Having been looking at and researching a lot of Performance Art lately I have inevitably been thinking about its modes of documentation. How do we accurately record an ephemeral event in which setting and audience were so crucial? The atmosphere of the room and the reactions of the audience are in a sense part of the artwork; the audience in a sense become co-creators of the work, yet this does not always come across in documentation. It’s incredibly problematic and an obstacle for most people working with performance. There are all forms documentation can take; photographs, film, film stills, text, written accounts, you name it. It’s a matter of finding what works for you and the individual piece of work. In a lot of cases one single image comes to represent a performance piece and this becomes the image that gets circulated. I myself have fallen into doing this with one performance I did (pictured above). This one image is the only one that truly represents the piece, especially given the angle of the room and my feet against the floor in this shot. It’s an exciting moment when you do find the perfect document, but the obstacles it takes to get there are often plentiful!
I was looking through some old work when I came across these images of my First Year studio. This was probably the one and only time my choice of topic deviated from Body Art and instead focused on the natural landscape. I think I surprised even myself in this shift as there was no real explanation for it apart from my discovery of oil paint. I think I felt that abstract landscapes were a better means of exploring this medium, as opposed to again working with the female body which I was already so familiar with. This shift was also due to the fact I discovered the work of John Virtue (see below).
‘Landscape No. 707’, 2003-4, image sourced from The National Gallery website.
I fell in love with his whimsical monochrome depictions; how they were abstract yet figurative simultaneously. How he combined nature with industry. The blend of such intense darkness against the stark white also lends a satisfying balance to his work I found. This equilibrium allows the eye to shift peacefully across the page, taking the time to absorb intricate aspects such as texture which are so imbued with the studio aesthetic.
What I found particularly interesting about Virtue’s work was his ritualistic aspect of his art making. Every day without fail he would walk to the same location to sketch. This of course resulted in an excess of drawings, but the dedication this required fascinated me. So for a while I chose to copy this method of working and walked to a park everyday. It was quite out of my way and in some cases an inconvenience to all of the other daily necessities occuring in my life. However, having this task and this escape also gave me the best kind of zehn I could have wished for. I had an excuse to leave behind the rush and pace of daily life to focus fully on ritual-based art making.
I also tried to employ Virtue’s use of the monochrome palette by removing colour from my work. Depicting landscapes and working with oil paint was a time where I was using really vibrant and sunset-based hues, so this removal was a real challenge for me. It forced me to think a lot more critically about texture, shape, scale and all of the other elements that could compensate for lack of colour. I poked needle-thin holes through paper, I worked with impasto and modelling paste, I used charcoal and inks to create that messy studio look. I tried everything and had great fun experimenting, but of course I gradually began bringing colour back into my work. I also sadly had to stop my daily excursions to the park given all my other commitments, but I may some day start that again for a brief period at least. Employing the working methods of another artist was a really interesting and liberating experience for me, as I was giving up all sense of control that I had over my work and instead completely yielding myself to working in a certain way. It was an incredibly enjoyable experiment and is something I think I’ll definitely go back to at some point!
Untitled: projection, greaseproof paper, wood, thread
So given that in my last post I discussed my inner turmoil and my struggle going from sketchbook to screen, I thought I would give you a sneak peak into what I’m doing at the moment. Quite a drastic shift from painting isn’t it? I was in our project space instead of my studio which allowed me to work in darkness. I felt a bit like a mole for most of the day as whenever I left the room everywhere felt painfully bright in comparison! What happened in that room though was very exciting for me. I was working with light. Not only that, I was controlling it. Through the use of shadow and material placement I was manipulating it. At first I felt like I didn’t know what I was doing. The best thing to do in those situations is just to start on something. So I did. And I kept going, and going, and going. Taking photo after photo, film after film. I didn’t want to stop. This is the problem/most fantastic thing about art. Once you start you can’t stop, the momentum carries you. One idea leads to another and before your know it you have a creative labyrinth spilling out of your head and into physical forms. I love it! To me life without art would be empty. Or in the word’s of Eva Hesse: “I think art is a total thing. A total person giving contribution. It is an essence, a soul, and that’s what it’s about…In my inner soul art and life are inseparable”.