At the beginning of this part, I was struggling whether just to throw some items onto a table where I felt they have some commonalities? Or to take this further and makes this somehow meaningful for me? To take this rather as technical exercise or rather as a step towards a body of work guided by some ideas mentioned in the coursework? I eventually decided to follow my own sense and to let it be part of a longer journey exploring my body relationship with the space around me, with objects that can add something to it, and see how it all goes.
As mentioned in my conclusion on the research of ‘work-table / object-table‘ I can sense a personal dimension of my ‘work table’ and objects and how my travelling, the transportation of objects, and the temporal installation of ‘tables’ aka workplaces are not only a reflection of an unsteady life but also could be seen as a kind of portrait, identity. This idea is what I want to bring further with the first step in this part. Not-knowing where it will lead me towards, and possibly I will follow my unsteady movement and jump on another idea. At least: a start
I am travelling to other places and staying at times in hotels. The most mobile items do come with me, packed in bags or suitcases, transporting, unpacking – or better unloading – onto the nearest table – and repeat. Packed and transported as Declan Long described the wooden crates of Uri Aran for the Liverpool Biennial. If a visitor will visit my temporary table spaces, as Gabriel Orozco likes to do so, I wouldn’t know what the response would be. And I feel that not-knowing this makes it even more fascinating – or frustrating – for me to explore and to investigate my temporary place in transition. One sideline of this thought: whether I would explore a space or a place (relating to some discussions with fellow students)
I am wondering how much my objects would tell about my identity, ‘my history and my preoccupations’ (Georges Perec). At times it reminds me what I can do with the objects, sketching, writing, like those imaginations described by Elizabeth Bishop in her landscapes.
I started with my idea of exploring my travelling as spatial and temporal movement alongside a sense of evidences of my presence as well of absence. It relates to art, drawing and painting tools, bags and what else I found relating to it.
My table top – Evidence of spatial and temporal movement?
In my Swiss studio (part of the living room where the studio is taking over the ‘living’) I have an easel that I can rotate from vertical to fully horizontal position. I like to work on this ‘table’, standing, in front of the window. It is close to my art stuff. The only drawback, I can’t walk around easily, thus I need to displace it more to the center and clean up the area around. Already with some items thrown onto it: evidence of my travels (plastic bag, newspapers, cleaned plastic salad cup from take-away (perhaps better to keep it dirty for possible following paintings?). The other space of my working is the kitchen table with my writing, drawing, learning log (computer – absent in this image, but the mouse of present) and pebbles, found objects from the Aare river, I take always one with me. But there are also the other options, e.g. working on the floor, quite a habit as I like to work on the floor, in the middle of my art stuff, proximity and enclosure. And the fourth option I reflected on as part of my frequent travelling is the evidence of that: the suitcase or just a bagpack (see Fig. 1).
Fig. 1: Worktables – sketches – a) kitchen table with found pebbles, computer mouse index of blog; b) floor; c) horizontal easel, with thrown items as evidence of my travel; d) Suitcase: another evidence, but rather staged, what fits as well in a bagpack