Thoughts after tutorial on Monday 24th September

I think I am going to scrap the life drawing idea... maybe save it for another occasion.

It is on a different line of inquiry as the others.

I was told to really think about what I see on the other side... what am I aiming for on the other side? Even if that isn't the ultimate out come. I need to be clear on what I am setting out to do.

Life drawing....

Was partly about, authority, and if one is a tutor: an artist with authority. Does one role permit the other one to be active too... or not? I think not. So the life drawing was about the tutor who is an authoritative figure, to be simultaneously learning. Formally.

Equally, SKILLING--->DESKILLING then once again desiring to be SKILLED was another train of thought running through.

Particularly in Intermedia which can be extremely process, ephemeral, non-object based...  why not go back to a place from the start... in the life drawing room. Observing the human body, measuring, visiting a past memory. A mutual memory amongst art tutors.

So then its not necessary for me to be the model. I can still be a facilitator without being naked. So perhaps the life drawing ought to be a mix of students and teachers? Where does the art reside in the silence? In the meditative silence of the drawing? What is being exchanged? A development of dialogical art... where there is no dialogue but other forms of dialogue. I think that is my issue with it.... one has to be an english speaker. Damn... how well is that going to do in a globalized world. Sorry China....  although they'll be having the last laugh amongst themselves.

I still think that this is an interesting idea... but the website, library and guided tours work as one body....


RESKILLING and CREATING REAL FICTION



-Back to the life drawing-
I was drawing its origins with the bust piece from Munich. I described it to Edina, she said it was interesting but like my other ideas lacked a focus/an anchor. What was the piece really about? I guess I like to set up a situation and see what happens, where it strength lies. It seems that perhaps I need to start with a clearer intention but also in the knowledge that the outcomes may transform that.

She said that although there are many readings, it doesn't make it bad but i should acknowledge precisely that, turn that into a strength of the piece. Make it an intention. So she said I could give multiple names and identities to my work- give it a narrative, guide the viewer into that mindset.

So therefore, I can call that headpiece, Our Father, My Father, Papa, Bust, 2010, Munich.... whatever I wish... That is something to think about. I really like that piece and would like to some how include it in my final body of work.

Maybe I should be aware that my work may have several readings and so bring that into their titles or an accompanying text....


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The pieces I will be pursuing at the moment are: Library, Guided Tours and Website... trying to bring elements of fiction and imagination where possible.

I must start making.

I will begin with the library and getting the girls to give me their old sketchbooks with which I will create my first library with


fuck the fire alarm just went off....