Momentary (un)balance

It’s been a while since I posted. This is going to be a bit of a ramble. Glancing to past, present, and future. I chose a title that might give a bit of space for reflection. For exploration. To challenge. To be challenged. Who am I? What am I doing here? That sort of stuff. Well, hopefully not too much of that final stuff – too tedious for anyone, including me, and the answers will be different in a day or hour or next thought.

After all balance, or not, is a moment by moment thing.
And could one say there is more fun in un- ?
fun-balance?

In the interregnum there was the second group session with Ruth Hadlow in Hobart. How to show the activity of my glossary and energizing objects investigations? With just a few days to go I thought of the balancing act of a house of cards, and quickly printed out material from the blog.

Un-balance House of Cards

Results were poor as a presentation device. While talking I was unable to get beyond two cards before the anticipated collapse eventuated.

For communication? Mixed response. People seemed to enjoy passing them around for a look, and it was probably easier than a laptop showing the blog. However to an extent the cards were interpreted as a work in their own right, and from that perspective there was a lot of refinement to be done.

It led to the suggestion of looking at documentation and research as forms of creative practice.

It also led to some discussion of the use of a blog. Not necessarily polished writing and presentation. Not private, unrestrained “thinking writing”. Mine is an uneasy balance – some warts showing, but not all. And I quite see that the viewer of an artwork might not want their response to be directed or narrowed by my titles, and might prefer some mystery and wonder rather than be told the balance was actually easy (15-Apr-2019).

Ready for lift-off
24-Mar-2019

Then there are the actual objects. For me a weaving shuttle plus red chopsticks from a local cafe have meaning beyond the balance. For others those materials are most likely unrecognised, mute. Even more so my trusty annealed tie wire, or threads in resin, or corrugated copper foil, or …

A towering thirst
15-Apr-2019

Can I add to my work in my choice of materials? One point of resistance is that these materials are already meaningful to me. How much to I want to vary my standard, selfish, focus? Plus the obvious thing is to go household/domestic, but I’m wary of being obvious. Which led me to the idea of “on the tip of the tongue”. If I choose to take this path, can I disguise the objects so people have to reach for recognition? To me that stretching, vibrating feeling of trying to pin down a reference is very close to the rapidly variation adjustments trying to keep balance. I need to learn more about material approaches.

Then there was the surprising (to me) realisation that all my samples were very literal illustrations of balance. That was set up in the briefs for each investigation, but still… Over the days of the session there was some mention of my strong literal, analytical, pedantic aspects. Something to challenge?

Growing pondering list:

  • Types or aspects of creative practice: research / documentation / sampling / polished (“worked”) work…
  • Intended audience. Myself / peer group / wider world
  • Materiality. Potential for enrichment, complexity, layers of meaning…
  • Types of writing. Narrative / authoritative / propositional / thinking / notes / poetic articulation. Audience, level of re-working…
  • The analytical etc. Something to challenge? Or aspects to reframe, reposition, harness as strengths, or at least with positive potential.

    The Essential Duchamp exhibition at AGNSW is well timed for me.

    Marcel Duchamp
    Nude descending a staircase (no 2)
    1912

    Nude descending a staircase (no 2) depicts a body in motion. From the catalogue by Matthew Affron: “a marionette-like figure decomposed into repeating linear elements that serve as an abstract, graphical record of its movement.” It mentions the lines and planes of the changing position in space, and also “small dotted lines indicate the swinging motion of the figure’s visible hip and legs”. There was inspiration from motion photography.

    Pendulum
    19-Apr-2019

    An extra step for me could be to work further with my photographs, abstract from them, use them as a base for development, say brush and ink drawing or maybe monoprinting.


    On the left above, a view within the gallery. Various readymades, most of them replicas of the originals. The choice of the objects was (allegedly?) made with visual indifference, although the first, Fountain, was definitely provocative. An alternative perspective on materiality. What currently particularly interests me is on the right, effectively a display case compendium of around 69 works. Miniature replicas, print reproductions, all in a case that closes to 40.6 x 37.5 x 10.8 cm. Lots of different ways to see this, but to me one is to regard it as documentation.

    Marcel Duchamp
    The Bride Stripped Bare by Her Batchelors, Even (The Green Box)

    It becomes clearer in The Green Box, containing 94 facsimile documents – manuscript notes, drawings, photographs. An accompaniment to The Large Glass, objects in their own right, artefacts of Duchamps process, a guidebook, a literary form… and documentation.

    Tentative conclusions so far:

  • I want to keep Un-balance as a focus. Without going into complexities of a multitude of recent resonances, a simple example of how un-balance is pursuing me. One of the recently weekly lectures at AGNSW was given by Mark Ledbury, on Géricault’s Raft of the Medusa. Towards the end Mark showed us a couple of Géricault’s portraits of the insane – The Monomania of Envy and Portrait of a Man Suffering from Delusions of Military Command. The very next day a book purchase arrived, recommended by Ruth as an example of a creative practice in documentation and research – Fiona Tan’s 10 Madnesses. Focused on the same portraits by Géricault.
  • I want to learn more about research and documentation as forms of creative practice. So far it feels like a good fit for me.
  • I’m attempting to bring some of my day-job analytical skills and data visualisation techniques into play. So far that means building up some data. It will take some time to develop.
  • I’m back here blogging. Not everything. Watching what works for me, how it fits with other aspects of what I’m doing. But it’s just too valuable to give up. It’s an index; an archive; an opportunity for communication, interaction; a means of organising thoughts; a reminder to look back, maybe synthesize, not keep rushing on to the next experiment; showing research and work in progress, rarely if ever polished presentation of finished work.
  • In practice all this means I’m am reading up a storm and producing copious notes. Not much in the way of making, but I’m confident that will come.

    I’m sure there was more I was going to include. If it’s important it will come back to me. I hope 🙂

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