Project 5.1 – Ex5.1: Cut-up technique

Wondering what text of words to use? I wanted to take text with some relevance to my personal project, considering ‘cut-up’ technique as an analogue to my recent assignment 4 paintings related to skin: fragmentation, vulnerable, distorted, disruptive, unsettling

Text input:

Reflecting on practices of text related to MRI, one example is Nicoleta Colopelnic (2013) where she described her back MRI scan through poetry and gave the medical imagery an aesthetic appeal, I decided to build my words from various sources that seem meaningful to me and my parallel project (Fig. 1):

  1. a medical text on psychological effects of MRI scan (Westbrook and Talbot, 2019:350)
    => the rather technical tone related to a patient’s ‘non-compliance’ with the machine process reminds me of how strongly the body became disciplined through the medical instruments it themselves. The fear and different responses by the patients as a flaw to correct.
  2. a text on visual aesthetic perception and the brain (Cela-Conde ed al., 2004:6321)
    => how neo-Descartian the medical world became by trying to map not only the mind but also the sense for aesthetics 
  3. key words from peer feedback (see reflective blog post) on my inter-media collaborative work Mindful Resonance Interaction (MRI) 
    => kind of verbal stimuli, different, falling onto me, what to make out of it?
  4. words from Vicki and me in resonance to MRI as subject matter, that until now didn’t go into the performed work from July 20th, 2019
    => how we came up with some freely associated words related to an MRI experience, un-discplined, un-mapped, chaotic. Those words are most closely to MRI poetry and I might use them explicitly for my further work.
  5. technical words from DICOM data of one MRI scan (screenshot from Horos)
Fig. 1: words from parallel project and feedback

Fig. 1: words from parallel project and feedback // check out the QR code to soundcloud file with spoken words

 

Techniques to cut-up and shuffle

I was trying to make non-sense out the the tons of words (how to reduce those? or is the amount of overload part of the work and the experience of it?). Considering the MRI machine and the machine coding process to deliver visual imagery to the human beings in-front of the operator screen, I felt inspired to use an automatic coding approach as well to shuffle and cut-up my various text inputs. Looking for online tools (line shuffle tools from Advameg. Inc.and Random Tools) and use of LingoJam (2019) tools for creation of type fonts, a visual encounter with the invisible text resulted in a nearly illegible sequence of words that I composed as a string of large letter pages, in total 93 pages !   that became my base material for following explorations

link to : PDF 

Video 1: more linear unsettling the entirely // Words cutup – sequence no 1(video, 1:33 min)

 

and as layered and double moving text-image (with the animated painting done earlier on for my parallel project, and a raw sequence that didn’t go into the final performative collaborative piece –  see my blog post at: Spin-off Idea: Gesture as Narrative)

Video 2: recent aesthetic distance// Words cutup – sequence no 2 (video, 2:31min)

Not knowing what to do with the massive amount of text not giving me any further insight in how to proceed further, I eventually printed and manually cut them in smaller pieces and to see whether my more visually and touching approach of collaging them together in a sketchbook could show a way forward.

Playing around with to structure :

  • to make connections – cut up my thinking (Fig. 2)
  • to make sense (Fig 3) 
  • to response through feeling and touching – ? (Fig. 4)

Slider view (Fig 2 – 4, click on one image to open in lightbox view):

Fig. 2: text and words - no1

Image 1 of 3

text and words - Making Connections - cut up my thinking

Intermediate results

Informed my previous playful selection of narrowing down the words (Fig. 2-4) I was curious to see how to use them in a collage way. I am more intrigued by the materiality and performative aspects of the resulting non-sense cut-ups, less about the process of making (Fig. 5)

Fig. 5: text and words - sketchbook // informed by language from my parallel project

Fig. 5: text and words – sketchbook // informed by language from my parallel project // left: latex and Tyvek plus words, center: non-sense cut up words behind the window, right: stretching words with parafilm

 

=> I was intrigued by the use of parafilm (or better PARAFILM® M) from some previous trials after reflecting on assignment 4 and alternatives to latex. Parafilm, material used in medical or chemical labs to close beakers and other containers, is translucent materials that can be painted on with acrylic paint. Due to its plasticity it is easily stretchable, an action that I wanted to continue exploring after assignment 4 in relationship to skin and medical matters. My exploration of Tyvek® (Fig.5, left) – a paper like material that can be cut open to expose the inner core and being used for protective and disposable clothing, e.g. in clinics,  is informed in a similar search for latex alternatives and materials with connotations with medical stuff. 

Exploring incision, stretching and other material matters. Slider view (Fig. 6 & 7), click on one image to open in lightbox view:

Fig. 5: collage 1

Image 1 of 2

exploring verbal and visual materiality // abduction - part - dominion - insane - gaze - rhythm - loneliness - mind - touching - sound - alien

=> I found the relationship between materiality and action an interesting aspect. stretching and transparency as two key elements involved in my work since part one.

stretching

as

action

onto

materiality

words

are

material 

torn

apart

 

Making collages, partly as an instruction partly as a declaration (slide show Fig. 7 – Fig 14;  click at the bottom right tiny arrow top open images in lightbox view):

=> this brought me back to some of my initial bar-codes, slicing experiments (see post). More an illustration, crossing boundaries with drawing and eventually creating ideas for painting. The series done in my A3 sketchbook, might be quite sketchy and illustrative, but I find the line between legible and illegible, between comprehsensible and non-comprehensible fascinating. It is a border that in case of QR codes can be easily crossed, with a rather digital result: yes / no – legible / illegible. This liminal space of making sense and getting insane sounds relevant.

=> the no.5 work is obviously as contained and unsuccessful as it was my work with paper chips for part 4. I kept it here for the sake of completion and as an idea. To develop it further I would reject the backing support paper and make it more sculptural, unframing and expanding the edges into the space of the viewer

 

code

-non-

sense

gazing

me

crossing

border

insane

 


 

Words as speech

I wanted to move away from visual, words to see, towards auditory, words to hear. Considering words as speech, intrigued by my experience of my collaborative project and of one project performed by a Anna, her husband and Naomi at Toynbee Studios, and informed by William S Burroughs practice and some artists examples from the Radio broadcast (Hollings, 2015)

the words from VIcki and me – spoken by me – unfiltered and raw (just with noise reduction and normalization filter, (audio, 0:57 min)) 
 

 

a) First attempt in taking my spoken words, apple various effect filters with Adobe Audition and re-mix as multi-track file. Creating a speech-scape, to be layered with visuals (audio, 0:29 min)

=> to soundscape partly distorted, interruptive, but good as a first speech-sketch

b) Second attempt my spoken words as a) re-shuffled, cut-up with Adobe Audition (audio, 1:08 min):


 

=> more flat as single track and no filters applied. However, the cut-up as a mix of chance and conscious decisions, percussive, repetitive towards the end. Wondering how this could be developed further. Speech felt now more as a plastic material to be transformed and modulated.

With this audio-soundscape sketched I am wondering how the words can be merged with visuals, feeling intrigued by Kentridge’s short moving images Breathe, Dissolve, Return (2008)  What would be the difference in experience versus my collaborative music work? Another approach to ‘feeling complicit’ with the materials. All about creating in-between spaces

c) Third attempt mixing various words (incl Vicki’s) spoken by me, cut-up, merged and re-shuffled with Adobe Audition (audio, x:xx min):

<  planned idea but skipped in order to move directly to the next step  >

d) Fourth attempt audio from my cut-up speech (second attempt) with ‘merged’ with the handwritten words amended and a painting on parafilm as process – multilayered in Adobe Premiere. Finally, I got to move away from iMovie and enjoyed the versatility and flexibility of Premiere, especially for layering (what became a nightmare in iMovie). 

Video 3: Cut up My Thinking // Words cutup – sequence no 4 (video-audio, 2:30 min)

 

=> After various attempts in recording the massive amount of text from video 1 in a linear way of reading (making a very long strip of small scale prints of the 93 pages) with either moving myself with the camera in front of the text frieze of – more successful – moving the text strip with a fixed camera. I was not that satisfied and convinced by the typed and printed text, thus I revisited my work in my sketchbook (see Fig. 2-4) and choose those ‘keywords’ to write them out on a similar small long strip of paper: text, written by my hand, more personal – another index of my being (writing and hand and pull). The moving strip itself reminded me of analog magnetic tape recording and cutting, quite as Burroughs mentioned it. It reminded me also of Jennifer West and her material usage of film tapes to paint on and to project them. In my case, an audio version of that. The layering process of physical and digital materials (experimented earlier on – see ‘my digital body in space’ from Project 3.2 – Ex. 3.1: Body as canvas and multilayered moving images ‘Performance unframed #2‘ from Project 3.4 – Ex. 3.3: The mirror as a stage .

Some aspect that I can find coming across in some of my works since part one are :

pulling

stretching

layering

 


Reflection

  • Using materials does matter: I found it intriguing to find some relationship between written or typed words on paper, on other materials, and the process of reading (in this case from left to right as by my own learned cultural convention). The performative video works with connotation to tape (magnetic tape recording of speech) as moving images.
  • I enjoyed the speech approach and using soundcloud – for its plasticity and to make it more malleable compared to written text. I do embrace more and more different senses to have a more immersed experience of a work. Definitely, something to look deeper into.
  • My last video 3 work and its preparation made me aware of how my body posture and gesture plays a role in the making and reception of the work. Moving with a video cam means to record my movement as well (I don’t have such fancy film maker motion reduction devices) while moving a strip with a fixed cam makes the strip movement (smaller gesture with the hand) a bodily experience with its traces left on the video. I intentionally kept those ‘non-professional’ motion traces, not only as index but also as awareness of the body in the work.
  • Informed by my collaborative work with music student Vicki I was intrigued by soundscape and now of speech-scapes an additional dimension to visual spaces. It brings me to multiple layer approaches that could be performed either live or as recording in a room. The works above are single perspective works, i.e what the viewer sees and what the viewer hears is coming from the same direction, mostly a computer or mobile flatscreen. In a physical gallery setting this could be disconnected and displaced, the speech, the sound coming from different directions, placing the viewer inside the work and not as an observing person alone. I like the idea of complementing visual that one looks at in one or the other direction and other senses exposed to different directions.
  • I find malleable materials with a plasticity quite relevant for my work and relating to my parallel project. Did my last assignment 4 looked at latex as a stretchable and fragmented skin pattern, I can see now that even words might be as malleable as such materials. I found in Parafilm M® a similar material that I could use for that. Stretchable fabrics, with incisions, might be another approach to look at.
  • Further development: 
    – I liked the developed idea of considering words as a plastic material, literally explored through stretching parafilm with words painted on it. Certainly more to discover with other materials, e.g. to cut out words from fabric or latex and to stretch them in similar way as I did with latex for assignment 4.
    – Words as speech acts brings me to the performative aspect of language. Speech as such is performative, compared to a more ‘still’ expression of non-verbal paintings.
    – Overall, I do believe that to work with the plasticity of words in context of my subject matter (medical imaging, skin, embodiment) would be the way forward.

 


Reference:

 

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Project 5.1: Working with text

Words, text, literature do have a long history as time-based, linear narrative against visual arts as spatial art, the latter considered as unable to convey a narrative.  This dilemma was explored by Lessing in his book ‘Laocoon’, 1766; or  ‘on the Limits of Painting and Poetry’), an old time fight between both art forms. Time to mix and merge.

Cut-up as technique

Consciousness is a cut-up; Life is a cut up – William S Burroughs (Kahler, 2014:12)

Ken Hollings described how cut-up has been applied (Hollings, 2015) as a DADA technique since the 1920s with Tristin Tzara (Ragged Lion Press, 2016):  cut out words from a text and randomly re-arranged into a new poem.  The same technique can be applied with all king of media, e.g. sounds and video. Quite hip-hop and fragmented. Disruption and disturbance as a key aspect of the work.  Hollings explains that this initial experimental technique became a main stream part of popular culture and daily lives.

Text – Words – Speech – Sound – Motion – Chance

Home tape recorder became a trendy device with William S. Burroughs (William S. Burroughs – Topic, 2017), as an opposition against ‘bourgeois literature’: to record, to playback and stop randomly, and add a new sequence – resulting in a new juxtaposition, a start for a new writing. Burroughs also questioned how random is randomly. Nowadays, this technique is widely applied by DJs,  called scratching or scrubbing of a turntable (DJ decks work that way even with digital files). In music, sampling relates to this, allocating pitches to various sampled sounds, that can be played with a keyboard normally.

Bottomline, mix, cut and re-assemble any ‘raw material’ in order to layer, to disrupt orders, to break narratives, and to seek new ways of experiencing similar things a-fresh. The human brain is wired to make meaning out of chaos, a question of survival. This doesn’t mean that those re-assembled things can make one dizzy and uncomfortable.

Example of this dizziness or even  non-sense of stretching the words in its plasticity can be seen/read in Kurt Schwitters’ poem as (Morley, 2003:60)

lanke tr gl
pe pe pe pe pe
ooka ooka ooka ooka
lanke tr gl
pii pii pii pii ..

Words become visual, and logically cut-up as technique for collage was used by Cubist artists, e.g Pablo Picasso or Georges Braque. Fragmented text giving the impression of scale with a flattening effect.

Cut.up, collage, tape recorders and today online tools are democratic devices for everyone, like the idea of zines, simple, low-end, creative.  David Bowie mentioned that he used a computer program doing the cut-up work for him, and taken the results to work from there (BBC News, 2016). One example of online randomizer: https://onlinerandomtools.com/shuffle-words

To use other materials, words, text could be considered the same way as using other’s images; collage, pastiche. appropriation; raising questions of copyright and ownership that nowadays became a blurred idea of difference. 

The above quote from Burroughs can be related to today’s social media life, with a short attention span, swallowing huge amount of information (written, mostly visual, as who can read texts if not visually?). Today, cut-up techniques are called twitter etc.

Chop the painting

Cut-up as chopping and dicing brings me to the idea of chopping, dicing my own discarded paintings. The physical action of cutting, also reminds me of cutting through the skin. Scalpel as the scissor, paper as skin, pictures as words. Why to use words as pictures are similarly signs with deferred meaning?

The film director Gus Van Sant, described by Kahler as ‘a gay director of films’, is a creator of ‘surreal or dream imagery’ with a ‘painter’s aesthetic’(Kahler, 2014:1) and he appropriated Burroughs cut-up method for his films. Another reference for him was Eisenstein’s montage method, to juxtapose two unrelated scenes to create new meaning. Van Sant’s multiple cut-ups from other narrative do ‘move the linear narrative forward’. One of his visual cues are ‘time-lapse and shape shifting clouds as metaphors for change and the fleeting nature of life’ (ibid:6). An interesting a for me new Western film technique, informed by the Western normalised way of reading – left to right,  is described by Kahler at the example of van Sant’s film ‘Promised Land’ (2012) where entering a screen from the left symbolises the good, the protagonist side, and entering the screen from the right symbolises the villain, a visual narrative of showing conflict. Van Sant applies this in controversy order, creating a twist in narrative. In the work ‘One Step Big Shot’, Van Sant applied cut-up technique to create new images from snippets of portrait photographs to create ‘new beings .. from elements of others’ (ibid:12)

Text and Visuals

I want to name our pains, I want to keep our names, … Words and images drink the same wine. There is no purity to protect. – Marlene Dumas (Morley, 2003:9)

Morley (2003) described in his book four kind of interactions between text and visuals:

  1. trans-media, e.g., surveys and art critics
  2. multi-media with coexist closely in same space, e.g shop signs, comic books, Fra Angelico ‘Annunciation’,1432-3 or Marlene Dumas ‘Sold against one’s will’, 1990-91
  3. mixed-media with less ‘intrinsic coherence’, e.g. Raymond Pettibon ‘no title (just what was), 2001
  4. inter-media as a hybrid form of visual-text, writing as visual language, e.g signature of Albrecht Duerer, the Book of Kells

Especially, the fourth kind resonates with text that one cannot read when not learned the language, e.g. Cyrillic or Arabic script. The portraits photographs of Shirin Neshat an example, text written over the printed photograph, a poem, a secret language with quite decorative appeal for those not able to read. A rhythm and aesthetic of visual text in itself. I learned to speak and write Ukrainian and Russian language while I stayed for roughly three years in Ukraine, the west and the East, Ukrainian to speak in the West, Russian to speak in the East. Language as mean for communication, to touch the people living there, to be present.

Vincent van Gogh did appropriate foreign text as visual compositional device, e.g. The Bridge in the Rain (after Hiroshige), 1887, informed by Japanese wood cuts.  Drawing and painting of letters or signs a question of coherence (ibid:26-27).


Art Practitioners

Sarah Impey (Impey, 2019), a textile artist, makes quilts, that could be considered somehow between mixed-media and inter-media.  In some of her works, words are following a visual order, e.g. Iris Recognition. In other works, the words are dominantly laid over a backdrop, more independent and separate from it, e.g. Meeting Point. The work Interconnections, seem to take the linear syntax of text into the spatial realm of images, phrases as interconnection of words turning into chain-links interconnected visually.

There are wide and varied examples of artworks that use text, each has a particular intention behind it in terms of what the artist wants to communicate to, or elicit, in the viewer.

Annie Vought cuts away the negative space from enlarged handwriting text from found or written letters on paper, making the words a fragile experience. She said about her work ‘intricately dissecting the negative spaces with an Exact-o knife. The handwriting and the lines support the structure of the cut paper, keeping it very strong, despite its apparent fragility. The sculptural quality of the letter allows the viewer to examine the care it took to render each piece in relationship to what is actually being said…. I believe that I am just beginning to understand paper as a medium – its strength and fragility.’ (ArtistADay). Her cut-paper work series ‘Ideas are Objects’, informed by the book Metaphors we live by from Lakoff and Johnson, sounds like a critic against Kosuth’s ‘art as idea’ statement. Metaphors as communication of invisible images of the world.

At an earlier exhibition visit to Martha Roesler and Hito SteyerlWar Games’ , the first room was filled with suspended from the ceiling transparent banners with text imprinted from Hannah Arendt. The viewer is invited to walk through a text. However, I feel that this technique already became a trope, suspended text or words in the middle of a room (one just has to image search it). In a more recent exhibition at Serpentine Gallery, Hito Steyerl filled the rooms with vibrating and pulsing light, images and text in various outer turning the entire place into 4D book. And through a phone app, she applied AR layer of images and text onto a an external reality.

Joseph Kosuth His work Titled (Art as Idea as Idea (Idea)), 1967 can be seen similarly as Weiner’s work in context of conceptual art and as the visual counterpart to his writing ‘Art after Philosophy (1969)  (Kosuth, 2003). An upscaled white on black copy from a dictionary, term ‘idea’.  Another example for such conceptual use of ‘art as idea’ is the work Secret Painting (Ghost), 1968 that forces the viewer to look at a content that is not there. The artist’s words as proclamation and statement that can’t be rejected (Morley, 2003:146)

Lawrence Weiner: ‘Every artist’s work has a title. Titles are my work’ (Morley, 2003:143). His work Earth to Earth Ashes to Ashes Dust to Dust, 1970 embodies exactly this: the title is the work, written in capital letters on a gallery wall. That’s it. The title in itself is the idea to contemplate on. Interesting to read Weiner’s notion that his work exists even without the inscription on the wall, as if the title is the artist’s immaterial gesture.

This reminds me how more and more exhibitions are nowadays juxtaposed with writing on the wall, either artist quotes, titles, reference – anything goes. 

Jenny Holzer used text as statement, as utterances, as expression of feelings on urban bill boards. Neon light texts with the aesthetic of advertisement to make people stop and ponder about deeper meaning. Words as more punchy that images, a disruption of imagery. Her short phrases built on semiotics and syntax, the linguistic structure of expression. At times the phrases seem content-wise paradox, e.g. IF THE PROCESS STARTS I WILL KILL THIS BABY A GOOD WAY.. Her works reminds me of the neon work Tracey Emin installed last year at St Pankreas train station in London: ‘I WANT MY TIME WITH YOU’ , a more personal and intimate expression relevant to the site of traveling and train station, arriving and welcoming, sharing between two people what matters.

Fiona Banner: I was fascinated to read about her work ‘Full Stops’, enlarged full stop letters from various type fonts that also gave each one its title. Virginia Button (1998) described this work of the full stop as representing ‘an ending but also signifies a beginning, an in between or a gap. Like the polystyrene, which is used as a packing material or ‘space-filler’, the full stop is transient. The names of the fonts are displayed on accompanying packing boxes, providing a possible titling system for the sculptures. The boxes also reinforce the idea that the full stops are transportable and multilingual.’ Building on the notion of a letter as metaphor. It is the syntax, less the semantics of text that can give another meaning. 

Jaqueline Humphries: Perhaps not the artist who applied written words in her paintings, but she appropriates emoijs, kind of contemporary verbal-visual language. For those, where social media is part of our life, and how to text without emoijs? She uses laser-cut stencils to rub the paint through those opening, leaving the emojis traces onto the surface. She also transformed ASCII codes of her earlier paintings, printed onto a support to laser-cut and do the same thing. Own or cultural memories embedded into new work , creating new meaning  kind of digital cut-up meeting painting (Schaffeld, 2019).

Christian Bonnefoi (2019) explored through cut-up collage as a dispositif, the disruption of temporal and at times paradoxical ideas. He uses mylar as in-between layer to partly conceal underlying text and images. Signs from the background became compositional elements of above layers. I find the layered approach and interplay of opaque and transparent intriguing, e.g Babel I, De la sphère 90°, 1978 or Babel 24 R, 2016-2017 or Janapa I, 1978 (Campoli Presti, 2018). The rather abstract cut-up shapes are placed in order to create a new work.

During my visit at the Drawing Room, London ‘From the Inside Out.’  I found other examples of how text, words, letter could be embedded into the fabric of a work.  The title reminded me of Elisabeth Grosz association of the Moebius strip with the self and the body. Athena Papadopoulos. In her work Even Deader than Dead Grapevine she embedded words, letter interwoven with materials traditionally connotated with ‘female’ activities.

William Kentridge, knowns for his animated drawings, installed as large scale performances through screening alongside installed sculptures, used words in various ways. I find the exhibition books NO IT IS ! (Kentridge 2016) an good examples of a book design and layout with merged texts, words, and images, as a fluid interrogation of his work. I felt intrigued by his work series Breathe, Dissolve, Return (2008) for its fluidity of visual and text and the aspect of time, fragmentation, and dissolving boundaries. All three are short films of around 4-5 minutes, initially intended to be projected on the fire curtain in the opera house in Venice; at the time when the orchestra is tuning the instruments and the audience is coming in. All three works are about disintegration, of material structures. Dissolve is visual only, Return includes the title as visual word, and Breathe consists of collaged texts with the title written on a piece of paper stuck to the background wall and a dominant ‘da capo’ placed as words at the bottom of the work. 

William Kentridge - NO IT IS ! (2016) Dissolve -Return - Breathe

William Kentridge – NO IT IS ! (2016) Dissolve -Return – Breathe // process as work

 


Conclusion

  • Words: statements, feeling, visual matter, physical matter, in-between spaces, paradox juxtapositions, appropriating other medium specific appearance: as sculpture, as advertisement, as fabric, as collage, as wall writing etc.
  • I was surprised that I applied apparently many of cut-up technique ideas already in my parallel project, Through my collaboration with music student Vicki, I not only applied a mixed cut-up of sound and images. But also the sequence, often disruptive, with apparent no connection to each other, could be considered as cut-up. 
  • During my collaboration, i was already intrigued by speech, something I learned now can be done as cut-up as well (Hollings, 2015). Who says that words need to be visual? I like to push conventional ideas (since Gutenberg ed al) that words are speech, quite resonating with ‘in the beginning was the Word, and the Word was with God, and the Word was God’ (John 1:1) No surprise that Morley referred to this back to a time when the spoken word was conceived with the ‘highest status'(Morley, 2003:14).
  • I would like to explore more the in-between space of text, words, speech and visuals. The work ‘full stop’ of Fiona Banner might be one direction of space and absence.
  • Words can disrupt in a more punchy visual imagery, especially when overwhelming like in urban centers as Jenny Holzer’s works show. Another image would have had less impact.
  • Overall, I am less impressed to use words as text as statements, I am more intrigued by appropriating text-words-conventions, e.g. deferred meaning, paradox, spaces in-between. And I do wonder whether words and text in that sense can not be expanded to notations, to music scores. Reading as way to create work and meaning, like a score as iconic imprint of music created in a different space.
  • I felt inspired by Kentridge’s process based animated images with one words dissolving and merging with the overall composition.

 

https://www.pinterest.de/sjschaffeld/text-words/

 


Reference:

 

 

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Critical Review – Outlining argumentation

Outline of my argumentation, based on my earlier brainstorming and draft outline around the subject of medical imaging / MRI and art. Especially, considering more the work for my parallel project and assignment 4 works around materiality of paint as malleable and vibrant as skin through which the gaze is intruding onto us.

link to: PDF

11 Stefan513593_CR_P2SP_outline2

 


Reference:

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//Visual // Thinking //

Stefan513593 - making connections - sketchbook 1

Stefan513593 - making connections - sketchbook 2

 

// Making – Connections // 

=> a visual encounter and  drawing line to connect, my previous work (see microscopic color circles at: Project 4.5: Colour) and ideas of sculptural paintings

  • How scale matters (estimated 1:300 – my paint circles versus large scale street installation)
  • How found objects, ‘canvas’ like, could be considered as urban installations. The bin or the pillar as context ‘stretching’ and containing meaning and perception.
  • How the embodied experience of site and objects are informing space perception, scaffolding as kinesfield experience (as the expanded field around the human body in interaction with objects is described by Gretchen Schiller)
  • How fake is faked through imagery

 

 


Reference:

  • Schiller, G. (2008) ‘From the Kinesphere to the Kinesfield: Three Choreographic Interactive Artworks’, in: Leonardo. [online]. 41(5),  pp. 431-437,  At: https://doi.org/10.1162/leon.2008.41.5.431  (Accessed on 10 Dec 2017).
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Writing on the Wall – a review

‘Writing on the Wall’, an exhibition at at Waddington Custot, London

Before going to the exhibition, I was wondering what to expect: graffiti, scribbling at the wall, ancient signs. Considering contemporary art and my coursework for part 5 on words, I had mixed feelings about it: would it inform my work? Would be distant me?

The website and the joining text is comprehensive and complete. Nearly all works (from Brassaï, Vlassis Caniaris, Jean Dubuffet, Manolo Millares, Antoni Tàpies and Cy Twombly) are visible on the galleries site, what I found not only helpful for me and for sharing, but also a good practice that makes it obsolete to take photographs on site, what I find sometime rather distracting. Additionally, the exhibition book is online accessible through issuu

The joining text had a quote of Henri Lefebvre The Urban Revolution, 1970:

The urban space of the street is a place for talk … A place where speech becomes writing. A place where speech can become “savage” and, by escaping rules and institutions, inscribe itself on walls. – Henri Lefebvre

I was thinking of those marks left by humans on walls, but also on other public spaces and objects, becoming personalised, inscribed as collective memory.

To inscribe

This word is more than writing text on a support, using tools or hand and fingers, using ink, paint, or just inscription. Inscription is incision, reminding me of human skin and people inscribing not their flesh, tattoo, bruises, scars carving, pinging, cutting. From making a mark as a picture to making a mark to get relieve or to feel oneself. Self-harming or harming or just part of identity?

Wall

Walls are protective layers, with the reading of Flusser, are not only a facade against the outside but also an enabler for meaning of the inside, a metaphor for a double dilemma (Flusser, 1993:27-32): to protect and to encapsulate, to look out and to look inside of oneself. The wall as a surface, a skin for projections and illusions.

Are public walls the skin of a society? -> To raise attention to? To leave marks?

Are human skins becoming a public wall? -> we expose ourselves more and more today, selfies, selfies in our inside rooms, surveillance, we make ourselves vulberable, we turn into public property.

I do feel a strong resonance between walls and skin, especially in context of my parallel project, medical imaging. My assignment 4 work was more about the skin as a material with plasticity and resistance. I don’t know whether it would make sense to expand to walls, perhaps the wall as a backdrop? Too flat. Skin closing a hole in a wall? too literal. Paint as skin as wall – vulnerable. It brings back to me my work done as personal project for PoP1: the decay of residential building, the breaking apart of bricks leaving a hole that allows to gaze inside. Another metaphor for medical imaging.

Considering my coursework, speech inscribed as text, could not also speech be uttered without text? Painting is visual speech, words added to it would possibly add another ‘speech’ to it, or just enforces a speech? Often the way it is done in propaganda, ads, or other affirmative visual statements.

What could be more subtle for doing it? And by subtle? Are bold messages less arty than ambiguous ones? It seems as if the wall to write onto, to inscribe into is a balancing surface between arty, propaganda and protest.

The works in the exhibition are either informed by found wall visual (e.g Brassaï, Dubuffet) or they are appropriating the mediums and materiality of the wall (e.g Tàpies, Twombly or Caniaris). Somehow, I feel uncomfortable of some works and perhaps attitudes, to appropriate works outside the art space made by people with in quite different conditions, to consider those as a new ‘raw’ and direct expression just to be applied and transformed into an art work as art-object. I always feel this sense when reading about ‘art brut’ and outsider art. At times, I am wondering whether those works are documentary or effect. Twombly considered scribbling and inscription as a performative act by deconstruction written language in its gestural aspects. Perhaps, this is closer to how I would like to approach the act of visually mark-making and text.

—-

Comment on gallery space: I felt the space, the rooms joined together, calming and relaxing. As mostly in galleries, the space is not crowded, me mostly the only visitor, at times one or two others. Passing by, not impacting space perception much. The entrance wall was covered with the work Duat (1994) of Antoni Tàpies, a large frieze size 250x600cm.


Image

  • featured image: collage from screenshot (Waddington Custot)  and photograph taken on site

Reference:

  • Flusser, V. (1993) Dinge und Undinge – Phänomenologische Skizzen, Munich: Carl Hanser Verlag
  • Waddington Custot (2019) Writing on he Wall – Exhibition (17 May – 08 Aug 2019), At: https://www.waddingtoncustot.com/exhibitions/133/ (Accessed 21 July 2019) :
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Fine Art – practice, research or what?

What is Art? What is Fine Art? What is Fine Art education?

This question is certainly a question with will no final answer. And to embrace this uncertainty is fine to me. At the London study day in May, Emma Drye asked us to reflect on the question what research means to us and  what we want from an art degree. 

At that time, I thought of ‘art as research’ as a search in iteration, a quest, getting background and context, opening up to new and/or different viewpoints, extending my own viewing field, discerning my position in a critical manner. And making art as enabler for communication, of ideas and explorations by opening and raising questions.

Perhaps, as a coincidence I read in the current issue of Turps Banana, a splendid painting journal issued twice a year, an article about that topic. Simon Bill argued against a position made by André Hunt, an educated painter and now professor of Fine Art and Curating in Manchester School of Art (Schwabsky, 2018). Hunt referred to a statement of Teresa Gleadowe, teacher for curating at RCA. She told Hunt that for her all ‘art is research’, resonating well with the topic of above mentioned study day, a common art college understanding? Hunt declared it this a ‘valid point’, considering the context of the UK system of REF, the Research Excellence Framework, that challenges higher education system in proficiency in research – and as art is mostly learned in academics is part of it.

Bill argues strongly against this position in a rather polemic manner that this would be a mere result of ‘conservative education policy and market oriented educational reform’ (Bill, 2019:32) that it is ‘enthusiastically implemented by (mainly) left wing staff’ (p. 30). He quotes  another Professor, Fiona Candlin of Birkbeck, that art colleges ‘rather than challenging the status quo it now upholds it’ (ibid:35).

I reminds me of the endless debate, even in public and my own local art community, of seeing art as fine art as academic art merely as a science-derivative occupation, versus a ‘pure’ art, an art based on merits.  Bill argued that fine art teachers are claiming themselves as artists without being ‘art practitioners’ . And he listed items, merits, that according to him would define somehow who ‘makes a living as an artist’ (ibid:32-33)

  1. Had an exhibition at a commercial gallery.
  2. Associated with that, they will have been represented by a gallery or galleries.
  3. They will have had an exhibition at a publicly funded gallery or museum.
  4. Sold their work.
  5. Had their work sold at auction.
  6. Had their work featured in an art magazine.
  7. Had their work shown abroad, in both commercial venues and museums.
  8. Had their work featured in art fairs like FRIEZE and Basel.
  9. They are also quite likely, as their career progresses, to have been involved in curating.
  10. They are quite likely to have dealt first-hand with collectors, and with socalled ‘art advisors.
  11. There will be catalogues, and even monographs about them.

 

These are certainly aspects of being an exhibiting artist in a cultural expected way of being. Making art as object, to present, to be represented, to sell commodities, and to make a career and a living from the revenues. I find the argumentation made by Bill refreshing as it challenges notions of what it is about. However, the binary opposites established by him, seems to be rather enforcing an established Modernist notion of the artist being a sales provider and maker of cultural collectibles. 

Is this my to-do list ? I am not planning to become an art teacher,  it even to spend future time at academics,  but to be an art practitioner, applying art as attitudes across areas of interest, and to continue to be curious of things that evolve, develop, materialize, and appear. To exhibit and to sell artworks is not only exciting but also a necessity when one wants to make a living from it.

Nevertheless, I continue to believe in art as attitude, art practices being more than selling and being represented by big-shots galleries. It is also an approach of awareness and finding new perspectives. I do relate this especially in my field of art therapy. Art practice as process, as an constant interrogation and exploration of material, images, responses, and an awareness of one own’s actions. In that sense, Fine Art is for me much more than  one of two sides stated by Bell. And the ‘art brut’ would still be seen as outsider art in Bell’s argumentation.

It is perhaps not a coincidence that on the discuss forum Heather Lloyd Payne asked students  to tell their stories #OCAstories, and this is what I posted :

“As a kid, I couldn’t speak until I went to primary school, though I could communicate with my parents and older sisters quite well, non-verbally. Painting and playing where my main means for expression and communication. At primary school I was recognized and invited to attend art school. My parents couldn’t afford the fees and life went on with painting and art displaced on a backburner. However, my first prizes won as a kid were for paintings. And I bought a guitar with the prize money at the age of twelve. After spending ‘successful’ but not quite satisfactory decades of life as an expat in corporations, life pulled a break – for me to revisit meaning in my life. I wanted to connect with what really mattered to me, but  living a ‘flying dutchman’ life it didn’t allow me to follow art education at a brick&mortar collage. With OCA I was able to re-connect to my passion and happily I embarked with high motivation on my journey as an emerging artist.” – SJSchaffeld

Perhaps, this is more to the bottom of why I am doing what I am doing with and in art.


Amendment

With some further cross-reading I found an interesting article by Karthrin Busch (2007) who wrote about the various aspects of art and research. From research and science as subject matter in art to a rather different conception based on M. Foucault’s ideas that art is a different form of knowledge and its role is to disturb ‘established knowledge structures, so as to reveal their innate power structures and restriction’ (p.41).  To compare way of knowing inherited by power structures and conventional scientific approaches will not enable access to the diversity of knowledge in itself.

By quoting Derrida, Bush highlights that ‘art is committed to represent the ephemeral forces and manifestations that emerge spontaneously and involuntarily’ against a rather ‘performative, institutionalized knowledge’ that ‘belongs to “the order of possibilities that can be mastered”‘ (pp.43-44).

In that sense, art could be considered as a force of doubting and embracing the ‘unexpected’, or as we discussed in the London Study Day, to embrace wonder in each encounter a-new.  Compared to science as problem-solving activity, art is a trouble-shooter, and the work in itself could be seen as research, not the final result as in science.


Image:

  • SJSchaffeld, painting from part3

Reference:

  • Bill, S. (2019) ‘Fine Art Education and ’Research Culture’’, In: Turps Banana, (21) pp. 28 – 35.
  • Busch, K. (2007) ‘Artistic Research and the Poetics of Knowledge’, in: AS Mediatijdschrift. [online]. (179),  pp. 36 – 45,  At: https://www.academia.edu/8568175/Artistic_Research_and_the_Poetics_of_Knowledge  (Accessed on 30 July 2019).
  • Schwabsky, B. and Hunt, A. (2018) ‘Critics speak: Barry Schwabsky interviews Andrew Hunt’, In: Turps Banana, (20) >pp. 18 – 25.
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mono-ha // encounter // ephemeral and transient

While being in London, searching for galleries open on Monday, and eventually went to Cardi Gallery, London for a mono-ha exhibition: ‘Tribute to MONO-HA’ (13 March – 26th July 2019).

I had some idea about mono-ha, in the Western World often related to ‘the School of Things’. 

Another view on this Japanese art post-war art movement is described by Toothpicker

‘their aim was not to ‘create’ but ‘rearrange’ ‘things’, drawing attention to the interdependent relationships between these ‘things’ and the space surrounding them.’ – Toothpicker

 

I was intrigued by a wall text by Nobuo Sekine 

‘What we are doing is finding ways to have encounters today’ – Nobuo Sekine

An encounter of space between   

things – matter – mind

 

Fig 1: mono-ha and Nobuo Sekine - encounter

Fig 1: mono-ha and Nobuo Sekine – encounter

 

I was really fascinated by a rather simple approach, an approach to an essence of encounters. Not in a Platonist way of essence of an idea as transcendent truth, more as an essence of what matters. 

I was relfecting after my visit for quite some time about these words and along some words from Lee Ufan who stated that their works were made for a show and to be destroyed afterwards. Firstly, I was thinking that they actually physically destroyed the material as such, but it was more about the destruction of the installments, or the work, e.g Lee Ufan’s Relatum III (a place within a certain situation), 1970 (Toothpicker). A work of ropes tied around a pillar and wooden blocks to hold them in place. Each new installation they responded to the respective site to

re-arrange

things a-new, a-fresh

An encounter in-between, on site, in a physical space and place. Perhaps, I was impressed as my visit followed our performance and viewing event two days before. I could experience a difference between materiality in space and screen based art. A truly embodied encounter.

And I felt some resonance with my recent assignment works, latex-paint-skin, stretching as encounter of forces

Fig. 2: SJSchaffeld, assignment 4 work , detail

Fig. 2: SJSchaffeld, assignment 4 work , detail

 

 


Images:

  • Featured image: Screenshot from https://cardigallery.com/exhibitions/ and https://cardigallery.com/exhibitions/ 
  • Fig. 1: Collages form photographs taken in the exhibition 
  • Fig. 2: SJSchaffeld – assignment 4 work

Reference:

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Underground Poetry #artontheunderground

tube2flight - #artontheunderground - underground poetry

tube2flight – #artontheunderground – underground poetry

a combined version (This is Oxterly, audio-video, 2:59 min) at: https://vimeo.com/350718770

 

Title of the work:

Underground poetry, take a pen, move on the paper from left to right back and force while moving, at station make circles till moving again, change the pen, each second station rotate the paper continue till your final destination

Words embedded: names of the underground stations (some time after Green Park till Heathrow Terminal, the Piccadilly line)

This work was inspired by my visit to Oscar Murillo at David Zwirner, London, and his ‘Poetics of Flight’ drawing made during his multiple flights. It is not a copying, as Murillo applied quite some different approaches and his embedded words do have a different connotations.

 

Learning

I found it absolutely fascinating how through travel motion, marks can be made in a constrained space through double physical movement: the underground (a linear trajectory) and my hand (small moves rotating the page)

I could envision this as a topology, or as mapping of time spent. A repetition in multiple underground rides, on bus? on train? 


thinking about communication

if this is site-specific work, would it not be good to share if site-specific? I.e. to share with London underground? Quick searching revealed that they actually have a social media presence for ‘Art on the Underground’

possible links to social media:

possible handles:

  • #ArtontheUnderground@aotulondon@transportforlondon
  • #stefanschaffeld@stefanschaffeldart#undergroundpoetry

 

 

An amended version that I submitted for edge-zine no.8 ‘Time’:

 

 

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Oscar Murillo ‘Manifestation’ at David Zwirner, London

Oscar Murillo (b. 1983) is shortlisted for this year Turner prize. He went through an amazing painting career with global single shows at major places and fairs. 

His large paintings were on show titled ‘Manifestation’ at David Zwirner Gallery, London (June 8—July 26, 2019).

Entering the gallery was a fab experience, as most works are made this year, the oil paint is still fresh:

His large scale painting contrasted with my visit to Frank Bowling at Tate Britain the day before. As Bowling’s work seemed to some extent more contrived, Murillo’s painting seemed to convey a more pulsing atmosphere. The colors are brighter, the texture of the surface more embedded in the picture plane, felt more coherent. But perhaps this was just my in the moment experience. But it definitely inspired me just to paint along.

One aspect that apparently went through most of his paintings, were a split compositional frame, at times left and right side, at times different sections. Similar to Bowling, Murillo used collaged figurative elements, embedded in the picture plane. Another aspect I find interesting, was stitching. Also seen in some of Bowling’s works, Murillo stitched some canvas pieces together (see Fig). I am wondering whether ‘stitching’ canvas is a trendy thing to do… In reminiscence to textile and fabrics was also the way of ‘curtain-hanging’  of another painting.

 ‘A lot of this mark-making is a release of anxiety and physical energy.’ – Oscar Murillo (interview with Peter Aspden, 2019)

Many of his paintings are an expression of physical energy released in the process of making. A notion that I feel resonates with my latest assignment work on latex-paint-skin, though the physical forces are certainly different depending on scale.

collage of photographs taken at exhibition - Oscar Murillo

collage of photographs taken at exhibition – Oscar Murillo

 

One part was keeping my attention, a projection on one gallery wall showing moving images in close up view of colored marks on paper. 

This piece is one of several works done in a similar way of his recent series Poetics of Flight. All of them are around around 57 x 40 cm. They are made during one of his flight travels, a visualisation of in-flight movement For these paper works, the gallery created a specific, time limited website (accessible through July 28th)

“Constant transnational movement has become an integral facet of my practice. Flight becomes not just a means of travel but a sacred ‘other’ space, the aeroplane seat itself becoming a unique ‘studio’ at a remove, a non-place which is both physically confined and freed from being in any real geographical location.” – Oscar Murillo, in conversation with the gallery

“The drawings made on board planes, in hotels, and in any space of transition have a similar function: they feed a sickness, a relentless laboring.” – Oscar Murillo (David Zwirner Gallery (2019b)

It really resonated with my own travelling and inspired me to work immediately afterwards on a piece Underground Poetry  on my way back from central London to Heathrow airport on the tube (considering my constraints 

 


Reference:

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Frank Bowling at Tate Britain

collage of photographs taken at exhibition -Frank Bowling

Frank Bowling (b. 1934 in Guayana) is an abstract painter still working today from his London studio at the age of 85. My tutor suggested to visit the currently major retrospective of his 60 years of work at Tate Britain (31 May – 26 Aug 2019)

At the beginning , I was not sure whether I would appreciate the work of this artist, perhaps too much of the same painting approaches from the 1960s / 1970s?  Anyhow, I entered the exhibition with open mind and eyes and was curious what I would encounter. Clearly, it was major retrospective, and the chronological order of the rooms seemed for me the right flow through a painterly movement since Modernism to Materiality, from Formalism to Serendipity. 

Whereas his earlier works of the 1960s seems to be made in a similar ‘style’ as his fellow students R.B.Kitaj and even Francis Bacon (e.g. Mirror, 1966) and/or take references from other artists, they are the starting point of Bowling’s interest in geometric abstraction and formalism. He was actually a good friend of Clement Greenberg (interesting to read one of the letters on display at Tate, Fig.1 ) 

 

collage of photographs taken at exhibition -Frank Bowling

Fig. 1: collage of photographs taken at Tate (https://www.tate.org.uk/whats-on/tate-britain/exhibition/frank-bowling); left: letter from Clement Greenberg to Frank Bowling, 1971, Bowling’s studio spaces in London with his assistant Spencer A. Richards (right)

 

A few examples that stirred my flow and inspiration (Fig 2):

  • Vitacress, 1981: mark left by paint bucket on the canvas laying on the floor turning into visual language that Bowling incorporated also in later paintings
  • Benjamin Mess, 2013:  The layering of canvas pieces, different sizes, cut with a sewing scissor (patterned edges) 
  • Wintergreens, 1986: building up texture by using acrylic foam and thick acrylic gel, both materials he reduced in use in his later paintings. I didn’t find the embedded acrylic foam pieces that successful and convincing. They reminded me rather of my own experiment in part 2 of this course (e.g. Preservation box #1 and #2A2 – The Spatial Box)
  • Sam’Sentinal, 1999: he reflected on his mother’s activities and her job as dress and hat maker and intense use of sewing informed his ‘stitched’ canvas work. These layered and stitched smaller scale works are combined, from various paintings in progress works in parallel, as parts from one went into the other. It is like re-assembling different puzzles into new puzzles.  The painting is therefore the results of a process, of painting a canvas, and of placing it across. Reminded me of Sean Scully’s work Human 3, 2018 where he cut out a square from the center from one work and placed into an even cut out space in another work. 
  • Girls in the City, 1991: A combined work made from seven separate canvas, reflecting on the way ‘people structure themselves, in the way we are, we live in building and express life in opposition to minimalism, enclosure, and death’ (wall-note, quote from Frank Bowling)
  • From V2-RS1, 2005: Bowling started to make white paintings, and this one has embedded acupuncture needles (artist was treating his back-pain with acupuncture). These white paintings alongside its materiality made me think of how his works could inspire and inform my work. As I am still in a hotel in London, I wanted to make something, and milk and yoghurt came to my mind. The first liquid, the latter semi-solid, a transformation through a natural process of fermentation (and van Gogh used milk to fix his early charcoal/pencil drawings)

 

Fig. 2: collage of photographs from exhibition - Frank Bowling

Fig. 2: collage of photographs from exhibition – Frank Bowling; top left clockwise:  Vitacress, 1981- Benjamin Mess, 2013 – detail of Wintergreens, 1986 – Sam’Sentinal, 1999  – Girls in the City, 1991 – From V2-RS1, 2005.

 

His long time assistant Spence A. Richards stated once (from wall-note) about Bowling that

“[Bowling] would use whatever I did, even if it was a mistake, as a starting point for a painting.” – Spencer A Richards (Tate, 2019)

 

Conclusion:

I left impressed by the continuity and vitality of the experimental approaches in Bowling’s work. Considering that he worked constantly for 60 years with an open-mind, an attitude for wonder, and searching new approaches by embracing constraints or mistakes (as his assistant stated) as opportunities and including those partly in his painting as visual language, e.g the marks left by a paint bucket on the canvas laying on the floor in Vitacress, 1981. More impressive that he does this at his age of 85 with a decreasing mobility  pushing him to work mostly seated.

I do wonder whether all very large scale works do have to be that large. However, I like the way he considered his studio space and found creative ways of overcoming constraints (see Fig. 1).

Bowling started with formal and geometric explorations and this continued to be question throughout his later works. He explored deeply the materiality and physicality of his material. I was not so much impressed of his earlier experiments with adding all kind of material, especially acrylic foam, leaving a touch of failure of my own experiments with pouring paint over all sort of packaging material. His heavy use of acrylic gel had for me quite an ‘artificial’ aka deprived touch. It was fab to see how through his Thames paintings and making reference to the light in his home country Guyana turned the works into more articulated and refined works. I do relate strongly with Bowling’s attraction to the liquidity and fluidity of paint through spraying and letting it go/flow.

His stencil and screen printing techniques reminded me partly of Jacqueline Humphries. 

I take away from my visit that experimenting with materials is fine, but it need to put more attention onto aspects like surface structure and compositional elements in relationship to color to make the work pulsing and successful.

Overall, Bowling’s work do convey a contemporary abstract sense. Although, I am not sure whether this way of working alone would satisfy me for longer. I also left with a sense of ‘nostalgic modernism’ and missed some moments of excitement


Reference:

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