MA translation No2

Why would my own gaze not be enough?   “I am not a photographer”  what can that mean?

Is my ‘touch’, whatever that ‘touch’ means… either through the lense, through the pencil, through the pin.   I look close enough that i can touch the paper again, through the camera…. take the image and ‘sound’ it… ask it a question of ‘belonging’.

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Somehow closer – we dance around the magnet that is the lense – peeping – it holds at once an attraction and twice a distance that I cannot meet – I ponder the photographer – the language of this.

Focusing in – finding fragments and details – selecting the information to frame – works to illuminate the intensities of these places – the intensity and delivering of the information that emerges from the paper .

These are conversations that loop from my hand, through paper, through the air….

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Close enough to disrupt, dislocate and disorientate me – locked and unlocked

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line up and cut – the white and the tonal grey – decide on the edge

–  light shines through –

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Have faith in the gaze –

These images read as the translation of a ‘quality’ of  air.

They are quiet whisperings….

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MA translating the image No 1

Taking sculpture to be photographed through another eye is transforming and curious.  Fancy cameras and lighting, not me standing on my bed, at an angle, about to break my neck….  This is ‘proper’…. glass cut images by Simon Bruntnell.  A lesson in illusion – pathos and surprise.

_38E6064Photo S.Bruntnell

These images and the translation that photography offers returns the sculpture back into the 2d of the drawing space… it helps me with the ‘problems’ and/or challenge of sculpture – returning it into the safer – other – strangeness…

_38E6748Photo S.Bruntnell

curves – movement – marking – hovering

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curious more curious – skin and detachment – recall the distance

I am left troubled by the nature of the gaze – the lack of my control – the transformation by another, through another and the ‘speaking’ is not of my own.  I ponder the crispness – the lostness – the identity so removed and the lost surface of my fingers moving across the surface,  the pin pricks so tenderly and teasingly done, somehow now astray through translation…

_38E6820Photo S.Bruntnell

seduced through the surface  – lost through the lack of something and the suggested surface –

I step in the direction of my own version and deliver No 2

MA ‘Research in Practice’

Working with the Title :-

‘Learning a move – marking a breath: action and resistance through drawing’ – searching for knowledge and invention within the drawing site’

Walking away from the experience with a stronger understanding of how drawing and the ‘work’ of art operate.   The sense of having simply touched the dust of the subject lingers on.  This is the beginning… which kept arriving over and over within the work.  Coming back, looping back until that was the image that became solid, the return and emergence of knowledge, permanently in a new state of arrival with information embedded.    Using loose paper and different tones of ink,  structuring this around photos of drawing, delivered a suitably poetic response to the question.

I abandon the outline and work from one or various points on the paper – the drawing emerges and expands from each place, often merging and fusing with another area.    I learn each touch of the pencil on the paper as an offering, an act of giving…. the paper returns with all multiple shades and tones of a knowing reply – a broken response of uneven breathing amongst a flow and ripple of moving.

   B E G I N N I N G 

It was as a spoken performance, the words seeped out from the pages.

essay

 

soaked, spare pages from dissertation – reworked into form

Cutting the story short: – research took me to looking at Elaine Scarry’s work on beauty and social justice.  Avis Newman’s work on drawing – gestures and traces – functioning from the unconscious.    Jean-Luc Nancy’s work on Listening – how hearing is a choice, listening is an act…. listening to the body speak.   Looking to the work of Ron Mueck, Avis Newman and Paula Rego – the dance work of Teresa de Keersmacker.    Delight in finding Sylvia Plath‘s drawings and despair at not knowing about them before… so often within research there is the hideous realisation that I know nothing… But the work of the Prof – Johnny Golding proves otherwise… hope and faith in curiosity saves the day.

My fairies in their hobnailed boots constantly energised and ready to work

they sharpen the pencils, line them up and as the pencil touches the paper

               they breathe out and start their dance…… 

 This is an engagement with a creative process and the place in this that displaces, relocates and speaks back, the self through material.

 

Sounding detail