I completed a series of pen and ink drawings over a period of days, relating to and coming from the literature I was reading. I combined these with selected passages from ‘The Legend of Ulenspiegel’ – the sentiment of the text is very powerful and still relevant today. I feel this correlation with certain aspects contemporary society lends lends itself to further artistic exploration.
Our study trip to Glasgow International was informative and useful on many fronts. Looking at the exhibitions in a group situation was a new experience and it was good to get a different perspective on things. My favourite show was at The Modern Institute, Life & The Invitation & Vapour & Debri, the exploration of different modes of showing and making work. Other works which stood out for me were Bedwyr Williams at Tramway and Sue Tompkins at GoMA.
Sue Tompkins pushes the boundaries of the relationship between the written word and visual art, I was interested in her rhythmic word compositions and the way they were displayed alongside pieces of fine art.
Bedwyr Williams dystopian installation/video projection at Tramyard struck a chord, the enormity of the space and the menacing feeling on entry added to the overall affect.
The Modern Institute, Life &The Invitation & Vapour & Debri
Wasps Artists’ Studios
Anne Collier, The Modern Institute
Glasgow Sculpture Studios
The Common Guild
The theories of these prominent psychoanalysts fascinate me, but raise questions. Both theories are centered around the womb.
I am interested Bracha Ettinger and her displacement of the Lacanian ‘Phallus’ from position as signifier.
I also wanted to clarify the position of Julia Kristeva in relation to her semiotic theory and her ideas surrounding abjection. I found these articles informative.
I had the opportunity to shadow a 3rd year Architecture student at UCC Cork Centre for Architectural Education on Copley Street. I spent the day at a critical review and met students and tutors, some of whom are senior architects.
For Placing-Practice, which is part of an assignment for the MA, I have chosen to concentrate on drawing and exploring it form a perspective which lies outside my field, hoping it will inform my practice and also give me a deeper insight. I am interested in the exploration of architectural drafting techniques. If possible I would be interested in incorporating aspects of this in my own work and perhaps working on a collaborative project.
I visited Charlie Tyrrell’s exhibition of new work at the Taylor Galleries.
The work consisted of small works (50x40cm) and and larger pieces (100x80cm) in oil on aluminum, closer inspection revealed scratch marks and incisions. The pieces had a certain meditative quality which I remember feeling when I saw Maria Simmonds Gooding’s etched and inscribed works on aluminum at the RHA some years ago .
They evoke landscape which is somehow at odds with the geometric grids which are Tyrrell’s hallmark, and show how delicate the balance is between control and free expression.
The paintings made me think of the ‘freischwimmerosgut series’ of German artist Wolfgang Tillmans.
The work of Dorothy Cross has always resonated with me and I have followed her work where possible here in Ireland over the years.Her work involves the natural world and her relationship to it, she covers terrain with which I have an affinity. In her work she acts out aspects of this connection, dealing with the areas between consciousness, subconsciousness, memory and a sense of place.
Our talk with Dr. Tina Kinsella concerning ‘Affect’ and the works of Bracha Ettinger opened up areas of thought which have huge relevance for me.
I am still processing much of what was discussed and coming to new realisations, about my work, about my own life and how it has affected what I do and how I perceive and process information.
I will add to this as time progresses and I gain more insights. In the meantime, I am drawn to this quote by Braccha Ettinger,
“The function of psychoanalytic theory for art may be to lend its conceptual tools to exposing the existence in art of a site of yet unformed knowledge about sexuality and subjectiyity, to clarify this site as a source for ideas that are awaiting signification in language, and to articulate them.” from Bracha Ettinger, ‘Trans-subjective Transferential Borderspace’
Affect is something which is not easy to express in language, because it is a unique type occurrence. It is primary, visceral and happens before our cognitive powers have the time to rationalise. Affect is a bodily experience and seems to involve a certain exchange of energies over which we have no control.The affect of an object or work of art on a viewer operates outside cognition and can cause a physical as well as mental reaction.
I have had two of these intense experiences with paintings to date, the most profound of which happened in 2006 when I visited the ‘Holbein in England’ exhibition at the Tate Britain. There was a long que, and when I finally got inside the exhibition space it was very full and bustling. I was fascinated by Holbein and was very glad to be there, despite the large numbers of other people, I was completely in awe of the huge accomplishment and skill of this artist.
It was when I found myself standing in front of the famous painting, ‘Christina of Denmark’ that I experienced absolute ‘affect’. It was an experience of an ‘in between state’ and I transported in time, as though I was face to face with a breathing soul, I physically felt a strong energy which made a connection with me on a very deep level, and its memory has remained with me ever since. I can only describe it as a sort of ‘knowing’, perhaps close to the experience of enlightenment.
In contrast, I was attracted to the Rothko exhibition at the Tate Modern in 2011.A large amount of media promotion surrounded the show and the ‘affect’ of Rothko’s work was almost advertised. but I wasn’t fully aware of the affect these paintings had on me until long after. I went on the paint a huge Rothko inspired painting, which I called “don’t try to stop me”.
Our workshop with artist Clodagh Emoe was extremely informative, as well as enjoyable. Clodagh Emoe shared some insights into her work process with us and gave us a professional perspective on what it takes to realise projects. A main aspect of her practice is based around the a gathering of people and the use of art as ‘encounter’. Many of her projects are audience orientated and based on an exploration of how thoughts are ‘felt’ as a result of specific ‘gatherings’. This raised interesting questions around art in general, such as,
What constitutes a work?
When is a work complete?
Who completes the work?
What is the role of the viewer?
Is it correct to refer to the person experiencing or participating in the work as ‘the viewer’?
I was one of a group of four to experiment with these concepts and together we produced a site specific piece centred around a loaf of white sliced bread. It made us think about collaboration, ownership of art, conclusion of a piece, the involvement of an audience and the unpredictability of working in this way. The piece involved a choreographed interaction with an audience, and chance element (seagulls) and each other, realising a project like this was extremely challenging and insightful.
The article by Shirley Kaneda “Painting and Its Others, The Feminine in Abstract Painting” in the Whitechapel series, opened up a whole set of questions for me, and lead me on to further enquiry.
I started looking for a way to explain this ‘feminine’ aspect of expression. Following my reading of an article by Kathleen Lennon called Feminist Perspectives on the Body” (Stanford Encyclopedia of Philosophy) I became am interested in the link between psychoanalysis and the root of artistic expression and the semiotic theory of Julia Kristeva. For her, “Language as symbolic function constitutes itself at the cost of repressing instinctual drives and continuous relation to the mother. On the contrary….. poetic language… reactivates this represses, instinctual, maternal element” (Kristeva 1980 136) The semiotic for Kristeva is inherently linked to the feminine and represents a stage before boundaries are experienced by the infant.
I would like to revisit some of the works of the following philosophers and psychoanalysts:
And expand my research into the works of:
Matrixial Theory gives us a way to understand aesthetic and transferential experience which we have when see or are influenced by art forms, those art forms are in fact operating within matrixial realm and bringing it into cultural visibility. We are in this process experiencing the trans-subjective borderspace of which we have an (intrauterine) residual memory, and the boundaries are partially opened between unknown others, the viewer and the artist(s).
It is crucial for subjects (especially feminine) that this sphere is respected.