We tend to repeat and follow certain patterns, not knowing when to re-direct our attention and whether to follow through to a bitter end. What seems to be clear and complete turns into loss and fragmentation. The underlying motivation of what we are doing are not obvious all the time, and sometimes rather blurred and a notion of not-knowing guides us in our life.
Gestures are human non-verbal mean of communication. A gesture could be seen as an intend, a sign, with a purpose to create something beautiful as origami. Certain actions are not so pleasant but unavoidable as part of constructed social agreements, e.g. removal of dog poop from the pathways. The absence of gestures leaves the sign of intent still present.
The wider context of our gestures and movement might be a space of imagination or relate to subjective and social life. The repetition of certain gestures may become absurd in a sense of Sisyphean actions – a failure. A failure to comply or a failure to fail?
My two-part performative paintings were trying to address failure as part of creation. It questions the concept of painting as a mere image hanging on a wall, or as a process itself equally important. Through my exploration of moving images, I explored a wider context of possible responses obtained through peer review. Moving images can expand the traditional two-dimensional flatness of paintings. A spatial extension I explored partly in my assignment work through embracing floor and wall spaces.
The final results can only show part of the whole story, the process, the recording and documentation are part of it. How to present this in a meaningful, engaging and opening-up way to the audience will be the challenge to look at further. Ideas of mixed- media installation, moving images, interactive experiences like flipbooks, might be some ways to go. Another idea could be to let the audience be part of the making, what could be done through a GoPro head camera following my movements, possibly life, possibly recorded.
My repetitive intervention with the materiality of tools and painting medium allowed me to look beyond appearances. The process itself was at times quite exhaustive and I could feel strong physical and mental tension. In overcoming those challenges, through following a certain structure alongside my curiosity towards failure made it possible to see new perspectives related to fragmentation and expanded meaning of looking at segments of work, e.g. through peer feedback.
At the end I realized that my thinking process on folding – unfolding captured in simple words the process I went through in both approaches – as a process of knowing:
Folding as process,
Folding as thinking,
Unfolding as knowledge
(word count: 446)