DEGREES UNEDITED

# 91 [27 June 2010]

The sheets of paper hang in serene and contemplative isolation...corresponding to the way I approach my practice...They act as markers of time and space, within a simple, austere architecture defined by light, space and air.

Further experimentation of projections in different environments are needed.

# 90 [18 June 2010]

Asked how I came to this point:

I spend a large amount of time writing notes on ideas, and re-writing each new step I come up with [often with small diagrams-which could perhaps start a new line of work]. These notes help to work out problems, leaving me feeling much clearer afterwards. 

A sentence by Fiona Banner, "Essentially I began making and un-making with language and then making and un-making language itself..."

I have often had problems with imagery, and one day, on a train, I realised that the writing could become the pictures.

# 89 [18 June 2010]

The journey that takes us to the exhibited artwork is often unseen by the audience, it is an area that I am becoming increasingly interested in, especially after a conversation with a friend about this blog. She told me that she didn't need to see the other part of the show, in fact, she thought it would have been more interesting if there was no other part. She was more intrigued in the theoretical thought process of a work than a physical one.

The missing sections of the text on the video stand for something missing, something that was once there, something that has happened.

Watching people fill in the gaps with their own images [a formal and thematic mental act] and their own reading of the work sees the video as a catalyst for human communication, and further conversations.

# 88 [27 May 2010]

35 minutes until deadline.

# 87 [27 May 2010]

Erm...the wires look good. Haha.

# 86 [27 May 2010]

Seven minutes in length...is it too long? is it not long enough?

Should there be four shots?

The decisions were made, but were they the right ones?

# 85 [26 May 2010]

It relates to older mnemonic technologies such as books, architecture, frescoes, cave paintings an so on...all the forms that humans have impressed more or less permanently upon matter.

Physicality/virtuality comes into existence, is one more priveleged than the other? What does setting the books alongside the laptop suggest?

# 84 [26 May 2010]

I am aware that the work is very internal, in both content and process..it knows about itself, is recursive. I am aware that it might resist entry, can it be absorbed by the viewer?

The blog is an entry, into a conversation, a way of looking at my practice as itself and outwards.

From Art and language: "we acknowledge that reading and looking are distinct, we suggest that reading the text in a textual picture is in some sense equivalent to understanding certain iconographic or technical principles, and that these go to the picture's having an internal subject."

# 83 [25 May 2010]

Why can't everything be wireless?

I'm sitting at the desk I have set up in the gallery, the desk with the laptop and projector...and 5 wires surrounding it. Although it is supposed to represent an ordinary working space, the university has gone health and safety obsessed and so everything must be secure and out of sight.

To ease this problem I had thought of readjusting the projector's space, having it face another wall (so that the wires fit closer together) but it meant changing the way the work would operate...it was more difficult to read the projected image, and it lost the intimacy that it had when it sat in line with the laptop. Luckily I was advised to change it back to the way I had it originally, meaning that you could stand behind the person typing, and while it is projected onto the wall, there is still a distance between the viewer and the person interacting with this blog and contemplating the work around them.

# 82 [21 May 2010]

 "As Wolfgang Laib sees it, the potential of his art is diminished when it becomes disconnected from everyday life."