian project of Osho in Amsterdam. People wearing all red. Osho brought lots of cadalak.There potentials and discontents.

• Ongoing interest in overtones. Prior to Piet. Social metaphore within overtone and how information is dispersed.

• Who is writing our history books? Wikipedia performance.

• I have loose ideas around other works that might explore a window tax, whereby people would get taxed for sunlight and have there windows bricked over.

• Dutch communist daily newspaper DE WAARHEID (The Truth) that ran from 1945-1990. In which much was written about art and culture and attention as well to social problems and conflicts, such as strikes and elections for works councils, and to the activities of the Communist party.

• And ideas surrounding zero contracts.

How do you plan to make it?

Describe how you will go about conducting your research through reading, writing and practice. In other words, through a combination of these approaches, you will explore questions or interests you have laid out in your general introduction. In this section you can help us understand how your project will come together on a practical level and talk about possible outcome(s). Of course, the outcome(s) may change as your research evolves, but it's important to have some idea of how your project might come together as a whole.

My project will come together as a whole through test performances over the year, both at the Piet and publicly.

Travail to Utrecht once a week, I am also in the process of signing up on the Gender studies program for a semester starting January, which is a practical reason to be there often, build up a network and meet academics who might be able to better inform me about the basic income experiment. Keep making objects music and write some site-specific texts.

Why do you want to make it?

SYNTHASISER

These synthesisers were initially of interest in relation to my fascination with women and electronic music from a historiographical perspective. How they seem to produce such special work but then be underrepresented throughout history. Which is a micro example for many ways in which women have been unwritten from history, not to mention this then multiplies by the lack of history from a women of colors and from a non-western power position perspective. For me this music speaks about taking up space and expanding space, to the upmost point whereby this music defines a compositional sound linked to artificial intelligence, which is interesting in relation to imagining unknown territory with social change. (E.g. Sun Ra). A collective imagined and comprehendible infinitude that still lives on today. But perhaps a more introverted version of inspiration for me comes from growing up with the music of Delia Derbyshire and Daphne Oram at the BBC Radiophonic Workshop in the 1950s.

DEMOCRACY TEXT

I have been thinking about writing work for spaces where we are all body and many of our insecurities and limits are desmantailed or stripped away. This is obviously not deliberating us from our differences, I see it simple as a space where the body comes first. I hope to make work that encapsulates what being alive today feels like to me anyway. I am also interested in art that is socialy engaged and takes place out of the institutions, but isn’t necessarily claiming some moral high ground.

BASIC INCOME/ COCKAIGNE

I am also looking to make something that is in some way physically located in the Netherlands. I have been researching the “basic-income” experiment that will take place January 2017 in Utrecht. I am also hoping to enrol on additional studies as part of the gender studies in Utrecht University (currently in discussion.)

And the idea of “the Cockaigne” a land of plenty and imaginary place of extreme luxury and ease where physical comforts and pleasure are always immediately at hand and where the harshness of medieval peasant life does not exist. I find it interesting in relation to social pyramids that link to artists and friends alike of them being accused of being lazy or unmotivated. And the fact that many of the people in my life are trapped in systems of oppression. There is something nice about the cockaigne that it exists only in the imagination and in fictional and religious spaces. I am trying to find a way to crystalize feelings and summon sentiments. This is a life long subject that I am not necessarily qualified for but I hope take contradiction, mess, order, distress, power, limitations, and privilege as a starting point.

This hypothetical work hopes to explore multiple states of shared emotions and everyday realities. The work will not be utilitarian. It will not be utopian. It will be emotional. It will not be claiming any moral high ground.

I hope to incorporate theatrical devices and explore multiple states of shared emotions and everyday realities. I want to strive to make something that is happy, sad, funny, stupid, serious, punk; work that can go through various emotive states.

I have been thinking about achieving a live mixing of the senses. A synthetises approach to performance. I direct participants to think about an expansive version of a work whereby its edges include music, dance, radio, sound, sculpture, text, costume, improvisation, smell, tastes and touch. All of this content is channelled though my body. Emotions central. Possibly looking to the cerebral.


Relation to previous practice?

How does your research connect to previous projects you have done?

Here you can use the descriptions you made in the first session or make new descriptions

My art practice simultaneously mixes people with materials.

I have a holistic process to making. Whereby friends, lovers, colleges, housemates and studio-mates are mixed in with metal, ceramic, textile, chorography, sound, spoken word and moving image. My role could be read as that of an animator, interlocutor or moderator perhaps even the conductor to an orchestra. Each human and non-human element comes into being in relation to each other. I create a series of staggered space-time-contingencies that summon the past, present and future. I often look back and find interesting things in the past to share with others and as a magnet to attach relevant considerations of the present. Aiming to emit material synergies based on my own genealogy and/or chronological relationships along with a state of now. I seek to make work directly extracted from what being alive feels like to me. Each material element that I spend time adopts different roles and emotive states. I consider my art practice to be a life long ongoing generative form of cultivation. I hope to make work that function as an amplifier or transmitter. There are many questions surrounding the role of the audience/participants as potential witnesses. There also lies many questions surrounding how to frame such open ended fluid approach. And then the importance of documentation.

Moreover, I consider my life practice as an essential source to my art practice. I often place a mirror to my own conditioning and use my objects as a mirror to the outside world; as a process of reflection and retraction. I deliberately make multi-faceted chaotic work that embodies an aesthetic and attention of what life feels like to me. I often approach work in a same way that music would by the building up of various layers, collaboration, experimentation and synchronization.

Within my methodology of thinking and making if something is getting too conceptually water tight or formally impressive I tend to move away from it. I like to rotate. This choice is strategically running away from a passage and art history that I can’t relate to today. I do not want to feel as though I am producing a product or repeating a system of the fictionalized “normative” life. I also hope to counteract an attitude that there is some divine relationship to an individual artwork and an individual. I embrace everyday white noise, everything that goes on around me and encourage a potential. This method also helps me to live, e.g. where banality, exchange, the everyday and emotions are given a potential. Anger, hopefulness, justice, collectivity, stupidity, change and clarity can spend time together on the same stage.

I am interested in how one thought process could be channeled through different mediums; I suppose a question of materiality, although I have never identified as a sculptor. I cultivate objects phrases and actions that can operate on a level of “points” “footnotes” or “anchors” swirling about bouncing against one another around a spectrum or pool of content. I have a synthesis approach to making where each piece of my artwork can in turn offer as a key to all other pieces.

For example the engagement with synthesisters successfully operates on many different levels. For me, the act of working with the synthesisers and choosing to make artwork where I work mirrors my previous practice of working with my immediate life and the influences. Making work with the people I live with, my friends, my lovers, my colleges, and approaching architecture in the same way. Using the resources that are already in place. I am interested in everyday patterns and socio political relationships that pull out from any given reality.

Using these electoral currents as a metaphor for meeting points, narratives and discourse. I am working to produce a holistic work that speaks about collectively, performativity and ritual. At these stages everything is extreamly fluid however this week I have been casting fellow students feet intending to make props to be used in a performance containing democratic space, be it from a western-lens, hopefully it can break free from this. I have been thinking to make work that is dedicated for everyday sites that I consider to have a greater quantity of democracy contained within the infrastructure and air. How to engage with a making practice when I have hangups over bespoke goods? I am not a sculptor. But I feel most like who I want to be when I make things with my hands. It is like cultivating, growing, theopy. These objects can say everything I cannot. And really sometimes they have to ability to contain a dialogue that I thought was inside my head whilst I was making it and somehow meracolously the objects contain aspirational dialogues that are whirling around in my head as I carefully make them.

But I often wonder what it might be like if I just left some of my objects in a room. It feels important to ecnolidge this inbetween states as an important non-binary act. In the same way that you should never assume anything about another human, because you just don’t know. You don’t know their privegdes, they hardships, there identies, their struggels, what is or isn’t between their legs. You just don’t know. So I think I’m interested in creating a net or a blanket in which people can hang out on and then the art begins.

I feel vary cared for when people ask what pronoun I would prefer.

I am interested in extracting art from realities, and summoning historical realities to speak to an audience of today. Why should everything always be new? I am looking into how our bodies are conditioned. Who can help you and how?

In the past I have build up a varied material practice based on a process that communicates connects intuitions and subject matter deriving from social experience and form. I have a mishmash approach to making that seeks to blur an experience of how the work can be received. The people surrounding me perform in my artwork. Working with others is crucial to my practice and the performance aspect of the work. It is only through this cross-pollination that the work makes any since. Incorporating and mixing section of the same ground.

I began the year with producing a listening device sculpture and prop, which derived from an independent trip to a Military museum in Den Haag, Museum Waalsdorp. I went there around a time that the UK, my country of birth was voting on dropping bombs in Syria. I went intending to find out more surrounding historical military listening apparatus. Thinking about how we receive information, the bankruptcy of Nation State systems as a whole. Moreover I wanted to expose this chunkiness or inept listening apparatus. I was interested in this link between design, functionality and the obsolete. Moreover through this process I was thinking about a reversal of violence and what it means to bring them to the table. And possible channel it towards a feminist discourse of deep listening, originated in Pauline Oliverious. This further develops my previo0us work surrounding pycho-auchoustics, prior to the piet coming from a series of Sound Bath works that I made connecting me to the Integretron in the Mojave Desert where I lived for 6 months. These “sound bath” performances were based around the principle of overtones and new age spirituality.

This use of props sculptures and costumes were also present in other works that I developed throughout my first year.

I made Being liberal is not enough Preciado picnic Communal living, trans identity. How you can feel trapped inside a body or particular aesthetic. How we make up our own families. Alternative living systems and structures. How we are conditioned. Relation to a larger context? I have an engaged non-institutional arts practice. Make work that contains the urgent, meaningful and fragile positions at the same time. Through experiements into perception and collectivity I hope to communicate on a holistic register where by audience members can speak on a holistic register and are encouraged to understand the interconnectedness of things. I often work with the body to flesh out politics and corruptions. Looking at bodily transit and movement as signifier of power through history and how to deal with entanglement. Looking to public and private spaces, daily rituals matter that enters a body. People’s daily performance of ceremonies, and how to make a link to coping mechanisms and or hybridizations. I engage with how science fiction looks to the everyday to analyse social systems. To the notion of community, that fights against the neo-liberalist society that individual rules above all. I look to groups that work to evolve future ecosystems. There is a queer politic within my practice. That explores what gender you are assigned at birth and how that shapes how you are viewed within society. How do we talk about privilege? Entitlement? Our own genealogies? Looking how power operates, dominant forms of oppression. Meaning 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. For example, if you are researching urban interventions, you might want to research about Situations approaches to psych geography, urban tactical media and activist strategies of reclaiming the streets. Or, if you want to explore the way data is tracked, you might touch upon the politics of data mining by referencing concerns laid out by the Electronic Frontier or highlight theoretical questions raised by Wendy Chun or others. (Keep in mind that we are *not* expecting well formulated conclusions or persuasive arguments in the proposal phase. At this juncture, it's simply about showing an awareness of a broader context, which you will later build upon as your research progresses.)

References.

Francis Alys witness.

Maggie Nelson, the Augonaults

Miron Bialoszewshi.

In my intellectual neighbourhood…OR I’m a fan and take influences from Music of Eartheather

Music of Holly Herndon,