adminicle

andrew, originally uploaded by aesop.

Flaming Lips!

You have received a new message, originally uploaded by aesop.

About to go onstage with the Flaming Lips at the Usher Hall.

from Clock Watching

from Clock Watching, originally uploaded by aesop.

pressed leaves

pressed leaves, originally uploaded by aesop.

I've just put together a set/slideshow of the pictures from the edith Southey Journal on my Flickr Account

at Cheddar

at Cheddar, originally uploaded by aesop.

picture from a rexent trip to Cheddar Gorge

Assignment 5

You may wish to download this document with the proper formatting rather than reading it here: Download assignment5.doc

 

Assignment 5: curate virtual exhibition of five artists including me.

 

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Borders of Identity

 

In creating this exhibition I have employed criteria that have come from my ongoing critical engagement with my practice. I'm always asking questions of it: What am I doing? What is its place in the world? What are the characteristics of the artworks? This is an ongoing process that takes place all the time, in every decision I make, to a more, or less-conscious extent. It is a hermeneutic process that continuously informs my sense of myself as an artist. It can take a more formal turn when I write about my work as I am doing here, and elsewhere in my studio journal, but I'm conscious of its place in the way I approach individual pieces of work, individual drawings. That critical judgement, and the interpretive bias that emerges as a result of my concentrating on the things I find useful and informative to my practice exists equally in the things I choose to look at, and in the things that I read. What strikes me other's work is that which strikes a chord in my own practice, in sympathy or in contrast. The ongoing gap between what I respond to and what I do is the gap of the hermeneutic process of working-through-practice. It's why I keep doing it: there is always something un-done to respond to.

 

What I have done to create this virtual exhibition, with its intention of providing a basis for a comparative analysis in the form of a catalogue entry, is produce a number of statements about how I currently characterise my work. I've used these to select artists whose work I think reflects on some of these same criteria, either sympathetically or critically.

 

  The criteria I have employed are:

 

•     historical/literary sources- there is a use of historical/literary material or background  
•     interpretive- there is a conscious effort being made to interpret the found and historical imagery and situations  
•     gamespaces- there is a sense in which the work establishes a place of operation within which the play of the interpretation works out  
•     identity- the work deals with questions of identity: postcolonial, gender and sexuality, etc  
•     narrativity- the works use character and plot to allow meaning to unfold with the effect of narrative

 

 

The artists whose work I have chosen to explore these critera with are:

 

•     Helen Douglas: Illiers Combray  
•     Roni Horn: Doubt by Water  
•     Peter Greenaway: Luper at Compton Verney  
•     Isaac Julien: Vagabondia

 

  Finally, I have chosen my own book The Remembrancer as a representative piece of my work for comparative analysis.

 

Before discussing how these criteria or themes work across the exhibition, I will take the works one by one, saying how they feature some of the criteria, and exploring some of the links between them. The sections below are my 'catalogue entry'.

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clockwatching

clockwatching study, originally uploaded by aesop.

Over the last few days I've been working on my PhD studies and trying to get a little book together for an exhibition around a 'sitting room' theme. I've been working on ideas around grandfather clocks.

nightmilling (study)

nightmilling (study), originally uploaded by aesop.

uploading a load of material from sketchbooks now to add to my studio journal.

This study is from work for a series of prints I'm working on to do with windmills.