Research/process

Oil painting

Lino/screen prints/work in progress

Two new works in progress, as yet untitled, represent a new area of development for me in which I am testing and expanding my conception of what art can be. Intensive involvement in three collaborative projects has opened my practice to the possibility of creating work that is in essence collaboration with the viewer; in which viewer response is integral to the continuing development of the work.

Adapting an image from an oil painting I completed earlier this year, I made a series of small (30 x 40 cm) and large (50 x 60 cm) linocut prints, experimenting with different colors, and working quickly. At this experimental stage, I wasn’t concerned whether some of the prints were rough. In fact, I liked the way some of them could have been either fresh underground posters created in a panic, or frayed and faded relics of a bygone movement. Finally, I experimented with layering a section of text over the image.

This project is still at an early stage. I know that by incorporating text I run the risk of encouraging a kind of topical or analytical approach to the work, so I need to give careful consideration to how I proceed, and whether I even want the words to cohere in a conventional sense. Once I develop a prototype to my satisfaction, the next step would be to try the piece at a site where I can monitor and retain some control of the process (the college environs, for example). From there, I could apply what I learned from this experience toward creating a public facing artwork that continually evolves through interaction with the viewer.

CCTV

For the Year 2 Interim Assessment, I created an installation comprised of a fake but realistic security camera, wall-mounted as if for surveillance purposes, with a noticeable red sensor light and prominent black wiring leading through a mounted box to simulate live connection to a power source. It took some time to find a camera that was convincing but not too discreet to be noticed, and I was glad to discover that the one I chose also makes a faint but audible electric whirr when it moves.

Certainly shifts in privacy and technology are affecting us more than we realise and understand. I consider this a creative project in early development, a way of throwing out a question so that I can listen to the collective response, and respond in turn by further

developing this work. For those who believe the device to be authentic, what effect does it have viewers’ perception of this private space, of the artwork within, of their own creative work? For those who are aware the camera is an installation, what is it like to engage with and evaluate an artwork that takes this form? How does it affect the space, even for those know it is not functional?

 

While this project is, in some ways, uncertain terrain for me, I can see that it is a natural extension of my work to this point, and a potentially exciting way to explore the questions of perception and dissociation that guide my practice.