This week has been purely a reflective time; what are the key issues addressed in my work? Is there a reoccurring theme? My interest is to explore the organic elements further in both a sculptural manner and also addressing the human body, specifically the female body. I was previously looking at sculpture and performance, process and object. Do I continue to address these in my work? The performative process continues to creep and re-appear in my work; this is quite daunting as I’ve never thought or explored performance as a medium in my practice before. This is a new and unknown area for me. However there does seem to be a contingent flow and connection in my work; the relationship between the body and materials. I need to explore the body, my body and the representation of the human form. The next step is to explore and experiment with new and a range of materials and new areas of mediums; I do not wish to restrict myself in the making or research and allow the work to form its own direction without extended force. This process excites me and I’m curious to explore what direction and area my work will sit; it currently resides in sculpture, performance, process and object through exploration of form, feminism, body, anatomy and minimal object.
My tutorial with Andre Stitt lead to a discussion on the understanding of the work and what’s next? I need to focus, yet explore any ideas and materials that I come into contact with. Space and location is an element of the work that needs focus and further exploration. My studio space has become a comfort zone and a base for the production process of the work; therefore I need to develop relationships with new spaces and explore their possibilities and how this will impact on the work. I had discussed how process was a crucial focus for the work and the study and research of how artist Lynda Benglis documented her process of work production has raised questions in my how I can document and analyse making the work. The body is clearly an area of focus and the female relationship I have with materials; the engagement of materials with space and the body. How can I document the process? Why am I documenting the process in spaces?
The research lecture with Dr Stephen Thompson was interestingly appropriate and touched upon the balance and relationship between human and technology. Technology is a part of our cognition but what is technology? Why is it us, has technology become us? Technology has a tendency to distance us from our humanity; however do we challenge this? We simply rely on technology in our daily lives; we both (human and technology) evolve and get smarter each year. However some may argue that we are all machines; there are numerous theories; cyborg theory, modernist theory, post humanism theory, derrida theory and technicity theory. Which one applies? Do they all apply? Again what Dr Thompson was addressing was how he was in a similar position to us in relation to his research and having so many areas and ideas to explore, develop and specialize. The area of particular interest was how the body is becoming more modernized and how as a species our skills and knowledge are genetically being passed down from generation to generation.
Lard. An organic, natural substance that currently resides as a main material focus. Why would I cover my body in lard? Does this relate to my own fears and insecurities of my own body and fat? Can I perform this exposed in front of an audience or will I perform in a secluded area with only a camera filming as documentation? Do I have to document the performance, will the objects used be enough to reveal and explain the concept and basis of the work? After rubbing pure fat over my exposed body I will then scrub myself down with cold water, casting away and dissolving the fat from my body. Why lard? The qualities of the block is the organic properties, the nature of the pure block of fat and how it adapts and changes form and can become visually and aesthetically repulsive on the eye. There is something quite ironic about rubbing pure fat over my own body; the uncomfortableness and smell of the lard. The performance will have no specific time, I will smear the lard until the block has dissolved, and then proceed to scrub the lard from my body; cleaning away those impurities away from the blank canvas of flesh and skin. However, some fat, the lard will remain on the body; this is reality of imperfections and how fat will always be visible.
There are many questions to address for this performance. What is the main focal point of the performance? Is this a gendered, feminist performance? What if I was smearing the lard onto another person, this would raise other questions and would be read in a different manner. Do I sit or stand or is this even important? The room will be purely solitary, only me, the objects and a camera for documentation purposes. However by filming the performance I automatically draw in an audience; will a film be shown or still photographs? Therefore there is that relationship between performance and object in question.