008.

I've been struggling to come up with a focus for the concept of emergence. Until two days ago, I played around with the idea of abstract and whimsical fish as a representation of an emotional dream time. My work would centre on the image of deep sea creatures, and the emergence from the dreaming state. But, as of an extensive conversation that took place late Friday night/early Saturday morning, I’ve found a more compelling approach to the concept.

I’ve been avoidant of art lately, mostly because of the fear of failure, I believe. Feelings impede my ability to press on. So I thought I’d make this term’s work deal with the idea of catharsis, and hopefully, through this, achieve my own emotional purge. In this, I’d deal with the emergence of emotion and emergence from an emotional purge.

The plan:

To make a video and/or photo series documenting myself (or a willing actor/model) venting apparent distress by continuously hurling various materials onto a blank wall. This includes balls of paper, drenched in coloured inks (representations of the different emotions, perhaps). I think this might play into the childhood act of launching balled toilet paper onto the ceiling of a bathroom, and take that reference to the way in which negative emotion can cause a person to become unreasonably juvenile. I suppose the purpose of this work is to document my own raw frustration over the creative process.

Other things:

I see the filmed/photographed person in a white, blank room, encircled by clear acrylic mixing bowls filled with water (perhaps dealing with the trap of emotion).

I could use food dye, or ink, and pack it into the paper prior to wetting it. Thus, the colour in the water + thrown object will only be activated when it is scrunched. This might be an interesting image.

Making a simple costume would make use of my developing skill as a seamstress.

I think there are a lot of elements from the piece that would work in the body of work – the sound from the video can be a piece of its own, as can any costume I may make for the person. Portraits of the person splattered in colour, I could extend to paint from images taken of the hurling aftermath. The blank wall could simply be a large sheet of paper, or a canvas, that can later be used as a work itself.

There would be irony in venting anger over a lack of creativity and, in the end, producing an abstract, expressive mess on the blank wall. In that sense, it could be the ‘emergence of creativity’, as well.

BIG obstacle – I need to find a room.

I realise it sounds crazy in writing, but I was very convinced of its genius late Friday night. So I thought I’d propose it. What do you think?

007. Midnight mini practice.

It's late-ish and I'm taking a mid-testblock break. Since I've never tried to paint figures outside the usual flesh tones, I thought I would do a mini hour long experiment. I ended up painting a quarter of a face. I didn't intend to only paint an eye (the usual annoying teenage compulsion) but that's all I got up too. I think the colours came out a bit too my-little-pony for my liking. The result:

00more soon.

I think I’ve found a way to sum up my imaginary friend. It has something to do with that fact that I don’t often know where my thoughts stop and reality begins. More soon.

006. Thought Experiments: A Conclusion

I’ve realised that the Thought Experiments I’ve conducted have actually been much more effective than I initially felt. To recount;

I started with the idea that alchemy was simply about the union and transformation of opposites to create something of value. I also thought about the self portraits I’d done before, and the way in which they dealt with the influential factors of childhood. I remember them to address the idea that daydreams are compensatory – I took this to relate to alchemy, in the sense that these daydreams are conjured in attempt to fulfil something greater. At this time, I also thought about the way in which all people, despite their situations, are somehow connected through their developmental stages. Despite some processing, I still had difficulty refining my formal theory of alchemy into something more sophisticated and detailed. I was also stuck as to how to combine that definition with the idea of universal experience and the compensatory figure. That’s when I turned to Jung’s theory of alchemy, knowing that amongst his philosophies was also the notion of the collective unconscious (the universal connection linking all people). I also remember his theory to include the statement that much of what we experience in terms of dreams/daydreams/relationships has to do with a search for finding the whole – to TRY to engage the part of oneself that is currently suppressed, in attempt towards fulfilment.

It turned out that Jung’s theory of alchemy was not quite to my liking. I did not like the idea of the four basic stages of transformation, death and rebirth etc. I found it to be to instructional. However, I was able to discover the relationship between alchemy and the collective unconscious. Here, the collective unconscious holds the archetypal figures. It is these characters who then prompt people through the alchemical process. The archetypes aid, causing you to make certain mistakes and decisions, all from which one learns and as a result, moves closer to wholeness. At this point I began to confuse myself slightly. I rejected the idea of the alchemical process as a four stage course, and I also tried to combine my ideas of a compensatory figure and the archetypes. I understood that the archetypes could very well be the compensatory figures in the sense that they prompt people towards wholeness. However, this didn’t quite work. The archetypes are characters that push one towards fulfilment, moving towards one goal, whereas the compensatory figures I had in mind were more representative of the nature of fulfilment – the healthy/ unhealthy ways in which humans tend to fill gaps. These creatures deal almost solely with the emotions, not the spiritual being as a whole. I turned to disregard my compensatory figures and their theory, I suppose this was because I wanted to create a work that was universally reflective. I thought it would make more sense to represent a pre-established theory (Jung’s).

After a while, I became quite frustrated. I felt that in representing Jung’s theory of the collective unconscious and the archetypes, I could not create something truly dynamic. I thought my piece would just end up a flat visual portrayal of the theory. I was afraid my piece would lack the dynamic and evocative nature that I believe all artwork should have. That is when I reverted back to my original theory of compensation. This was the idea formed from my ‘instincts’, and I feel much more engaged with this idea. I’ve now realised that I could very well link this to Jung’s understanding of alchemy. As opposed to linking it directly to the four stages of alchemical process, I can connect it to his idea that daydreams/dreams/relationships are the self attempting to achieve wholeness (as mentioned before).

I know I’d previously wanted to make something more universally evocative, and this is more personal, but I suppose that ultimately the evocative nature of a work comes down to the successful use of visual language. I don’t need an established theory to create a universally engaging work, just a good sense of what makes visual impact. If I can do that, then narrative interpretation becomes redundant.

Now, onto refinement.

005. Andy Warhol Tasks

Andy Warhol at the GOMA

TASK ONE
In Andy Warhol’s work, there are contrary elements found in his separate bodies of work. An example of this is found in the Ladies and Gentlemen (1975) series, in comparison his works surrounding the theme of Death and Disaster (1962 – 1964).

In Ladies and Gentlemen, Warhol uses the image of transvestites to demonstrate the idea that personalities are created, and put on. With cross dressing, it is thought that those who do so believe that in changing their dressing, they are able to change their personas. This could be done in order to realise what one truly is. In this case, it is likely that Warhol wanted to present the idea that in being ‘yourself’, you are creating/ putting on a personality. That perhaps there is no true way of being, that all is superficial.

In the Death and Disaster pieces, however, Warhol does oppose his own idea of superficiality. Warhol does two things: he chastises the role of the media in trivialising/sensationalising events, and in doing so, suggests that such events are not in the least superficial. It is with that that he opposes his original notion that all is superficial. For example, in White Burning Car III (1963), an image of a car accident is presented. This was an accident, presumably, which was publicised in the media for the nature of its passenger’s death (I believe the driver is the figure hanging from the telephone pole). The use of repetitive image in this work comments on the way in which the media has treated the event – creating copies, distributing, telling, etc. The nature of this treatment is then presented as something which has devalued the event – it has become an object of the press. (Also related to icon making, and the cult of celebrity statua) In saying that, Warhol inadvertently proposes that the event warrants something much greater than the product it has become. It deals with issues much greater than those found in the material. In this, the themes of death, and the affects of media are synthesised into a single work.

While there may be a contrast of extremes found in Warhol’s work, I do feel that there remains a constant – a fascination with the superficial. This is maintained even within the Death and Disaster pieces which, while dealing with issues that look beyond the material aspects of life, comment on the way in which the media’s treatment of such events (sensationalise/trivialise) transforms them into something quite shallow. Where scandals are made scandals for the sake of it.

TASK TWO
There were a few people that I looked at Screen Test display. It was a little bit difficult identifying exactly which name belonged to which video, especially since I’d only heard of a handful of the people named. I watched Dennis Hopper’s screen test, and found it quite intriguing. He had a frown on his face which intensified throughout the screen test. From this you could gather that he might have been thinking a great depth, or was becoming increasingly nervous about being filmed in such a revealing way. I know that I, myself, frown intensely at odd occasions (most of the time in anxiety). In saying that, perhaps the frown was part of a strange façade put on by Hopper. If that were his intention, then perhaps his character is a private, anxious one, hiding in drama.

I also looked at Alan Soloman, who, towards the end of his film, developed a faint smile on his face. This could mean a few things, for the most part, I see him as a having an enthusiastic and light hearted character. With that, he attempts to do as he is told, trying to remain aloof to the fat that he is being filmed.

I find this particular approach to portraiture quite clever and fascinating. To examine characters in the most basic setting, allowing every single movement (involuntary or otherwise) to be captured. I would say more, but I can’t express it in words. Maybe later.

TASK THREE
I do believe that Warhol’s Time Capsules are self portraits. Yes, self portraiture is a broad art form, exploring all the different aspects of a person – the persona, the subconscious etc. In this case, Warhol’s Time Capsules are an embodiment of the life that surrounded him. By looking at the objects which he chose to keep, it allows insight into the events of his life. So perhaps the Time Capsules are not a representative of him so much as the life he lived. Although, I suppose you could take the fact that he collected items in itself as a reflection on his character.

In regards to Andy Warhol’s sense of place in the world... The items in the Time Capsules determined him to lead a relatively busy, interactive life where he seemed to muse constantly. This is seen in his abundant collection items such as the letters – personal and fan, place cards and photo booth images found in the Time Capsules. At the same time, however, the way in which he avidly collected newsprint and signs, etc, suggests to me that within his busy, somewhat ‘fabulous’ life, he remained disconnected and in this, himself. Does that make sense?

004. A reflection, and a REQUEST for help(!)

I know this blog is for writing in after making decisions, but seeing I haven't yet made any, it remains empty. That is why I've decided that for the next half an hour I shall try to use THIS writing process to help me come to a decision. I thought this may be a nice place to summarise thoughts, and hopefully relieve the conceptual confusion currently overtaking my brain. If this is inappropriate content for my blog (I hate the term, by the way), then tell me and I'll remove this entry. It's 1136 am by my time, so let's go.

I am growing increasingly agitated by my ideas. I originally felt that I needed to expand my ideas. As in, I needed to make them less personal and purposefully symbol filled and more universal and provoking. Less literal and more visual. That's an important goal for me. But I think somehow, subconsciously, my mind decided that the best way to reflect this in my new ideas is to make them entirely bland and representative of someone elses theories. Without any personal feel, and yes, still literal. So now everything I have on paper, while visually 'okay', is not mine. It annoys me. I take myself as an honest person, perhaps sometimes a bit brash. But that is what I am, and I cannot simply produce something that is purely a visual representation of an ideal that was invented decades ago, by someone else - done with symbols determined for me by coloursymbolz.com or mandelazrkewl.com...or something like that. So that's issue number one.

For some bizarre reason, I'm very much interested in the idea of The Imaginary Friend. In the most basic sense, it conjures images that I love. That of psychotic men, pillows, child like disposition, introversion. I also feel that perhaps it could be the most legitimate subject for me to study in art, as it is such a significant theme/topic to me. No, I never really had an imaginary friend. Not when I was a child. Not a pony or goose or swan. But yet I feel that my internal dialogue, which has been very significant to me throughout my life, functions as a imaginary creature would to a child. It is compensatory, I can admit that. I suppose then, that you could attribute my demented teenaged whole to the current union of my physical thinking self with my odd but wholly loving internal dialogue. Am I making sense? In other words, my inner voice (often materialised in pillows) is my imaginary girlfriend, or boyfriend, if the thought of the former disturbs you. Oh dear, what narcissism.

I guess it does relate to some metaphor of alchemy. Where these two halves make a whole, however deranged. Or perhaps it could be a reflection of how a lack of balance...I don't know. I suppose I don't have to view this combination as something bad, something that defies what is meant to be. It doesn't feel good, but I don't feel the need to go along a different path towards wholeness either. Do I really have to make a statement? Can I not just present the state as it is to the best of my ability? Capture this state? Reveal it? But then how would it truly link to alchemy? - I couldn't just call it, say, Cheralyn's demented version of alchemy. How would it not turn into a self portrait?

I've already attempted to explore, and therefore clarify, this topic in my previous assessment pieces. However, I don't feel like any of the work I've made truly justifies this 'thing'. It is too large, to great a part of me to be embodied in what I've already done.

It's 1211pm, and that's all I have so far.

So help me! If you may.

003. Homework Task PART TWO

Jenny Saville Propped (1992)

In Jenny Saville’s Propped (1992), it is the physical application of oil paint, combined with the acknowledgement of certain outside (namely feminist) influences which make the piece one representative of the processes of alchemy.

Propped features a large nude woman sitting on a long perch. She is in the centre foreground of the piece, and is shown from a lower angle, facing upwards towards her face. As a result, the figure’s lower half comes across as disproportionately larger than her upper half. The woman’s arms are crossed across her lap, with her hands clutching her thighs. She is also placed against a blank background, and there is some contrast in the lighting used to highlight the figure. Across the whole piece, faint script is written. The piece is created with an analogous colour scheme.

In this case, the technical success of the piece is created as Saville unites her own knowledge of an effective composition and her own skilful and purposeful application of oil paint. Saville creates a very affronting form, the point of interest, by exploiting and merging the use of tone/form, colour and balance. The dimensions of the figure are made with the use of white and black tonal contrast. This, as well as the use of analogous flesh tones, (highlighted in reds) adds a certain sinewy quality to the figure. Furthermore, the way in which the woman is positioned, front and centre, creates symmetry and balance in the piece. This is almost reminiscent of the nature of traditional portraiture. Also, the way in which the darkened top half balances the large proportion of the figures legs (and the dark colour of the perch) enhances the compositional stability.

As found, Saville’s collective work is largely based around the fascination with the examination of bodies – stripped of personalities and context. In this case, Propped is a piece which seems to be a portrait of a woman’s body. It comes across as an emotional portrait, depicting the true grotesque glory of a woman’s figure. The positioning of the figure is rather affronting and raw, and it is with this passion that the artist presents the view of a woman. The piece is given a universal quality in the sense that it removes personality. While the woman’s face (an icon of difference) is in the piece, it is hidden in a shadow and half out of frame, taking away from its impact. Despite the fact that the figure is perched, perhaps a reference to the fact that it is ‘for show’, the body is not idealised. This sort of ‘feminist’ inspired ideology – where the truth is that women do, indeed, come in all shapes and sizes – is enhanced by the script found on the piece. It is found that these words are quotes from a text by Luce Irigaray, a feminist theorist. This is an example of mental alchemy at work, affirming the idea that the piece is a comment on the perception of women. The body is shown as rather imbalanced, with the unusual angle of view emphasising the woman’s heavy legs. Largeness, if permitted, can also be seen as a symbol of imbalance.

It is Saville’s use of symbols, knowledge of composition and painterly technique which sees to make Propped a piece of great value.

Louise Bourgeois The Woven Child (2002)

In The Woven Child, Louise Bourgeois engages an understanding of the archetypes, as well as manipulating the meanings of found objects, and with that creates a work that effectively portrays the nature of the relationship between a mother and child.

The Woven Child is a sculptural piece consisting of a woman’s torso and a foetus. The torso is held on its back, and lying on its middle is a foetus, held in a sack made out of a translucent dark blue material. The torso is made of patches of white cloth.

This piece is a representation of the archetypal mother/child relationship. The woman’s torso is headless and limbless, making it representative of all, a ‘model’. This lack of a head and limbs, also suggests that a woman’s body is namely a vessel for growth, without an implication of the individual. This is enhanced by the stiff way in which the torso lies; flat on its back. Despite this apparently rigidity, however, Bourgeois active enabling of materials introduces another level of meaning into the piece. That while the mother is a vehicle of growth, there is also an element of intimacy in the pair’s relationship. That it is this cycle of growth alone that is able to create an emotional bond between the mother and child. This is created through Bourgeois’ handling of materials. She uses cloth, and with this comes the human associations of warmth and nurturing. Furthermore, the delicate nature and softness of colours of the materials conjure feelings of tranquillity and encouragement.

In The Woven Child¸ Bourgeois engages the mental process of alchemy through her understanding of human association, and the importance of simplicity. As an artist, she was then able to combine this knowledge with the existing qualities of cloth materials. As a piece, The Woven Child presents both the physical relationship of the mother and child, and through the knowledge of colour and materials, is also able to bring light to the psychological and emotional aspects of the pairing.

SOURCES:

http://www.saatchi-gallery.co.uk/artists/jenny_saville.htm http://www.suite101.com/article.cfm/contemporary_art/59597
http://www.artfacts.net/index.php/pageType/exhibitionInfo/exhibition/66311/lang/1
Not-so Silly Putty: three female artists look at the body

NOTE: This was written when I was terribly sleepy, so forgive the shabby first draft. Editing will be made when the time permits it. (So check back!)