During the life forum hangout 09 Sep 2018 (https://discuss.oca-student.com/t/forum-live-hangout-sun-sept-9th-6pm-sign-up-here/8024/31) I asked my peers for some feedback as it would allow me to be clearer on the ‘essence’ of what I was doing and making :
- the works in itself
- the works together as an assembly
- any associations related to seeing them
- possible ideas how this could be moved forward
I worked now since couple of months with and on my object box, an assemblage of dysfunctional things that became part of my life already. I had to put a break in my coursework for reasons of relocation and re-settling.
In March I posted a video of me performing an unfolding of my object-box and got various feedbacks that more or less consciously or subconsciously impacted my approach.
My initial performative interaction could this be a work in itself, or part of work?
I continued with coursework and preparation of my assignment work along a more painterly approach, with some moving images that resemble animation films, and an expansion into space trying to put myself and my objects into a new perspective. I had to let go some of the box-objects – to move them into my new works.
Reflection on feedback received:
- As I asked for feedback on the assembly of four works, most comments came back on the animation piece, as something intriguing, a narrative, and entertaining. With a sense of innocent charm. The references made to this were:
a) BBC Children Series with Tony Hart: The series started with 1964 ‘Vision On‘, initially targeting children with hearing impairment, followed 1977 by its replacement series ‘Take Hart‘. All are visual presentations of cut-out, simple painted marks, and other visual plays as entertainment.
b) Bento Boxes. I am not sure that food is the direction to go, I was aware that the fork as part of my object box would bring this up immediately. A reason why I skipped this object in the third animation (#1)
c) ‘Manipulating’ – control through hands. How could this be moved further that the viewer has a sense of their hands? A different visual entry?
- My object collage work #4-What is Below and Beyond was related to Chef’s Table, in overcoming the constraints of serving food on a plate, expanding to the table and serving food directly onto and from the table, the table as worktable for performative presentation. at: Chef’s Table Season 2 Episode 1 Grant Achatz. This is an interesting notion, as more for practical reasons I placed the work onto a small table/chair, kind of referring back to the origin of work-table. This work was also associated with the notion of inside-outside the box, a reversal, what I find an interesting aspect for further development.
- We discussed my reference to fetishes, and the unboxing as a repetitive cycle of interacting with objects was associated with:
– obsessive compulsive disorder (OCD), and
– ASMR unboxing on youtube, (ASMR = Autonomous sensory meridian response, a mean to relax through experiencing tingling sensations on the skin
– cognitive bias: what am I holding onto? what could/should change?
- Other associations: Pandora Box, Black Box, Relicts, Mystery.
- For me an interesting aspect was that compared with my initial performative unboxing video, the mystery and secret language hidden was lost in my later works. Do I want to capture the mystery, magic moment when the viewer sees my work, or do I want to move another road, more mundane, or a frontal encounter with dysfunctional objects (with or without title) to make the seeing and looking experience the content?
- Another comment made was related to the shift of color from #1 to #4. A conscious decision or a de-saturation of visual impact. What colors could be more successful for my subject?
- It became clearer to me that the term ‘fetish’ is somehow challenging, perhaps even provocative. The comment related to obsession is well made, there was certainly an aspect during this time for me. I feel there is a something between a more observer position of the viewer and being part of an experience. So far I am afraid that the seeing online supports a more consuming attitude, versus a larger scale work with the viewer invited to engage physically with could possibly overcome this.
It was very helpful to get feedback from others and I do thank all for their valuable contributions. Some aspects might need more time to digest and mature.
One thing that I am still not clear about for myself, is animation as painting, or painting as animation aka moving images. It allows certainly to communicate a process and development. Would it possibly better if the viewer is invited to engage with the process and work out some possibly scenarios? What can I convey through moving images in painting that would be missing otherwise? A new insight? So far the animation worked by feedbacks received, though without a mystery. Too predictable? Too entertaining?
I will take further the idea of fetish, objects, obsession, inside-out, and agency of viewer into consideration. Possibly that the work need to be done at much larger scale, to bring in the ‘objecthood of the spectator’ (quoting Olafur Eliasson). One was would be to skip the box and move to object and relationships, between objects and between objects and spectator.
The question of color, bright versus muted, need more attention from my end, what serves what?
Marx, K. (1867) ‘The Fetishism of Commodities and the Secret Theory of ‘, in: Capital. At: https://www.marxists.org/archive/marx/works/1867-c1/ch01.htm#S4 (Accessed on 10 Sep 2018).
Works posted for peer feedback:
#1 Animation (Still-Life#3 – 0:38min)