Final Major Project – push gesture water experimentation

Following my reflection, I wanted to explore the push gesture in water. I feel that I may be preparing for a performance at the moat at Berkhamsted Castle, but I want to develop my idea further before doing so. I chose to investigate the water butt in my garden, since being so deep it offered the same darkness/contrast in reflected light that the moat itself has. This limited the extent of the gesture I could adopt here, but it was interesting to explore the ripple effect and methods in video editing in Premiere Pro, since the uni have now had the Adobe suite made accessible from our home computers.

I chose to accentuate the effects on the water by slowing down the movement. The accompanying audio becomes quite mesmerising, and the shifting water creates some very interesting warped abstractions. Here are two videos I made of the footage, one in black and white, and the other in colour, zoomed in so that the edges of the water butt are no longer visible.

I especially like this decontextualised view of the water, further abstracting the reflected imagery. The light dances.

It would be interesting to repeat this on a larger scale – perhaps in the moat itself, though I am unsure if this would be possible within the current lockdown (or if it might break any rules more generally on site).

Water itself has some intriguing connotations – life-giving and preserving, cleansing, and appears in various rituals (washing of feet, baptism, blessing etc.) and routine behaviours primarily associated as women’s work, such as laundry, cleaning/scrubbing, washing up. There is also a sexualisation of water when applied to the body – think of wet t-shirt competitions and the car wash.

It too reminds me of the Pre-Raphaelite painting Ophelia by John Everett Millais, depicting the tragic character from the play Hamlet. She falls into the water but continues to sing, unaware or uncaring of the danger to herself, before drowning herself. The painting is rich and verdant, the figure appears floating and as one with nature, but it is eery too – her face pale and close to death, her palms upraised in surrender, mid-song.

Ophelia 1851-2 Sir John Everett Millais, http://www.tate.org.uk/art/work/N01506

Researching this briefly, I came across an article about the significance of water in this Shakespeare play, which too looks to where else this symbolism is seen (excerpts below).

Water has long been a powerful symbol in literature: rains denote cleansing, the equality of mortality, and the rebirth of Spring. Baptisms also denote rebirth, while rivers and oceans connect people, denote the unknown, potentialities, and broadly speaking, the unconscious. But here we have an eroding kind of water, the sort that might carve a canyon, or a body.

Repetition and action–perhaps in a trade–are ways of lasting, and of keeping out the water, during life and even after death. The great antidote to the will-eroding current of introspective consciousness and the paralysis, stagnation, putrefaction, and death which follows, is action. 

A river separates the land of the living from the land of the dead, in both Greek mythology and in the oldest story we have, the epic of Gilgamesh, wherein the protagonist’s contemplation of death drives him to the ends of the earth in an unsuccessful pursuit for immortality. The myth of Narcissus and the pool depicts the same danger of excessive introspection in a more direct and literal manner: Narcissus, enraptured with his own beautiful appearance in the pool, leans in too far and drowns.

Water is both a powerful danger to be feared as well as a necessary agent of changing ourselves. We don’t want to stagnate and rot like a corpse, after all.

It seems then that water is a very apt element for me to be exploring as part of my theme of self-expression, being a tool of introspection and something we both seek out and shun through action. It’s interesting this too should harken to the flaw of narcissism in considering the self too much.

Final Major Project – Reflection on pushing gesture

Following my experimentation with pouring paint/gesture, it took several days for the paint to dry. The colour darkened during this, and below the final result. As I mentioned in my previous post, I’m not sure this fully expresses, since I was concerned with the pour of the paint, and so a more vigorous gestural work in this vein might be worth doing. It also could have done with some sort of background? Though I quite like the stark simplicity of this.

I like the near symmetry of this piece, and that the marks suggest a pattern or symbol of some form. It reminds me somewhat of rorschach ink blots in this way. But too the fluidity of the paint and the arching imply a spring or fountain of water for me. I was interested too by the concept of bodies of water in themselves as an action, having visited my local castle ruin in Berkhamsted on one of my daily walks.

I was reflecting on the concept of a moat in relation to the practice now of social distancing and self-isolation that we are mandated to perform during this coronavirus pandemic. The word isolation itself deriving from the Latin word insulatus, meaning to make an island. The manmade moat of this castle is in a literal sense constructing an island (whereby the castle is the island, isolated from its surroundings), and making manifest then this idea of social distancing.

Moats for me though imply a sense of stagnation, of anxiety and fear, and protection. I took several photos on my visit as I reflected on this, but found it difficult to capture just one that fully encapsulated that this was in fact a moat, and not some other body of water, such as a river. The closest to communicating that is the first below, where we can see the path across, a piece of the castle walls, and the two fortification mounds, but to gain this perspective little of the moat itself is visible. I think use of a drone camera (or at least, a much higher angle) would best work to capture the full sense of the moat.

I think this sense of distancing/isolating ourselves is also reflected in this pushing gesture I have been exploring. Pushing others away, rejecting our former habits and behaviours, creating physical distance/space for ourselves, all for me can be implied by this action of extending the limbs forwards and outwards.

When thought of in the context of water – pushing against water perhaps – it is also reminiscent of swimming, i.e. the breast stroke. A means of propelling ourselves, harnessing the resistance of the water. In thinking about water I became interested too in this resistance – the forces that act back upon us when we act on the world, as in Newton’s third law – the effects of our actions, repercussions and consequences (foreseen or not).

This is particularly topical at the moment, as we are made aware of the consequences of our individual behaviour on others – the possibility of spreading the virus by unnecessary contact with others. This has been made apparent by the study of the spread of the virus in South Korea, where just one infected person accounted for the majority of cases – patient #31.

Many images/animations have been circulating online using this matches illustration for the importance of social distancing to prevent the virus spreading to others

Final Major Project – experimentation in floor based drawing/painting

I was keen to get started experimenting with linear gestural mark-marking. It was important for me to capture the process of this as potential starting points for performance too, but as I have been cautioned not to use the studio space in the university due to the corona virus shut down, I was presented with a challenge to make use of my home environment to do this in!

My first challenge was in erecting some way of filming the process from above, as I do not own a tripod or the special craning equipment that would be used by professionals. I discovered a DIY instruction for a cardboard cradle of sorts for my phone that could be affixed to the ceiling using masking tape, and used this for some drawing experimentation in my sitting room. This floor is carpeted, which would mean it less than ideal for paint work, but does give me the most floor space in which to work.

Having centred myself by completing a yoga exercise, and reflecting in my journal, I decided I would explore different modes of attack for my gestural drawings – from standing, from kneeling, and from lying down. I was also keen to see the difference between using a large graphite stick and large charcoal (i chose these large materials to more easily capture my gesture across a wide surface, and for greater distinction in pressure, orientation etc). I opted to do these with my eyes mostly shut whilst moving, so that my gesture might be guided from the sensation/from within, rather than aesthetic appraisal. I did allow myself moments in between marks to assess whether further marks were needed or not.

I think the standing piece is my least preferred, it is more chaotic and less readily understood in terms of being gesture. I especially enjoy the expression of the charcoal, the pushing/expelling nature, and how the paper in fact moved away from me and contributed to the mark itself. Kneeling seems to be the posture in which I can exercise more control of expression, and capture the full arcing of my arm movements. Lying down was intriguing for allowing movement that was not isolated to the arms as much, and for more chance to be involved (when the graphite was caught in my hair and made no mark on the paper).

While the cardboard cradle worked for this short experiment, i found that the masking tape peeled away and the camera angle could not be easily perfected. The sound of the tape coming away was quite distracting, so I decided I would purchase a cheap phone holder as an alternative. I reasoned that if I am needing to use my phone camera to document anyway then this is a worthwhile investment!

I decided to try a paint pour experiment using this holder, this time working on my kitchen floor (to prevent any spills marking my carpet!) and had the holder clamped on my kitchen table. This allowed for a more up close view of the work in progress, but less vantage of my full body movement. I think this shot though is better suited to the A1 paper size I am currently working with.

I chose Ultramarine colour to experiment with, as I believe it the nearest to the blue of Yves Klein. I wanted to repeat to some extent the gesture used in my charcoal piece – the pushing element I thought might be interesting explored in a more fluid sense. Perhaps in my execution I was more focused on the pour (I did not perform this with my eyes closed, though perhaps I should repeat this with them shut!) and so there is less forcefulness in my gesture. It seems more meditative.

Final Major Project – research/context in Pecha Kucha

In order to kickstart my final major project, clarify my aims and plan for the weeks to come, and contextualise around it, we were tasked with drafting our project proposal and action plan, and creating a Pecha Kucha presentation to share our initial research. A Pecha Kucha (aka a 20×20) is one primarily composed of images, spanning 20 slides, each of which is shown for just 20 seconds, meaning that the full presentation lasts just over 6 minutes. Below I summarise the contents of my presentation, and so the research I conducted in the first two weeks of my project.

Reflection on past work

First I reflected on some of the commonalities/themes I have previously explored in my work that have driven my interest in the topic of my FMP: expression. This related to the work in Futures project, where my future self-portrait and the navigating space/grid cell/instruction work has commonalities of i) an interest in perceptions of self/observation by others. ii) Behaviour and body language. iii) Psychology, consciousness and identity. iv) Manipulation, instruction and expectation. v) interaction. Thus something around behavioural expressions/externalisations of our inner psychology and how this is expected/observed by others would be a natural continuation.

Also too that in previous Unit 2 work I was interested in gestural and expressive mark-making, and the notion of automatic drawing or writing. I have not yet taken this into the action itself as a performance, as opposed to a work produced from it, so would be interested to explore this in my FMP.

Context

I was keen to contextualise the notion of my performance of expression within what might be interpreted from it – and the problematic biases of my being a woman artist. I saw this being across multiple facets. One being narcissim/vanity. Autobiographical work by women is interpreted as superficial or vain, self-obsessed, while autobiographical work of men can access universal themes and move beyond the personal. I linked this to the works of Helene Schjerfbeck who I went to see back in 2019.

Too, it is a paradox for women artists that in portraying their subjective reality/perception of themselves they are colluding in their own objectification. I related this to the Ways of Seeing I researched previously, as well as Tracey Emin’s self-portraits which evoke her subjective sexuality, but at the same time could be objectifying and eroticising herself.

I was conscious too that in externalising my emotions, I could be pervading the prejudice that women are ruled by their emotions, and the problematic connotations of this in relation to hysteria. I discovered that hysteria (back when it was treated as a psychological disorder), was specifically seen as the height of female sexual expression in a world of repression and strict social behavioural restrictions.

This photo of a woman demonstrating a ‘hysterical episode’, characterised by the arched back, was distributed for voyeuristic purposes in 1880

The surrealists were particularly interested in this – as an expression of the subconscious sexuality of women. This brought me onto another problematic context for the performance of women – that women’s performance takes place within the asymmetric power relationship between men and women. The surrealists choreographed/instructed a performance (below) by the dancer Helene Vanel to simulate hysteria – sexualising and objectifying her.

Helene Vanel (1938) at Exposition Internationale de Surrealisme in Paris

Another such problematic performance, which explored the body and gesture in performance art, was Yves Klein’s Anthropometries.

Here naked female models were instructed to cover their bodies in Yves Klein’s blue paint, and place themselves against surfaces in ways instructed/choreographed by the artist. He clearly objectified them here, calling them ‘living brushes’, though later the models have claimed they were collaborators in his work.

In considering female performance art, it is also important to contextualise this within the gender theory of philosopher Judith Butler – that gender itself is performative and we identify someone’s gender from the repetitive behavioural characteristics that we attribute to certain genders. This is evidenced in the performance of drag – whereby someone identifying in one gender performs the characteristics of the other as an illusion/subversion of such gendering. It’s easiest to see the skill involved in this, and thus the nuances of behaviours we interpret as gendered, by comparing an experienced drag performer with a novice who has had a makeover, in the makeover challenge on Ru Paul’s Drag Race (below)

Experienced drag performers (left) and novices (right) demonstrate the nuance of stance/posture for gender performance

Art Research

So one theme I explored was resistance and women’s rage. I discovered that just as long as women have been resisting, they have been using their bodies to do so.

A jiu-jitsu how-to guide for the Suffragettes, Mary Evans c.1910

Here I also referred back to my research around Isadora Duncan and Martha Graham, and how these women pioneered the freedom of expression for women’s bodies.

I also looked at how other artists have sought to express through suggestion or absence of the body, but where the works themselves have been created with the body or with interaction with the body in mind.

I also looked at artists who have used performance as the work itself, or in the creation of works, where abstract gestural mark-making has been utilised.

And works where the gesture itself is fully expressed in the mark/performance, and repeated.

The taking on of gestures/expressions of others as a suppression of self/ventrioloquist expression.

This is by no means an exhaustive line of research, and indeed since compiling this I have already found more lines that are of interest and relevant to this work!

Unit 2: Future of the Mind – Telepathy context / research / my work

One of the things that captivated me following the initial group ideation session we had around Futures, was the notion that technology could progress such that not only human-computer mental interfacing was possible, but human-human, i.e. telepathy (the communication of ideas/thoughts by means other than the senses).

The idea of telepathy first caught on in western culture in the 19th century, following on from the spread of spiritualism (communing with the spirit realm/the dead) and animal magnetism/mesmerism (whereby healing can occur via induced trances and hypnotism). These pseudosciences caught on in response to the fantastical advances in science that were making the world at once more understood and more mysterious. Why should we only trust our senses if there are microscopic cells (with cell theory – that we are made up of cells – only being formulated in 1839), and if time can be relative (theory of relativity in 1905).

Hilma af Klint was interested in spiritualism, and can also be credited with the first abstract art – exploring automatic drawing in attempts to visualise this non-visible reality. I encountered some of her sketches in the Moderna Museet in Stockholm, and enjoyed how naive and free they seemed, some of which are below. The nesting and interaction of colourful organic forms, and looping, swooping lines also appeal.

Magicians then, using biological cues, performed ‘thought reading’ stunts, which still continue to this day. Indeed, much of the trends seen in the 19th century reared their heads again during the New Age in the 1970s, e.g. the idea of ‘channelling’ spirits or the collective unconscious via trances to gain new information. This took a strange turn as documented in the book and film adaptation of The Men Who Stare at Goats, with the American military hoping to harness the power of psychic agents for intelligence-gathering (and also, bizarrely, attempting to harm or kill psychically)

This idea of psychic ability being used as a weapon or military advantage is also explored in fiction, e.g. in Star Trek with the Vulcan mind meld appearing in it’s first season, and then later too with empaths such as Betazoids and the hive mind of the Borg. The notion of ‘hacking’ or mind control of another by means of such interfacing is a central theme of fiction such as Ghost in the Shell. This relies too on the notion of interconnected technological knowledge and AI systems within a ‘cyberspace’ – a concept conceived before the internet by William Gibson in his Neuromancer novel, but now a term used to refer to it.

But for me, I am interested in the consequences of such technology. If we were able to communicate telepathically, would this make language redundant? Would we lose language, particularly in our more intimate relationships? This could be a means in which telepathy could be a force for good, and answering a central human desire to be understood – enabling us to fully intimately understand and know our romantic partners and significant others. But what might be lost from our current relationships, and would this be a destructive or positive change?

There is a unique mode of communication already in existence between romantic partners, a secret language you only use within that context – formed of in-jokes, pet names, and particular phrases or patterns of speech that you build together. In a world where you could communicate without language, this would be defunct. I explored some ideas for how we could record these future dead languages, to house in future museums.

Below is a work I encountered in an exhibition at the Whitechapel gallery, curated to explore a post-language society (here conceived as a post-apocalyptic eventuality). The work below explores communication through a personal visual language, which are curious, but I’m unsure if they truly communicate (though perhaps they are recognisable to a native spanish speaker!) – it’s intriguing to see here again colourful, somewhat organic forms appearing.

Returning to my idea… The thought that these languages would be shared, which previously have been intimate and private between two people, is intriguing but one which made me feel unsure I could in good conscience ask people to share with me openly. This is interesting in itself, that I would hesitate to do so. That making open and shareable something entirely private is similar to this notion of sharing our inner most thoughts with others via telepathy. It is certainly an uneasy future being imagined.

What then could be more private than our own sense of self, our inner eye. What might it mean for our perceptions of self, if we can be fully aware of how others perceive us, and view ourselves through their eyes? Would this exacerbate or destroy the current situation of ‘selfie culture’ – whereby we feel pressured to curate our online image to the extent that our bodies, our lives appear perfectly manicured (whether doctored through photoshop or filters or not), and the comparison of ourselves to the online image of others is damaging to our mental health. The obsession with picturing ourselves in any and all situations can be seen as narcissistic and superficial, but it reveals our humanity too. Our desire to understand ourselves, to fit in and be understood by others. To mark our place in the world, and confirm yes I do exist. But this conflict between our inner world and how we appear externally is hard to process – and body dysmorphia and eating disorders are on the rise.

Experiment with a selfie feedback loop using the webcam on my computer and my phone

I very rarely take selfies of myself. My profile picture for several years on Facebook has me in sunglasses that obscure much of my face. This is not out of a particular desire to be unknown, or undocumented. I admittedly do see flaws in my appearance, and suffer that horror when you accidentally have the camera facing the wrong way when you turn it on on your phone. So I never spontaneously feel the urge to do so – to take a selfie feels contrived for me, though I understand it can be different for others! I was interested then to explore this possibility, of the complete knowledge of my appearance to others, and engage in a process that exposed me more than I would usually be comfortable. To invade my own privacy.

To do so, I recorded my appearance in a typical evening at home with my fiance. By attaching a head-mounted GoPro to him, I hoped to approximate his point of view and gain this notion of the self-image through someone else’s eyes. Below, I edited together only those moments when I was in frame. It provides a disjointed account of the time spent making dinner, and the conversation appears surreal.

The camera angle feels like I am floating above myself – as though in an outer-body-experience – which I suppose this is! It is disorienting how it jerks around according to his head movements.

Future Self-Portrait

It is uncomfortable seeing so much of myself in a video, to see less than flattering angles and lighting. Much like the confusion when hearing your voice on a recording (how it never sounds quite as you hear it in your own head), it seemed strange to see my idiosyncrasies – mannerisms and facial expressions – played out in front of me. I feel vulnerable in particular when seeing how my eyes remain closed sometimes when talking – something I am unaware of doing in the moment. Also – I seem so short! In all I think this was a successful experiment.

Unit 2: Future of the Mind – research

In approaching this grid work, I knew I ought to investigate minimalist works such as by Agnes Martin.

Untitled (1965) Agnes Martin

I listened to an episode of the Bow Down Women in Art podcast discussing her life and works. It was interesting to understand the influence of Zen Buddhism in her work, which emphasises the need for mindfulness and meditation, and a sense of oneness. Though her works are perhaps a little too minimalist for my tastes, this set me down an interesting path of research, when looking for her work in a compendium of women artists in modern art. I came across the works of Eva Hesse here for the first time. I was interested here in her use of repetition to reveal naturally-occurring difference and iteration. This implies a sense of change and time for me, and the use of organic forms and materials was also interesting here. Her works for me seem tactile and invite a human spectator.

Repetition Nineteen III (1968) Eva Hesse

In looking further at her work, I discovered an intriguing article about Performativity in the work of female Japanese artists 1950-60s and 1990s by Yuko Hasegawa. Here I was introduced more deeply to the works of Yayoi Kusama, and to the instructional works of Fluxus artists Yoko Ono and Mieko Shiomi (who are also influenced by Zen), which I think are all relevant to the line of inquiry I have pursued in this project.

While I had previously been aware of the reflective/mirror infinity rooms of Kusama, I had not previously understood the context of her fascination with infinity and the dots which also pervade her work. The infinity nets series is a direct catharsis of visual hallucinations that Kusama experiences, which she has been afflicted by since childhood. Here polka dots cover her visual world like net curtains. By engaging with repetitive pattern and action she is able to gain balance in what might otherwise be an overloading experience.

No. F (1959) Yayoi Kusama
Infinity Nets (1951) Yayoi Kusama

These infinite repetitions and patterns seem highly relevant to my grid cell pattern work, and it could be interesting for me to explore building up layered work in the way Kusama has done with the thick textural paint in her No. F. It’s fascinating to me that she would be experiencing visual hallucinations which sound so similar to these visual navigation patterns I have been imagining, and I could hypothesise that she is actually just seeing this secret/hidden way in which our visual field navigates the world!

She also has explored visual infinities of self, and sense of the alter ego, in terms of the interaction of either herself or the audience within mirrored spaces. The duplication but also obliteration of the body by making it become one with the environment itself -> achieving invisibility. This reminds me of the phenomenon whereby repeating a word endlessly removes its meaning and makes it sound just as a series of noises. I think this could have implications for my future self-portrait work (which I have not yet had chance to write about on my blog!)

Instructional works interest me, for meaning that the outcomes of the work are unpredictable and unprecedented, something not controlled by the artist. Yoko Ono’s work is intriguing for specifying the destruction of a canvas or painting by burning with a cigarette, with the smoke produced being a part of the work. In displaying the work she would have the instructions and then the outcomes themselves, which I think is very intriguing.

The Smoke Painting instruction, Yoko Ono

Instructions were also used to good effect by Shiomi. I am particularly interested in her Spatial Poems work, where she sent letters to 100 people over the course of 10 years, coordinating a network of simultaneous events to take place across the world.

Events from the Spatial Poems (Word Event) 1965-75, Mieko Shiomi

It could be interesting for me to develop a set of instructions for others to recreate the grid and perform an interaction with it in any space. This could allow for all sorts of iterations to be created and explored beyond my own control which would be interesting.

Unit 2: Future of the Mind – AI

For our latest brief, we are to explore the Future of one of the following: the Mind, Body, Work, Play, Home or Travel. I have chosen to pursue the Future of the Mind, since this has close relations to the Philosophy of Mind I studied during my degree, and the consumer behaviour I have researched in my career. One avenue I wanted to explore here related to the notion that a future mind might be the artificial intelligence (AI) that are becoming ever more sophisticated in the modern day.

Predictive text is probably the most common AI interaction we have – and it gets more and more sophisticated as technology progresses. Starting with ‘autocorrecting’ typing on numeric keypads using word disambiguation, the latest messaging keyboard function also predicts likely words, emojis or actions you may want to make based on the context of your and your messaging partner(s) recent messages, e.g. it will set up a shortcut to add a diary entry if a time/date is suggested for a meet up, or give a cake emoji suggestion if you are wishing someone a happy birthday. In fact, the system now does not even require that you first enter any words yourself. Relying on a body of knowledge that is based on the context of all user interactions, as well as your own, it can predict to a certain extent likely sentences and phrases that might come up.

XKCD webcomic https://xkcd.com/1427/ – the predictive text model has not yet learned the context of these movie references… yet.

Since the increasing sophistication of AI is a trend often touted as leading us to fully sentient/self-aware AI in the future (who might then be considered persons/minds in their own right), I was interested to explore generative art, making use of the models to create works that might reveal the state of these proto-minds.

First I experimented by continually pressing the left hand suggested text until I had a complete text (below) and then sent this to my boyfriend. I especially like how the model has fallen into a loop on the phrase ‘and I hope you have a good day’. That phrase is a cursory sort of nicety that serves more as a signal that a conversation is coming to a close than indication of a genuine feeling – i.e. i hope you have a good day since I don’t anticipate us interacting again for the remainder of it. The fact that that sign-off gets repeated undermines that function, so stripping it of even this meaning. The model is also failing to give us a full sentence, the breaking of syntactic convention makes this seem more like a meditative poem or song lyric, and the repetition of that phrase reinforces that. It’s interesting too that the arrangement of the repeated words appears to create diagonals across the block of text (wanna, day, you, have, good, day), almost like the creation of a pattern.

And I hope you have a good day – the first predictive text generated using my phone

It’s interesting too thinking about what the ‘I’ in this poem might signify – is it me? Is the model adopting my voice? Or does the ‘I’ refer instead to the predictive model itself?

Later in the day, my boyfriend and I experimented with sending such predictive messages back and forth between our phones, to see how this context might affect the conversation between the predictive models. The text in the green bubbles has originated from my phone, and the white from his.

It’s intriguing that here again, now from my boyfriend’s predictive model, we see a repeated phrase ‘and then I will have to go to pick up the kids tomorrow’. We do not have any kids, so this context must come from this phrase being observed from other messaging users – it’s interesting though that it first appeared in my text ‘let us get the kids’ and that my boyfriend’s one then repeated this. Generally the conversation between the models seemed to mostly orientate around arranging a meeting time and planning for tomorrow. It’s interesting too that they both made some slight use of emoji, though could not be signifying emotion in themselves.

Intriguingly, many of these messages are related to future events/future planning.