Monday, 9 May 2016

Final Exhibition Module - Synopsis of study

Key questions:

  • How do the haptic qualities of analogue technologies affect dialogue with the viewer? 
  • What are the interrelationships between context, concept, and time, and how can I bring these elements together in my work? 
  • How are aspects of a contemporary Sublime centred on obscurity and the void made manifest in my work? 
  • How can static images evoke notions of time through mark-making and layering? 
  • What are the interrelationships between the emergent outcomes?


Analogue-Digital/ Haptic/ Sublime/ Sequential/ Experiential/ Mark-making/ Automatic drawing/ Layering/ Defamiliarised/ Landscape/ Sensation/ Projection/ Phenomological


In the Exhibition/Research Module I intend to extend ideas I have started developing within Independent Arts Practice. As a starting point I intend to make a range of large scale drawings, using landscape as a stimulus to inspire pictorial qualities of mark-making, texture, and form. Representational imagery will be further developed through intuitive mark-making and layering, considering how the balance between representation and abstraction, the familiar and unfamiliar can be used to extend a dialogue with the viewer.

Throughout my investigation the relationship between analogue and digital processes and their resultant effect on the viewer has been a recurring theme. In this module I intend to further question how the haptic qualities of analogue processes and technology affect our engagement and response. In the first instance I intend to experiment with slide and film projection, projecting my hand-drawn imagery to create multi-screen arrangements or installations. I view my recent installations as ‘experiential sequences’, and will continue to explore how context, content, and time can be combined in a symbiotic relationship.

The role of the viewer will also be considered, looking to ways the work can be effected/generated through active or passive involvement. Questioning the concept of uniqueness or ‘aura’ will continue to be central to my practice.

Generating a core body of work I will look to create a range of possible outcomes which may include projection, drawings, and prints. Unlike in Independent Arts Practice I will not seek to create site specific works but instead look to manage the environment, creating sympathetic conditions in which the work can exist. This links back to work produced in my Concepts and Context as well as Professional Development modules. I see the development of my work taking place primarily within the studio, as I experiment combining/layering images and processes.

Indicative reference material:

Pavel Buchler - ‘Eclipse’ 2009 – Installation at Max Wigram Gallery, London
Julia Mehretu - Fever graph (algorithm for serendipity), 2013
Mogamma: Part 2, 2012
Ian Mckeever – Waterfall, 1979.
Cy twombly – Leda and the Swan, 1962
Guy Sherwin – Paper Landscape, (Performance) Paris, 2006
Norman McLaren – Pas de deux, 1968
Takashi Ishida – Installation at Taka Ishii Gallery, Tokyo. 2012
Len Lye – A colour box, 1935
Vesna Pavlovic – Search for Landscapes, 2011 & Display, Desire. Christie’s Rockefeller Center, New York. 2006/07
Gustav Metzger – Liquid Crystal Evnironment 1965, remade 2005.

Groom, A (2013) Time. London, Whitechapel Gallery
Morley, S (2010) The Sublime. London, Whitechapel Gallery
Ed - David Curtis, A.L Rees, Duncan White, Steven Ball (2011) Expanded Cinema: Art Performace Film, Tate Publishing
Giles Deleuze (1989) Cinema 2, Continuum
Giles Deleuze (1986) Cinema 1, Continuum
Sigmund Freud translated by David McLintock (1998) The Uncanny, Penguin
Ed JJeffrey Kastner (2012) Nature, Whitechapel Gallery
Brian Massumi (2002) Parables for the Virtual: Movement, Affect, Sensation, Duke University press

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