14th- Wysing Workshop- Documentation and reflection

14th- 

Wysing Workshop

(Documentation and reflection)

Today the wysing workshop took place. I was lucky enough to be part of that. I had previously prepared through reading and writing consideration. I usually struggle with this as my practice is only recently moving more deeply into research as praxis and text as a material. Therefore this workshop allows me to more deeply consider things I have been reflecting on extensively. The days started with a tour around wysing arts centre which is in a fault secluded area. An area I know well as it is situated not far from somewhere that I once lived. The south of the country isn't home, as no one 'place' is yet it offers a lot of comfort in geographical knowledge. The train for example, very little pre planning went into my journey as I have great confidence is navigating around the surrounding area. The rural setting of the arts centre therefore ring tones of a home I once shared with few people who are still part of my life. This peaceful setting seems well suited for artist engagement, interaction and communication. Specifically for what we were doing today, after the tour we engaged in a 'blind' group discussion facing the walls of the room and talking as we wished in response to the person before. This meant that some people spoke more and less and certain voices remained floating within the room unused. This setting reduced visual 'cues' of the individual greatly and didn't allow anyone to 'lead' others to speak. This exercise to me encouraged a type of solitude found in unknown judgment as well as the comfort of not being seen. Being looked into and knowing you are being watched can alter behaviour so vastly. When this is removed, approval is found in thought and spoken word, opinion and analysis of the subject we were engaging in. This task was therefore fruitful and I think it's the sort of way of envision any future arguments to go, to advance the situation progressively instead of into hostility. (All my reflections and notes that I made throughout the day are attached as images) this will aid understanding of these reflections. We then broke off for lunch and a further look around the exhibitions as well as a talk about wysing. The experimental approach they are taking is very progressive in the artist sphere. From what they were saying, no project or proposal is ever to troublesome and they find a way to make the vision work. To let the project live in a open minded space that develops an aspect of human interaction so readily dismissed in modern day. Their 'all night' project was very interesting as it allows for interaction that is outside of the expected and challenges what 'modern art' is and what it can be. The white cube gallery with monetary backing in a city is not the knot measure of artistic success. I also enquirer more about the logistics of a residency and what this entails as well as the application process and the funding aspects.

Exhibition space 14/03/18

Wysing arts centre

Ragu Rage's Work 

Wysing arts centre residency 

Exhibition information 

Counterpoint artist publication 

Circuit information leaflet

After lunch and this talk we returned to the workshop room and began to discuss language. What langue and words we use to describe our practice. We were asked to list 75 words that fall into this category, as usual I listen the same tired words that swamp my practice and plague my mind so often. We were then asked to use a thesaurus and list 25 more. Making 100. Then we swapped with a partner. The next step, side their words to describe your own practice. The main challenge or me was not using the words 'of' or 'and'. This meant I had to use the style of writing along with punctuation to command what I wanted the words to read and how they conduct the listener. This falls more into the realm of performance aspects, something I am beginning to consider within my practice but am yet to feel is of any calling for me. I do not want to follow a path just because it is working for others, I believe in my work and want to find the route it's heading in regardless of if that route is scarcely trodden. The other interesting aspect of this task was not using my usual commanding, political language. I am aware that so many people switch off at the mention of political art or activist art. This is why I avoid that label. However if my work then still uses the language I am possibly contradicting myself in that situation. However, this task brought that to light and encouraged new, experimental techniques of describing what I do and why I do it. I need to analyse my use of material more and allow my brain to ponder the physicality of my work along with the actual presence instead of the contextual presence. This is something I considered as we used pen and paper. Both very traditional writing techniques throwing up very little trouble. The portable, tidy nature of them means the words live in a flat realm relying on the meaning they have been given and less the craft exerted in production of them. Juxterpostion can be drawn here between that and my large scale terracotta piece that had words pressed into the material.


Workshop space

Wysing arts centre 

During this workshop I also thought greatly on the fact that many materials do not have assigned 'meaning' like words do. Therefore when using them as a medium there is an instant awareness that the craft will be read in a literally sense as well as an unexplained, ethereal one. I discussed this with the group and Claire as well as others seemed to understand this reflection greatly and relay the fact it means there is a greater care in the craft in some instances. Finally, another aspect of the workshop I noticed and fed back to Claire was the fact that when we were physically facing outward we were talking from internal places yet as we sat inwardly facing in a group we spoke through another's words. This parallel to me added a performance aspect that Claire had not yet considered. The concept of 'another's words' leading to your own piece is something very relevant to my practice recently as I am manipulating texts of others/institutions.

This workshop has been vastly benefits in allowing me to feel that the expanded art world has a lot to offer me. I need to seek more opportunities to engage with the written artwork as well as my own writing/writing inspired work taking real life form.

NOTEBOOK// notes