Was thinking about this yesterday - re. the best way to approach the look feel and motivation of the work. How to collaborate despite the differences and distance between us so as to positively allow and invite slippages and delay. Through the post would be a good way if there was a good enough idea. Or maybe it could be more immediate. It could begin with a TV programme we all decide to watch at the same time and give a short running commentary on. A programme none of us had watched before - almost as if we were surveillance officers (ties nicely into the exhibition title) not knowing the characters' names, perhaps, but getting their personal traits across through description alone) - the a4 transcription, drawing, doodle, collage etc. of which could appear 'logged' in some way. It would be good if our work converged but then parted. One idea I had was a shelf cast in plastic which I'd collect from the streets. It could be used to support a work by another artist in the exhibition. I was talking to Claudia yesterday and she said that if I was using a motif in a repetitive way, she might (if it suited her too) incorporate it into her painting. I'm thinking along these lines. If this makes anyone feel uncomfortable in some way, you must say - it's all part of it. This blog is part of it. Does this approach appeal? This doesn't take away from individual pieces that you might NOT want to collaborate on. It's not necessarily a show about collaboration. It's more about splicing, montage, collage, appropriation - allegorising the poem. Using it as a guide but then covering it, obliterating it. Another space in which to investigate is the poem itself... there are several 'characters' in the poem, the most interesting and important of whom (I am led to believe) is Tiresias who is neither man nor woman (which makes me think of characterisation in Woolf's 'The waves' in which the voices of the characters (whether male or female) blend ALMOST seamlessly. I think that is a very Modernist ploy, to think of mythical origins before difference. The way Modernists used grids etc. imagining they were stipping back all the representational layers back to an origin. Anyway, just jotting my thoughts as they come.
Was thinking about this yesterday - re. the best way to approach the look feel and motivation of the work. How to collaborate despite the differences and distance between us so as to positively allow and invite slippages and delay. Through the post would be a good way if there was a good enough idea. Or maybe it could be more immediate. It could begin with a TV programme we all decide to watch at the same time and give a short running commentary on. A programme none of us had watched before - almost as if we were surveillance officers (ties nicely into the exhibition title) not knowing the characters' names, perhaps, but getting their personal traits across through description alone) - the a4 transcription, drawing, doodle, collage etc. of which could appear 'logged' in some way.
ReplyDeleteIt would be good if our work converged but then parted.
One idea I had was a shelf cast in plastic which I'd collect from the streets. It could be used to support a work by another artist in the exhibition.
I was talking to Claudia yesterday and she said that if I was using a motif in a repetitive way, she might (if it suited her too) incorporate it into her painting.
I'm thinking along these lines. If this makes anyone feel uncomfortable in some way, you must say - it's all part of it. This blog is part of it. Does this approach appeal?
This doesn't take away from individual pieces that you might NOT want to collaborate on. It's not necessarily a show about collaboration. It's more about splicing, montage, collage, appropriation - allegorising the poem. Using it as a guide but then covering it, obliterating it.
Another space in which to investigate is the poem itself... there are several 'characters' in the poem, the most interesting and important of whom (I am led to believe) is Tiresias who is neither man nor woman (which makes me think of characterisation in Woolf's 'The waves' in which the voices of the characters (whether male or female) blend ALMOST seamlessly. I think that is a very Modernist ploy, to think of mythical origins before difference. The way Modernists used grids etc. imagining they were stipping back all the representational layers back to an origin. Anyway, just jotting my thoughts as they come.