Interval event. The Hub, Level 5 Matthew Building, DJCAD

Images taken from The Interval event;
A Matter of Process, open to the public Wednesday the 14th of December.

‘A Matter of Process’

‘A Matter of Process’ is a collaborative student led initiative focusing upon the cyclical nature of creativity, where the ‘process’ is the central theme. Running alongside the assessment, this exhibition aims to collectively explore individual creative practice within an academic course showing a selection of works by the 2011 Master of Fine Art group. Its aim is to push the boundaries of the static nature of the assessment procedure allowing for the transient nature of the creativity to be enhanced and foregrounded.

The exhibition is comprised of 3 main elements, which include the work of each student. To capture the fluid nature of this process a collaborative piece of work has been developed. By projecting a line of text from each student a collective rolling consciousness is formed into a continuous narrative. Further to this, the interactive nature of the show is also represented by the MFA class blog. This will be live in the space, allowing staff, students and the public to participate. In addition many of the class have created works that, through interaction, will be part of their creative process, further emphasising the constant flux of creative works.

This exhibition has been curated by MFA students Sinéad Bligh, Rowan Richardson and Joanne MacFadyen and we would like to take this opportunity to thank everyone involved in the development and setting up. We are incredibly grateful for all the hard work and could not have done it without you all. We would like to give our thanks to Sophia Hao, Laura Simpson & Andrew Dodds from Exhibitions/VRC, Ronnie Oakley, John Scott  & Alan Greig, Danny Hill, Mickey Mallett & John Rennie, Malcolm Finnie, Jamie Easson, Peter Bevan, Daniel Pike & Andrew MacLean.

We would also like to give a special thank you to our classmates who have been unwaveringly enthusiastic and incredibly helpful during this process. Also a very special thank you to Prof Murdo Macdonald, Jeanette Paul and all of our advisors. We would also like to say a huge thank you to our MFA course director Prof Tracy Mackenna for her continued support, encouragement and insight throughout this initiative and our time on the MFA programme. 

Jessica Singer - Abstract

Investigation of Human Behaviour in an Interior Space”
Project proposal; area of investigation, including the context for your work:
          
My body of work is an exploration of how young middle-class adults act in a private setting. Privacy is a basic human desire. The interior of a home is where many tend to feel safe. Interiors hold many secrets, as well as reveal them. It is within domestic settings, for instance, where we experience heightened erotic moments.
Contemporary artists such as Eric Fischl, Sidney Goodman, Bob Newman, and Francis Bacon, concentrate on ambiguous eroticism.
           
My intent is to project ambiguities for the viewer to question the erotic scene they are witnessing, and their own role as spectator/voyeur. Further research into the role of spectator and the male gaze will be taken (looking at such literary works as Laura Mulvey).
            
Explore the ideas of environmental psychology (how humans behave in a particular setting) through photography, drawing, sculpture and painting; Examine how humans interact within an interior domestic space (approach or avoidance through the idea of Scopophilia); Investigate the idea of the male or female gaze and examining how this is influential/contributes to my work; Also, investigate contemporary dance and how the fluidity/contortions of the dancers can be used as a dialogue to my work.

Catriona Taylor: Coastal Waters

My current work has been determined by several factors. At the moment I am commuting to Dundee from my home south of Edinburgh. I decided to use this as a positive force to determine and enforce a stricture on what I do. As I usually make installations my work is often big and a logistical problem to transport, so it was a challenge for me to make portable work that’s easy to move around. I decided it was an opportunity to develop and expand my 2 dimensional work. As I am naturally drawn to thinking conceptually and making installations that I never develop this aspect of my practice.

The themes that inspire me tend to be centered on Scotland; it’s landscape, history and literature. A strong theme in my work has been Scots emigrating, which of course until recently involved a long journey by sea. The sea therefore has been a constant in my work.

I decided I really wanted to explore painting; it’s process and possibilities. I took the sea as my subject. - the seas around Scotland and the Scottish coastline. However I wanted to represent the sea in a non-realistic way but using a method that is dynamic and gives the sense of movement, power and water. I have experimented with pouring paint, water and the element of chance or “happy accidents”.  I have tried to establish vibrant surfaces using a dynamic approach and trying to remove the element of control.  To aid all of this I use water based mediums as a necessity for working at speed and to depict liquid. I am also experimenting with methods to apply paint in a vigorous and dynamic way such as scraped on with pieces of card, hankies, rollers and pouring from cartons. I am considering everything as potential material so as well as paint I am using papers, poring mediums, sand, glitter, glue, seawater.

At the same time as applying the materials in this way I wanted to consider the human tendency to make our relationships with the sea safer: the powerful force of the sea and our attempt to try and chart it and make it more navigable.

I see the painting’s surface as the geological aspect of landscape and sea and the formal lines of maps, charts, and text as the human intervention.  

Rongze Dai

Artist Statement---Observation

I spend most of my time to stay in my private space, maybe thinking, watching movies or staring the landscape outside the window. Maybe you will think that I spent this time doing nothing, but for me, the moment of being alone provide me an opportunity to abserve myself, abserve this world and something I concerned. I just abserved, see how everthing happened as the way they should be.

During the postgraduate study, I am intending to engage myself in the researching of relation between picture processing and internal sentiment.

At the present time, I am paying my attention to illustrate some objects or landscape, I aim to express my ways of life through them. I did not choose to use minimalism and surrealism as my artistic style deliberately, but concerning my own background, as a Chinese, I am relative conservative and restrained. Since I am not very good at expressing my inner thoughts though language and action, I signed for the ability which minimal art and surrealist art has, to see through the appearance and perceive the essence with objective point of view. I think I can show what I am unable to show by language and action through painting. Such as my subconscious, or certain viewpoint. It is not only what I am interested in currently, but also my way to let the outside world to understand my real thoughts.

In addition to this , the reason why I choose black , white and grey because I thought these color are the color in-between which is neither cold nor warm, neither negative nor possitive. I try to use these color to illustrate a "paralle world", a world which is isolated from the "real world, and it is what I feel constantly, even when I was at home.

Wahj Jamjoom

Abstract:
Exploring Psychological Dimensions of Own Personality

The purpose of this project is to explore psychological dimensions of own personality using images taken on the web cam. Meanwhile, research is taking a large part of the study to identify relationships between facial expressions and inner feelings. Ekman (1997) and Fridlund (1994) for instance, disagree that facial expression could hold inner feelings. Things may differ from one person to another. Further studies by Skinner and Benton using basic emotion descriptor can classify face’s expression (2011), and the results prove that facial expressions of emotion are coded with reference. The medium used in the practical work starts with a media source, which is web cam; then it develops into sketches, drawings, and finally paintings. The techniques used in each piece may differ, as the approaches and effects may be taken differently each time on the web cam. In addition, each expression can be presented differently in the work. Within the process, approaches may vary from one stage to another, as expectations are not clear yet.


References:

Ekman, P., & Rosenberg, E. (1997). What the Face Reveals. New York: Oxford University Press.

Fridlund, A. (1994). Human Facial Expression: An Evolutionary View. San Diego, CA: Academic Press.

Skinner, AL., & Benton, CP. (2011). Anti-Expression Aftereffects Reveal Prototype-Referenced Coding of Facial Expressions. Psychological Science, 21(9), pp.1248-1253.

James Mitchell

The background to my practice relates to work previously undertaken in my Grandfathers suffering of the disease Alzheimer’s. Interested in the subject of memory and the discrepancies that are produced over the course of age,

I was aware of the extreme contrasts that were being created; absence and presence of body and mind, loss and gain of independence, placement in a type of limbo where neither past nor present belong

‘Why should this absolutely god-given faculty retain so much better the events of yesterday than those of last year, and, best of all, those of an hour ago? Why, again, in old age should its grasp of childhood’s events seem firmest?’[1]

I feel that you are your memories; the past supporting your present and can help predict the future, decisions based on experience. In the Theatetus (191cd) Plato raises the idea that memory might be analogous to a wax tablet into which our perceptions and thoughts stamp images of themselves, as a signet ring stamps impressions in wax. Experiences sculpting ones identity, but how can true identity be formed if there inconsistency of the mind?

We persistently gather ornamental souvenirs displaying adventure, family photography providing evidence of our nurture, in effect a constant reminder of past, an archive. Inanimate forms hold visual memories for the beholder, but when the function of subject (memory) is lost the object unfortunately lives in vain, the background already removed by the unexplained unforgiving forgotten.

‘The souvenir is destined to be forgotten; the tragedy of all autobiography and the simultaneous erasure of the autograph’ [2]

My investigation will result in work based upon these theories. My aim is to create pieces that provoke memories and raise questions in order to elevate our understanding of the human condition.

James Mitchell

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[1] James, W., Principles of Psychology Volume 1, Dover Publications Inc.; New edition, 1957

[2] Stewart, S., On Longing. Durham and London: Duke University Press, 1993

Mona Khatibshahidi- Abstract

The unknown nature:

The idea of how human beings face different types of challenge led me to this idea that different people each has a special way of approaching to their challenges. I would argue that the way of approaching or problem solving quality in mankind stems from the unconscious mind. This way of problem solving is accompanied by natural expressions and reactions toward the issue, which he/she is facing. As the personalities differ from one person to another so do the expressions and reactions, each would be an indication of personality. What I will focus on in the third period of my paintings is a comprehensive study through these reactions and natural expressions, which I hope assists to have a better understanding of unknown aspects of human characteristics. In fact the indication of such aspects of one’s personality is better revealed by natural reactions, that he makes toward a situation, rather than facial expressions. The two main methods of documentation for such concepts are photography. In order to capture those natural expressions, the subject has to be involved in an activity or a challenge making him to reveal feelings in a natural way. Therefore the unawareness of model the model is more effective and necessary than if aware of the camera; otherwise there would be an interruption in what nature is offering. This stage of painting is more abstract than previous stages as the simplicity of colours, shapes and composition in abstract painting will convey the meaning more effectively and the viewer will not be distracted by realistic elements in painting. The blank background at this stage is not any more a presentation of supportive atmosphere accompanying the personage; conversely it will be a challenging atmosphere causing tension for the figure as there will be a conveyance of action and reaction between the figure and space around it.

Joanne MacFadyen - 'A Matter of Process' Abstract

Our view of the world is an important way in which we understand and perceive ourselves, each other, and the future. The scientific world-view, along with the paradigms of mass industrialisation, unreserved consumerism and a seemingly constant strive for economic growth are the current driving forces of humanity, and these define the ways in which we view the world. Our hopes, dreams and aspirations for the future are undoubtedly shaped by this paradigm, however many other things also shape these dreams, such as fairytale, myth and daydreams. These individual and collective views drive forward and are reflected in the present and the future by helping us imagine what life could be like.

The works presented in 'A Matter of Process' have been developed upon the desire to dream of and create an ideal future. I explore the paradoxical nature of the imagined and realised utopia, and also the notion of creating a collective utopia fairytale for the future through participatory practice.

The paradox of utopia, both imagined and realised are explored through a still life installation which aims to explore the reflective yet monochrome nature of the realised utopia. In addition, through participation, the process of my continued practice is concerned with exploring my role as artist and curator in creating a collective utopian vision.

Julie Reilly: Artist Statement

My mission is to develop art from an investigation into cultivation and to give greater insight into the theraputic and spiritual aspect of growing so that others might have a deeper understanding of the benefits of this simple activity.

Artist Statement: Sinead Bligh.

My practice continues to explore epistemologically the different interpretations of space as a means of analysing and theorising its experience. Central to this is an interest in the mapping of movement through space – through recording and investigating the mindfulness of inhabiting landscapes as you travel through them. The work explores the banal, in-between spaces we move through that are at once both imminent and transient, employed through the various mediums of sound and video installation, text, print and photography. This use of multimedia processes in turn reflects the various ways in which knowledge is assimilated into contemporary society.

Drawing on the writings of poet and cultural critic, Eileen Myles, [1] the work utilises Myles’s phrase ‘inbetweenness’ in expressing the transitional state of movement through a public space within the privacy of one’s individual experience. Myles’s essays are an account of her travels in Iceland, which assert inbetweenness as being ‘the most vital and poetic position to view the world as a whole’.

Concurrently the work is informed by the study of human geography, in particular theories surrounding the social construction of knowledge. The writings of human geographer Donald McNeill [2] have been particularly influential in the work. McNeill highlights the profound influence that modes of travel through the landscape have on an individual’s social consciousness. Also influencial are the writings of Irit Rogoff [3] in her discussions concerning geography’s visual culture. I utilises Rogoff’s term the ‘curious eye’ directly in my current work. Henri Lefebvre [4] is also referenced in the work, through Lefebvre’s epistemological writings on space. The recording of everyday wanderings of contemporary artists John Smith, Francis Alys, and David Hall, are influential to the work through their translation of social tensions into narratives that intervene in the multiple imaginary landscapes of a single place. 

[1]The Importance of Being Iceland: Travel Essays in Art, Eileen Myles, MIT Press, 2009.

[2] New Europe: Imagined Spaces (Donald McNeill, 2004).

[3]Irit Rogoff - Terra Firma: Geography's Visual Culture, 2000. pg30. In this chapter Rogoff calls on the development of the ‘curious eye’ to counter the old bourgeois term 'the good eye' to communicate a contemporary way of viewing which is influenced by the subjectivity of the viewer influenced by all aspects of visual culture and culture in general.

[4]Henri Lefebvre – Texts: The Production of Space and Rhythmanalysis: space time and everyday life.

Sinead Bligh is the recipient of The Arts Council of Ireland Travel and Training Award 2011. 

Thoughts Concerning the Epistemology of Space and Visual Culture.

What is knowledge, how is knowledge acquired? How do we know what we know? Who decides and normalises that knowledge into common knowledge? And how is Space concerned? These questions call for an exploration into different interpretations of space as a means of analysing and questioning how we draw knowledge from all aspects of contemporary society through social encounter and the effect which that has on social consciousness. Space is integral to this question as this is where we dwell and in which all these social signifiers exist. The nature of space allows for a constant reconfiguring of use and an exploration of the knowledge gained from that process. An epistemological study into contemporary visual culture leads us to reconsider and to remake opinions between Space Place and Public Agency. How people perceive space and how it is ordered into place and therefore think and act accordingly.

These epistemological questions lie at the centre of all fields of study which strive to communicate within social culture. As visual culture and visual media has evolved to encompass vast sways of our lives the need has never been greater to question the epistemology of visual culture and for a critical analysis of the spaces in which it dwells if ‘Space is never void of social relations’[1]. This may give a cultural barometer into social structures, opinions and the extent or existence of hegemonic influences which colour our view.

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[1] Henri Lefebvre, The production of Space (Blackwell, Oxford and London) 1993 p22

Mirna Sarajlic Abstract

Mirna Sarajlic is influenced by the early vanitas paintings which are primarily concerned with the impermanence of man and his earthly pleasures in the face of death. It urges the viewer to consider mortality and to repent.

Her process includes the set up of still life using food which holds symbolic meaning such as grapes, which have Christological reference (cf. John 15.1). Incorporating dead pollinators such as the moth aims to on the one hand, show the viewer our British species which are in rapid decline and on the other hand, to show that in vanitas insects are suggestive to the transience of life. By the use of photoshop Sarajlic is able to form a swarm of moths which appear to eat away at the fruit, hinting at good versus evil. The next step in the artist's process is to paint the image which then obliterates any imperfections.

Inspiration comes from artists such as Michelangelo de Caravaggio, Georg Flegel and Francisco de Goya, as well as the contemporary works of Sam Taylor Wood and Bourke de Vries.

liz H Abstract

Entomophagy and Sustainability.

The project i am currently researching is Entomophagy (human consumption of insects) and sustainability and how this practice might be used in the future as a sustainable food source. This research will explore the issues that surround the practice of Entomophagy. This will include the psychical, societal and psychological problems that must be confronted to achieve sustainability. This will specifically target Entomophagy’s relevance in the Westernised world.

Firstly i began to investigate Entomophagy in developing countries to attempt to understand where and for what reasons Entomophagy was practiced, my findings were that Entomophagy is a ritual that is engrained within most of the cultures through tradition.  However the Entomophagy practices studied were not for sustainable usage but for pleasure like most other foods. This type of relationship with insects is evidence that Entomophagy can successful practice. I aim to explore whether these concepts can be materialised into the Westernised world.

I will investigate this through photography, print and film which will explore Entomophagy as a westernised practice. The aim is to expose and inform westernised people of alternate ways to sustain themselves and alert them benefits of Entomophagy.   

Marios Fournaris Abstract

“Creation Out Of Nothing”


Marios Fournaris approaches contradictory meanings which while they seem to approximate each other in conflict, finally end up being the resultant that completes the harmony of the total. His objective is to search, use and emergence visual data that have an intense symbolic character and simultaneously are friendly in each conceptual interpretation.

More specifically what concerns him is the matter of rhythm and its connection with the sense of harmony, symmetry and isochronous. The rhythm as element of music, intricately linked with the parts of melody and harmony, represents aspects of universe and life. The visceral rhythm for example, corresponds to seventy beats of the metronome. Everything that moves away from this timbre distinguishes decay, disease and chaos. In order to visualize these matters Fournaris make use of materials that, on the one hand, are hard in appearance and feeling (wood, metal) and, on the other hand, converse with each other in a contradictory and paradoxical way in an action-reaction relationship. Quite often in his methodology and practice includes procedures such as combustion, the repetition of morphological elements and now in this project the growing of plants, incorporating data of biological science in his work.

Artist seeks the language of images that are sharp similar to Orthodox iconography, but that refers to the aesthetics of Kounellis, Beuys and even to abstract thought of Malevich. His aspiration is to create a visual environment that arouses in the spectator an intense association with the element of reflection.

Jean Floyed - statement for 'A Matter of Process'

I explore the influences of childhood in my work - the process of socialisation and how this lays a foundation for our lives, leading to the psychological places in which we live as adults. A primary aim has been to create an outer experience of inner places, investigating the inner world of ‘self’ and its relationship and boundary with outer and ‘other’. I’m intrigued by the idea that it is not just particular events that occur during childhood but the atmosphere of the home that can have a huge influence on us, an atmosphere made up of endlessly repeated patterns of behaviour.

active tool for discussion on (curatorial) issues

During the install for 'A Matter of Process' have a look at the Manifesta 9 Coffee Break (this Friday and Saturday in Genk) and on the WWWeb via
http://www.livestream.com/manifesta9coffeebreak

Manifesta Coffee Break is a recurring public meeting which functions as an active tool to discuss the concepts and working methods of the Manifesta biennial editions. The Coffee Break involves a meeting between artists, curators and theoreticians who together explore significant questions raised during the curatorial process of Manifesta 9. This takes the form of presentations of their works, lectures and round table discussions. On December 9 and 10 speakers and participants from Belgium and abroad including Jeremy Deller and Phil Collins will meet with Manifesta's curators in Genk. The main topic of discussion in these two days is "The Contemporary at the service of the Past".

David Aitken Abstract

Expanding Extras

Today’s film experience - post cinema release – involves a large accompaniment of peripheral works that are named ‘bonus features’. These extras have a potential to break out of being simple additions and becoming something creative themselves. They also bring forth transparency to creative production.

This project will look at how these supporting items might be used to create an idea of a bigger piece in people’s minds. This piece may be a film, but may also be any created work involving groups of people working together; such as a TV programme or a magazine photo shoot. The onus is on the viewer to decide in their minds what has been created.

The project involves the creation of evidence that mimics ‘bonus features’ placed in a gallery environment. The evidence contains behind-the-scenes footage, cast interviews and production stills that blend together to create the notion that a piece has or is being made. By placing the ‘bonus features’ in a gallery space, it highlights their own importance at the same time utilising them to answer the problem.

Jessica and Mona

Photograph by David Paul Aitken

Image made from a scan of a large format negative

See Facebook event page here

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