STOP!
I have started to consider how the things I have been making might be displayed, this may have led to some of my confusion. In a recent tutorial it was suggested that I might archive objects in boxes or drawers like a collector. Appealing though this suggestion was it made me realise I was in danger of heading down a track I've been along before, familiar territory. When I think about the roots of my current practice I think I need to listen to my own thoughts a little deeper. what do I want to say/express? What is it about this practice that is so important to me? I need to take my time and explore multiple possibilities.
One of the major difficulties I have to work with is that I cannot provide the 'audience' with the real experience I have had. How can I translate an experience from outside the gallery space into something that can be read/understood within the gallery? Perhaps it is about offering a flavour, something to wet the appetite.
I think your final question is such an important one for creative practitioners to grapple with. Galleries are not always the best places to present 'an experience' that has visual elementgs. Just as concert halls are not always the best places to experience music and sound. There are so many other factors outside the conventional 'art on the wall' that make up the message and the work. I'm very aware that some artists are now selecting locations that are suited to the very making 'and' presentation of their work. To disseminate to a larger audience ingenuity and novel forms of new media presentation goes along side.
ReplyDeleteYour (excellent) blog demonstrates you already have a feel for this kind of thinking. What you have undoubtedly picked up in being exposed to the Slow Movement community is that the making and its story can become part of the artefact or collection itself. Exhibitions like Taking Time have a looseness that allows for change and growth of a piece of work. What you seem to be involved with is not a finite piece of work but something that is growing and will continue to grow. Ok, things often begin from a particular experience as a point in time, and that may be powerful, but the art work in its making can only be a series of reflections upon that, like a stone thrown into a pond the ripples of that moment spread outwards over a period of time . . .