14th November-Group Crit
14th November-
Group Crit
Suggestion-
-Theaster Gates- Artist
-Uncreative writing- Kenneth Goldsmith
Today we had a group crit within our studio. This meant we each spoke about our work for around 20 minutes. This included the 2nd and 3rd years together along with the research tutor. I like these opportunities to discuss my work for a number of reasons. Every time these take place I discover more clarity within my work and more opportunity to progress. It also unearthed many other parallels between my own work and many others within my studio. This could throw up a number of collaborative opportunities for the future. Also, it allows conversation to begin to help each other progress and find research and work that is relevant and helpful to my own.
Within the crit, the interface between historical tactile art and the work I produce became apparent. Each individual was handed a tile and each commented on the satisfaction of this within the hand. Art that you can interact with and touch, possibly something that is lost or crossed over with craft often. This meant that the original use and meaning of tactile art has been distorted and turned to focus on the self. The tactile nature of the work allow an unconscious connection with the work through the individual. It awakens a new sense through touch, hopefully allowing the message to be absorbed. This is not the usual meaning of tactile art and the rooting in psychoanalysis isn't something my work relies upon.
The consideration and discussion of outdoor display options was also discussed. Commentary began on the clay and the tiles as a work that could be outside and that historically tiles would be on the outside of a building. This isn't something I have considered at length. Mainly due to the fact I have been trapped into calling them tiles by already constructed social objects and object identification. The use of world imprinted upon the clay was more what lends itself to an outside display area, this would then not only interact with the public but also blend into the society that it makes commentary about. The clay feature of the work could possibly mean that the work visually looks aged or traditional. Stone carvings are an example of this.
I explained to the group that I was having difficulty with the connection between words and the visual. Further to this, where I draw the line between my research, writing and my art. These often merge together into one. We then discussed options of spoken word for the poetry and audio options to bring the poetry to the forefront of the work. This brought to mind preaching and the way in which information used to be shared. Through town criers and others who would spread information. This offered a very narrow view of the information and in turn, would become censored. This is hopefully not something that poetry would convey as the meaning is personally interpreted. The poetry within this work acts as the next level of entry into the personal psyche.
Overall, the group crit was very helpful to network with others and help one another progress. It was also very interesting to listen to the work that other people produce and what is interesting to them. My work discusses the western privileged position we are in yet it is good to see that many people are beginning to understand the responsibility that comes with this.
Group Crit
Suggestion-
-Theaster Gates- Artist
-Uncreative writing- Kenneth Goldsmith
Within the crit, the interface between historical tactile art and the work I produce became apparent. Each individual was handed a tile and each commented on the satisfaction of this within the hand. Art that you can interact with and touch, possibly something that is lost or crossed over with craft often. This meant that the original use and meaning of tactile art has been distorted and turned to focus on the self. The tactile nature of the work allow an unconscious connection with the work through the individual. It awakens a new sense through touch, hopefully allowing the message to be absorbed. This is not the usual meaning of tactile art and the rooting in psychoanalysis isn't something my work relies upon.
The consideration and discussion of outdoor display options was also discussed. Commentary began on the clay and the tiles as a work that could be outside and that historically tiles would be on the outside of a building. This isn't something I have considered at length. Mainly due to the fact I have been trapped into calling them tiles by already constructed social objects and object identification. The use of world imprinted upon the clay was more what lends itself to an outside display area, this would then not only interact with the public but also blend into the society that it makes commentary about. The clay feature of the work could possibly mean that the work visually looks aged or traditional. Stone carvings are an example of this.
I explained to the group that I was having difficulty with the connection between words and the visual. Further to this, where I draw the line between my research, writing and my art. These often merge together into one. We then discussed options of spoken word for the poetry and audio options to bring the poetry to the forefront of the work. This brought to mind preaching and the way in which information used to be shared. Through town criers and others who would spread information. This offered a very narrow view of the information and in turn, would become censored. This is hopefully not something that poetry would convey as the meaning is personally interpreted. The poetry within this work acts as the next level of entry into the personal psyche.
Overall, the group crit was very helpful to network with others and help one another progress. It was also very interesting to listen to the work that other people produce and what is interesting to them. My work discusses the western privileged position we are in yet it is good to see that many people are beginning to understand the responsibility that comes with this.
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