Disturbing the context, kicking detail loose and tossing it elsewhere...thus creating the right (?) amount of irritation,....for the viewer to bounce back into the picture? Is that what is going on here?
Whatever it is that is going on, I find it rather intriguing....and it makes me plan further semi-photographic work,....photographs, maybe, of faces, or people's heads tossed to the side by details that are more revealing than the image of the person?
How much unrelated-ness or, seen asked with another viewpoint, how much connection do two image schemes need to have to still make a coherent image?
"The Hunger Angel" by Herta Müller talks about the experiences of a young man in a Russian labour camp during the Second World War. His feelings and observations generate new words, a new language...and once these new words are there, they ask for their match in his seen and lived world. I am deeply impressed about the "life-creating" power of words as you can read it in this book. What Herta Müller does with written language, how does Visual Arts do it with our impressions?
Still "under the influence" of this fascinating piece of literature, I looked out of the window,....and wondered how visual impressions could "animate" themselves inside us. Like the green of the grape plant, relating to the flagstones, .....and the flags, in return, not knowing that they have been entered into a dialogue...generate a response....."
"It was a great holiday, fab views, loved the beer, lovely people in the flat next door."
This came to my mind, when I made that projection. The table for sitting round with friends telling of the holiday tales has been pushed out of the room and there is only one chair to sit down....for who to sit down.....
It is intriguing how two entities, a space with a bit of meaning (chair...to sit down) and a wall for showing an image can create a new situation.
I wonder a lot about the images that we keep in our minds, "in front of our mind's eye". Do we have an image store in our heads, hearts or feelings, that keep hold of views or image fragments from the past that matter to us? And does our visual image stock change? Does it come in colour? Are the images focussed or blurred? Do they come with movement, or with sound or both? Do we project these images onto our current "life view",..the one that we see at this very moment?
One of the best moments ever to be making a drawing. Overwhelming dimensions of sky and land in Leh, Ladakh, Northern India. The lesson to learn here, seems, to start the drawing with giving the sky its due size and space, before starting to elaborate about everything else down below.....
I was just going through some drawings I made earlier in the month in Ladakh, Northern India.
No, I have not imagined these dimensions, neither have I chopped away at the mountain and the fort on top (in the right of the picture). It really did look like that. Sometimes, it seemed the visual impression was so overwhelming that you couldn't get yourself to the drawing of it...You were afraid to not do justice to what you saw and how it felt.
When you are musician and you talk about "writing", it could mean, that you are working on a song. It could also mean that you work on lyrics.....When you are a visual artist, there is no such word that unite all the different ways, like drawing, painting, writing text.
I joined Dan Clarke and Sara MacKian with an experiment that played itself out in the three dimensions. Music, an ongoing drawing and all of the visuals being filmed and projected back onto itself. Like some self-amplification using the voices of three people and the space to "write a new version of this time and space".
