Studio set up and study statement at
• MAFA Studios Archway Annexe
• 12 noon Monday 30th January 2017
You should present all the work made this term including sketchbooks and research.
Include a typed list of all the work presented.
All work should be clearly labelled with your name and pathway and student ID (including sketchbooks & USB sticks)
Considered and focussed evaluation of concerns and development: 1000-1200.
Part of assessed evidence
• Research
• Analysis
• Subject knowledge
• Experimentation
• Technical competence
• Communication and presentation
• Personal and professional development
• Collaborative and/or independent professional working
• These will be applied to your work to help you understand what you have accomplished, how any grade given was arrived at, and how you can improve your work in future. We hope that using the criteria and a standard feedback sheet will help you understand:
• what tutors are looking for
• the strengths of your work
• what aspects of your work you can develop in future
• Research
• Analysis
• Subject knowledge
• Experimentation
• Technical competence
• Communication and presentation
• Personal and professional development
• Collaborative and/or independent professional working
• These will be applied to your work to help you understand what you have accomplished, how any grade given was arrived at, and how you can improve your work in future. We hope that using the criteria and a standard feedback sheet will help you understand:
• what tutors are looking for
• the strengths of your work
• what aspects of your work you can develop in future
CORE interests and concerns (& what orbits focus/interests)
• Understanding and application of subject knowledge and underlying principles.
• To what extent have you identified core concerns for your practice? What are the questions your work addresses?
• Clarity of purpose; skills in the selected media; awareness and adoption of appropriate conventions; sensitivity to the needs of diverse audiences
•
‘Nothing is true and everything is possible’.
Pantomime politics (of late) have proven that the individual and collective sense of agency can be easily massaged and manipulated in the hands of mere algorithms. Uproar from Brexit and Trump’s election highlighted how, in an interconnected world, we are more detached from one another than ever. The Panama Papers reminded us that there are different rules for the wealthy and powerful; the ‘Snooper’s charter’ stole our privacy and freedom of expression… and the masses barely stirred. Reality is increasingly abstracted in a post-truth culture where we are constantly distracted.
‘Our world… has been launched into hyperspace in a kind of postmodern apocalypse. The airless atmosphere has asphyxiated the referent, leaving us satellites in aimless orbit around an empty center. We breathe an ether of floating images that no longer bear a relation to any reality whatsoever.’
Intentions
• Undertake a purposeful and informed programme of experimentation in the development of fine art practice
I wish to address these uncomfortable truths, flag the role we play within the systems we operate within, highlight contradictions within our belief systems and encourage the unravelling of truth. I wish to destabilise the technologies we have integrated into our every day lives by utilising them within my work. Across physical, digital and discursive platforms I am looking to construct synthetic spaces/situations, examining how these can function as a frame through which to highlight and manipulate a viewer’s sense of agency.
Methods and resources (medium & skills & how relevant for developing practice)
• Problem solving, risk taking and testing of ideas and materials in the realisation of concepts
• Have you explored a range of ideas, idioms and approaches in developing your practice?
• Skills to enable the execution of ideas appropriate to the medium
• Research, present and communicate complex ideas relating to the reception and dissemination of fine art practice
• To what extent have you developed skills for working effectively independently or collaboratively?
I’ve been examining possibilities/opportunities within video, photogrammetry, programming, physical computing and VR, both through collaboration and solo projects. I’m trying to draw parallels between the virtual and physical by blurring the two, using hyperreality to reference contemporary culture.
For Tate Exchange I am collaborating with the photogrammetry group on a VR project ‘Annihilation Event’, and working with Boaz Torfstein and Marco Pantaleoni on the physical and digital collection of data in the enrolment area of the synthetic art school. In late January 2017 I am curating a SU exhibition called ‘Debate or Die’ with Katarina Rankovic, Eracle Dartizio, Tom Cardew and Boaz Torfstein. I am also discussing ideas around ‘debate as artwork’ with Boaz Torstein and Daniel Rubenstein, in the hope of setting up a series of events asap.
Presently I use Premier Pro, Sketch-up and Unity 3D to draft and collage ideas/concepts/environments, exploring juxtapositions between contradicting images, sounds and meanings. I am striving to get to grips with programming and human computing as well, but hope even with slow progress I may be able to utilise these tools within my work at CSM.
• To what extent have you worked effectively during this unit (independently or collaboratively) to best develop your work?
• Have you presented your work clearly (both written and practical)?
To what extent did the work you developed during this Unit communicate your ideas and ambitions for the work clearly?
Sources and references (critical context, artists and influences: most relevant)
Contextualise and critically evaluate fine art practices within relevant cultural contexts and theoretical frameworks
To what extent have you considered the work of others in relation to your own practice?
I’ve drawn from a wide range of artists/resources in thinking about possible channels of movement for this new body of work I’m exploring.
What things am I CRITICALLY extracting from this artist (borrowing/stealing). How does their work inform my own work? At core, am I borrowing same things from different artists?
• Technology/Systems
• Politics
• Video
• Interaction
Simon Denny’s ‘Products for Organising’ (Serpentine gallery) is concerned with the politics of cyberspace, online money, bitcoin and the symbiosis of power and capital online. There are limited rules of engagement – we don’t have privileged access, we cannot obtain membership and can merely observe, not participate.
Cory Arcangel
Susan Triester
Yuri Pattison
– Frieze 2016: surveillance
– Yuri Pattison, ‘user, space’, 2016, exhibition view, Chisenhale Gallery
– Hyperreality (user, space)
Lawrence Lek
– uses gamification to reveal rules of the institution
Ed Atkins
Adam Curtis
Elizabeth Price
Joey Holder
– Hyperreality (Ophiux, Wysing Arts Centre)
– synthesis of nature and technology, humanity’s engagement with natural world
Werner Herzog
Lars Von Trier
Hito Steyerl’s
David Lynch’s
Baudriliard
Ranciere
Deleuze & Guatarri
Massumi writes about Deleuze and Guattari
Bourriard
Brian massumi
Claire Bishop
Jodi Dean
Boris Groys
Guy Debord’
Foucault
Lyotard
Evaluative conclusion (review unit 1 experience and propose intentions for unit 2)
Take stuff ive looked at at this point and say what im going to be taking from what and moving forward with. What is core focus going forward?
To what extent have you assessed the strengths and weaknesses of the work you have produced?
Having not made work for 6 years, I have given myself a great challenge experimenting with new mediums. I am keen to focus my practice in which to ensure my projects and investigations into mediums and concepts
Bibliography (not part of word count)