Text

Collaboration

In the final year of university; the final year of being under a shared wing of fellow emerging artists, it is important to make the most of the different skill sets that are currently so readily available to us. Collaboration is therefore a key way of expanding our ideas through group undertakings; allowing our creative practise to develop in new and often unexpected ways, and to nurture our understanding of how to function in our future role as free lance practising artists (post graduation).

This term, I will be collaborating in several ways.;

  • Undertaking in a Participation Art exhibition;

 This will not only allow me to develop work directly in response to my theoretical research and supply it with direct first hand examples, but also allow for in depth discussions with peers who are also studying into this area. We are holding twice-weekly meetings throughout the run up to the exhibition, as well as having developed a private Facebook page through which we can continue discussions, and share research material.

  • Participating with Sarah Blome; Graphic Communication Student; Having previously discussed the possibility of collaboration, I have been approached by Sarah Blome whom will be collaborating with me to develop her next project, through which she will work with me to create a visual language/world through fonts, advertising and website design to express the art works that I am creating. This will expand directly upon my creative practice (that focuses on ideas of communication and language) in new ways, as well as giving me experience in working collaboratively with an outside agent to create a professional identity for myself as an artist, developing towards my future career.
  • Collaborative work with Kelly Briggs;

As previously undertaken for numerous projects and expressions of ideas, I will continue to work with fellow Fine Art student Kelly Briggs to explore our ideas. 

Photoset

A Collaborative Project between Nicole Hudson and Kelly Briggs

In my continuation of placing brightly coloured objects and sculptural forms in different places to represent communication and language; I collaborated with Kelly Briggs to unravel a 50 metre roll of orange paper through the university foyer. 

Visible from the public street, and undertaken on the NUA open day; (for me) the work became an opposing take on the idea of the ‘red carpet’, which I am using to represent exclusivity and elitism in the art world. The ‘orange pathway’s’ brighter more welcoming colour (reflecting on previous research I have undertaken into colour psychology) extended from the street all the way into the building, the idea of allowing art to be extended in communication to the ‘everyman’. 

My previous works have been placed in areas that purposely highlight them as ‘out of context’, so by placing it in the entrance of an arts university, the context was supposedly more rounded. However, the work was immediately banned by the health and safety officials, which re-raised the interesting topic of the art institution and health and safety in todays society which I have previously studied (in conjunction with the Tate Modern’s remake of Robert Morris’ Bodymotionspacesthings in 2009). 

Photoset

Entering my third and final year of my university degree, I have taken time to reflect upon my practise and it evolution over the course of my BA. The time I spent on an Erasmus study programme allowed me to discover the core of my practise; communication. I am interested in symbolising and expressing ideas of communication through interaction and substituted language. Through participatory art, the viewer’s relationship with art/artist/fellow viewers its transformed from passive to engaged. The constant search for a distribution of information (and expectance of its readiness) has become a current social need. In this age of communication technology, we have become expectant of quick information and communications. By increasing the effectiveness of communicable technologies, we are simultaneously deteriorating its origin; the physical interaction of people.

  I approach this subject in two ways. Through a sculptural language of colour and form, I break down communication to its simplest formations. The sculptures become almost hieroglyphs; autobiographical symbols of my presence (as the artist)  in a place. I am communicating my ideas through this new unspoken language.  

Through the creation of participatory art, I am physically engaging the viewer with the work and their surroundings. Through participating, the viewer is transforming themselves from a passive spectator, to becoming a material part of the art work itself. By relinquishing an element of control over the work, I the artist am sharing my role of creator. I feel this creates an increased sense of connection between the viewer and the artist (and fellow viewers) through their shared experience of the work. 

As this Reflective Journal documents everything that I have undertaken over the three years of my course (more of a diary of my practise for my tutors then a portfolio), I felt it was important to look back and select works the that I feel are relevant to my practise. I am looking to set up a website that will allow me to display a portfolio of these works. 

Video

Derive exhibition

In discussion with Kelly Briggs and Nicole Hudson

Considering the possibilities of documentation for the exhibition, myself and Kelly decided that it would be useful for the development of our professional practises to follow the lead of the galleries we take inspiration from in our research (having been inspired by the ‘Bloomberg Tate Shots’ etc) and create a documentary discussing our work in further detail to accompany our research files and reflective journal.   

(Source: kellybriggs92)

Text

Essay

My BA5 essay focused upon the role of interactive art in todays society and the change in the role of the viewer it creates. I touched upon the subject of the gallery as a tourist attraction and how this effects the art itself, and given the BA6 focus on exhibiting, for my essay I have expanded upon this notion. My interest in interactive art and its increasing presence in my artistic practise has lead me to continue to focus around this example of an art form in respect to the question of the gallery. Referencing theoretical approaches including Claire Bishop and Brian O’Doherty as well as contemporary examples of interactive art, I have discussed how the role of interaction changes as the gallery becomes more of a ‘tourist attraction’ and how this effects both the art and the viewer. I plan to continue to research around these subject areas, combining the research from both BA5 and BA6 to begin to consider the formulation of my final Research Report next year.

Photoset

The Vernissage

Held in the evening, I feel that Vernissages (private views) are taken as much more of an official event here in ESA then at NUA (where private views are generally held during lunch hours). With exhibitions being irregular here in Reunion we had a lot of interest from both our school of Beaux Art and the Architecture school, as well as guests from outside of the arts institutions (in total around 50 people). The social behaviour of the viewers was very interesting in association with my theoretical research. Upon enetering the gallery the lights were all off ready for the projection of Kelly’s video, the room only therefore lit by the other smaller video works. Not reaslising the situation, the viewers were unsure as to how to react to this and began to instinctivly look around the art works as they perhaps felt they were expected to, despite the lack of lighting. At the Vernissage, the ‘bean bag’ sculpture was mostly interacted with by individuals, viewers generally taking it in turns rather then interacting on mass. Viewers became more likely to fully let go and interact with it once the gallery had emptied out slightly, self concious of their transformation into part of the sculpture. I was however pleased with how the sculptural form changed continously over the course of the exhibition as intended and feel this piece has potential to envolve in furture works. On the upper corridor away from the exhibition room, Kelly’s balloon installation saw the viewer really ‘letting go’ and having fun with the work. This is again interesting that perhaps the rooms seperation from the ‘official gallery space’ meant that the social behaviour changed from formal to fully playful.

Photoset

The final layout of the exhibition including the correct gallery lighting.

The exhibiton included a range of works from sculpture, painting (canvas and wall painting), photography, video, installation and performance. The Vernissage will commence with a speach by the Erasmus co-ordinator (using a translated text that we sent to him briefly explaing each of our artistic practises). On entering the gallery, the lights will be off, and the video work of Kelly will be projected across an entire wall of the gallery a single time (only once to reflecting her take on advertising that she incoporates in her practise). Hans Peter will then do a performative work with fabric, which will then be left to become a sculptural element. I have formed my interactive ‘bean bag’ into a ‘perfect’ shape, interested to see whether the viewers will interct or be un-certain as to whether they were allowed. I displayed by orange sculptue on a diagonal in a corner so that it has a more dinamic prescence in the space and the screen points directly to the bean bag; as once sat on the bean bag one is at the same height level as the screen. The quality of the video on the screen is in fact viewed better from a distance (in reflection the video would need to be played on a higher resolution screen to be effectivly viewed from within the sculpture as originally intended, however I do not have access to such apperatus).  The sculpture also points directly towards the accompanying photograph that I purposly placed on the other side of the room, not wanting to have it directly next to the sculptural piece; wanting the viewer to explore and discover the connection for themselves. I chose two Sculpture in a Pocket images (to be mounted slightly seperated from the other photograph to indicate the seperate series of work, but still as a complimentary amount of images) I chose the two images as not only do they portray examples of the very different environments that I have encountered here, but also when placed next to each other have the appearence of a continous horizon line flowing from the left image down into the right. The ‘bean bag’ is placed in front of the Sculptue in a Pocket images as it was these photograhic images that inspired the creation of the interatcive sculpture.

Photoset

For lighting we spent alot of time testing the different types of spot lights on each piece in order for it to be well lit but not too harsh. The lighting had be considered around the installation piece of Dorina that used projected imagery. After its initial creating, it was discovered that the projection was also cast over the surrounding walls, which cast shadows over the other works. We therfore arranged with a fellow student who was not part of the exhibition group to use a mapping computer programme to project the imagery soley on the intended areas.

“unshadowed, white, clean, artificial, the space is devoted to the technology of esthetics” Brian O’Doherty (Inside the White Cube)
Photoset

In terms of organising and curating the exhibition, we started very early on with emails and meetings; keeping in very close contact through out the process in order to have a clear idea of the proposed pieces to be exhibited. For each of us, the final pieces exhibited were a selection that had been wittled down from an original larger choice; chosen to work in better corrolation with one another or through the trial and final decisions to not exhibit. Our practises are all very different yet our proposed works hold many simularities as they have all been created drawing inspiration from our time in Reunion. We therfore decided not to have a ‘theme’, the exhibition to be an Erasmus exhibition anyway, however chose to not use Erasmus in the title as we wanted to be reflect the independency of which we have organised and curated the exhibition. Drawing inspiration from my research into physchogeography as well as our seperate physical journies to Reunion, we finally chose the title Derive (meaning to let ones mind wander, or to travel through a city with out a predetermined route-reflecting the sense of exploring the island to find inspiration for our art). The poster design was proposed by Dorina (using a still from her instillation as its imagery of clouds linked symbolically with the title) and as a group we spent a lot of time discussing and creating the final design. In terms of the spacing in the gallery we started the installation on a Thursday, the exhibiton starting the following Monday. This allowed for enough time to clean and re-paint the gallery, curate, install and light test. Reflectivly, perhaps a negative of the exhibition was that  there was alot of large sculptural or installation works, and not lot of smaller works to be contemplated in a lot of detail. With this in mind as well as practical considerations such as plug sockets etc, we had little choice in terms of placing, however we experimented alot until we were pleased with the final layout. The set up also required alot of organisiation in terms of pre booking equipment, discussions with the technitians, and projection and sound tests.

Photoset

the playful and subjective methods of the surrealists, Dubord

Interactive vocabularies (Clark and Hélio Oiticica: A Legacy of Interactivity and Participation for a Telematic Future, Simone Osthoff) audience interaction creating a dialogue between viewer and artist

Exploring the complimentary aspects of positive and negative space (Osthoff)

From work to event. We are the mould, it’s up to you to breathe substance into it, Frieze art review on Lygia Clark

Ce sont les regardeurs qui font les tableaux (it is the viewers who make the pictures) Duchamp

It’s an opportunity for people to involve themselves with the work, become aware of their own bodies, gravity, effort, fatigue, their bodies under different conditions (Robert Morris, discussing BodySpaceMotionThings)

My theoretical research has been very orientated around the notion of the viewer interacting with the art. I feel that by interacting, the viewer is then commencing into a dialogue with both the art and artist. The works I produce are almost autobiographical representaions of myself, , my sense of place, and have become to develop into a language (my own language, created to substitue my loss of spoken language, the Sculpture in a Pocket heiroglyph idea etc), and so this dialogue between artist, art, place and viewer is a key element.

For the exhibition, I have decided to exhibit my orange sculpture, as it has been a key work from this term and has expanded my ideas. I will exhibit the photographic image of the sculpture at the Savanna, and then have a television screen at the centre of the sculpture showing a video of the savanna, the back and forth converstation of the sculpture being out of context when placed in the environment to the place becoming out of context in an art environment interesting to me.

I will also be exhibiting selected imagery from the Sculpture in a Pocket series as I feel that it is important to display this starting point of my practise in Reunion.

   Inspired by by both my own manipulation of the Sculpture in a Pocket fabric and the research I have been conducting (Claire Bishop, Richard Morris, Lygia Clark etc), I have decided to cretae a large 3D fabric piece to be manipulated by the viewer. Inspired by a quote by my tutor in regards to the the Social studio that I created in BA5; its furniture something to use but also to be viewed, and a sculpture can also be a situation, I decided to create a large ‘bean bag’ sculptural form to be manipulated by the viewer, whether through playing, moving, or just the change of shape left from the imprint of their body after sitting. I am interested to see whether people in a formal gallery situation will let go have fun with the piece or whether they will keep in decorum with a sense of formality; as discussed in my previous essay, when interacting the viewer not only in a way becomes the artist, but also the art; they become part of the piece viewed by those who dont interact-their actions/reactions to the piece are as important as the piece itself.

I used blue fabric as it symbolises the commence of the blue and orange collaboration I have begun with Kelly, as well as drawing inspiration from the research this collaboration has led me to commence into colour phychology: blue is a colour of stability,clenliness, faith, associated with depth, power, tranquility and a higher level of intelligence/perspective. This will hopefully lead the viewers to phsychologically feel at ease to interact with the piece; blue is also the colour of the posters for the exhibition, and I have purposly used the same fabric as used for my orange sculpture to aethetically link the two works further then their colours already do.