Highlighted Points in Interviewee's Statement for Interview Questions
Student Name : Holly Clark
Main Area of Material Study: Photography
Main Area of Theoretical Study: The knowledge of objects and the space
Attendance & Production Target (please detail any limiting factors)
Intend to do at least one late night a week for now; I may extend this more into two or three. As working hours limit the hours I might stay up. But weekends will be fully productive on my studio work too.
Identify ideas, concepts, theories and contextual position (link Contextual Files)
My ideas are still based around the object and space being the materials used, to combine and unite them as one. Which automatically limits what you see of the object and the identity of the object. Questioning wheather the space is engulfing the object or vice versa, which occurs when analysing and reflecting on my pieces. Currently the issues I am confronting along side these general factors are the knowledge of the object. In terms of ideas of it existing and the awareness of it being in actual concrete form. Breaking this idea down to try and extract what it is we, as viewers believe in when we see these images or sculptural pieces.
Painted fabric sculptural pieces that were inspired by the initial fabric over the object have employed these thoughts. Theoretically for this I have been looking into Kant’s ideas of the experiences of inner and outer senses, and how we can or cannot experience things according to their positions. Reaching out to the existence of things were now are there in the physical form or of other substances. How we get a hold of these concepts of these kinds of matter and how we believe there there. Though Kant is important for the presence he will not have a major influence and involvement with the pieces, as I am mainly concerned with ideas of Deleuze’s ‘the fold’.
What I am finding very useful at the moment is the materials I am using; must be relevant to the chosen object. Which I am exploring through the study of the object and by covering them with a certain material. Most of which are from personal experiences of the object. From this I can see it is more important to physically dress the object with materials for the shape and express the shape well rather then the connection. As with the connectionI have found some of which is translucent or not possible to cover around the shape of the object. This may sway into the use of other materials to both dresses the object and the object of personal connection; so two different kinds of objects will be used during both experimentation and final presentation.
Identify creative sources, directions, and divergence,
The directions must be around the kinds of materials that overlay the objects. These will include materials of other substances and other processes that will create these material coverings. As it is the feel of the material, which is most important as, I have discovered through the study of the objects. What you experience when really focusing on the piece itself, as there must be the connections of the two becoming one. Along with this the views and qualities of the fold must be identified with, as this is the concentrated reference and linking concept behind my work. There must be evidence of both evaluation against the fold and quotes that relate to each possible final piece.
I want there to be still the presence of the question of what is engulfing what? At the same time there must be a result of the unity of the two, they must be read as one object are piece. In order to achieve this there must not be distractions within the appearance of the material are so these distractions should be justified against ideas within the fold. Which has been felt before as the material falls in a certain way and creates distracting folds and creases. This could be limited with certain choices of both colour and texture of the material and the way in which the light bounces or reflects on and off it.
Identify anticipated materials, techniques resources and expected studio processes
Studio processes will include using the materials in a way that combines the object within it. And the material itself, at the same time only makes a slight suggestion of the shape of the object. The lighting will be experimented with in the photography studio to create the right atmosphere and shadow points that will allow the object and substance to be one. These processes will be on a much larger scale in terms of the amount and scale of them, in particular the fabric ones. Questioning whether some work better as sculptural pieces rather then photographs or if they must be presented in the form of both.
Explore new techniques that enable the same outcome of object and material combinations. Broaden these through multiples of each experiment. Much more materials and techniques should be used here to realize the best outcomes.
Perfect the ideas and experiments, which have proved to be a success. Making sure that they are photographed to show the best light or shadow for the impression of the object in the material. From this also I will see which are meant to be photos and which are just sculptural pieces. As the weeks go by within this part of the timetable I will be able to analyse which experiments reflect the same qualities, if there was separation before.
Bring these forward to be the final pieces and improve on them. Think about how they might be shown how to display them. Also I will be looking to find more areas that need changing or cutting off. Its really about editing and amending at this stage, so they are shown adjusted and better.
Preparing the studio for the exhibition and make sure the work is complete and I know how they will be displayed and where each one will be presented.
Identify key bibliography/sources (including journal and electronic sources)
(a) What key texts underpin your current programme of study (inc. literature, philosophy, films, critical writing, artists texts)?
(b) What additional books, galleries, journals, websites do you feel are of use to you at this stage?
‘The Three Critiques’ Wrote by Andrew Ward on Kant’s Ideas
‘The Fold’ by Gilles Delueze
Existence And Non – Existence In Sabzawaris Ontology, By Kamal Muhammad, pp. 395 – 406 [E – Journal]
‘Understanding’ By Pierre Bourdieu pp 17 – 37 in particular
Robert Filliou: The Institute of Endless Possibilities - The Henry Moore Institute - 21stMarch 2013 - 23rd June 2013
Lindy Lee: Mystical Realism: A Record of Things Experienced - The Sutton Gallery - 26 May 2012 - 23 June 2012
