Degree Show Installation-June 2011
2011
'A large body of experimental studies and clinical observations indicate that the right brain is the biological substrate of Freud's unconscious. These studies shift Freud's idea of the unconscious from the domain of repressed content to adaptive rapid non-conscious processes that occur beneath levels of awareness. They also describe relational unconscious, whereby one unconscious communicates with another unconscious.' (Allan Schore on Freud's work: 'It's all in 'the Right Mind'' http://simplycharly.com/freud/allen_schore_interveiw
In my work I aim to make visual current understanding of the nature of the human mind within self, and in relation to other. The complexity, fluidity, and reactivity of the mind to its environment interests me. I explore this visually using photography, printmaking and using translucent materials and paper, working with perspective, composition, and degrees of transparency. My exploration of this subject matter is an analysis, a dissection. I explore visually the rapidly evolving science of neurobiology and psychology.
This installation is a manifestation of deeply delving into the depths of my unconscious:
Some of which I brought into conscious awareness; some of which was revealed to me by others;
Some awareness of conscious and unconscious parts of significant relationships;
Recognition that much of self and other remains in that unknown dark place;
Hopefulness that self, other and all the permutations of relationships are ever evolving.
Hopeful because, to an extent, I can shift and sculpt myself and how I relate in ways that I feel are positive for myself and those I relate to.
Though drawing on my experience, thoughts, and feelings my aim is to enable to viewer to find resonance to, connect with, relate to the work. Despite the intimate content, I do not want the work to be esoteric or self-absorbed.
In retrospect I feel that some aspects of this work were too literal, carrying connotations, limiting open interpretation. However, at the time of making, the use of these literal aspects was a necessary part of my process.
The installation was not accompanied by words.
I believe that visual work should speak for itself. The work exits beyond words. My intention is that it is experienced in the time space of the installation. Out with this the 'experience' is merely a memory. The only material manifestation as a documentation.
In my work I aim to make visual current understanding of the nature of the human mind within self, and in relation to other. The complexity, fluidity, and reactivity of the mind to its environment interests me. I explore this visually using photography, printmaking and using translucent materials and paper, working with perspective, composition, and degrees of transparency. My exploration of this subject matter is an analysis, a dissection. I explore visually the rapidly evolving science of neurobiology and psychology.
This installation is a manifestation of deeply delving into the depths of my unconscious:
Some of which I brought into conscious awareness; some of which was revealed to me by others;
Some awareness of conscious and unconscious parts of significant relationships;
Recognition that much of self and other remains in that unknown dark place;
Hopefulness that self, other and all the permutations of relationships are ever evolving.
Hopeful because, to an extent, I can shift and sculpt myself and how I relate in ways that I feel are positive for myself and those I relate to.
Though drawing on my experience, thoughts, and feelings my aim is to enable to viewer to find resonance to, connect with, relate to the work. Despite the intimate content, I do not want the work to be esoteric or self-absorbed.
In retrospect I feel that some aspects of this work were too literal, carrying connotations, limiting open interpretation. However, at the time of making, the use of these literal aspects was a necessary part of my process.
The installation was not accompanied by words.
I believe that visual work should speak for itself. The work exits beyond words. My intention is that it is experienced in the time space of the installation. Out with this the 'experience' is merely a memory. The only material manifestation as a documentation.
The Work
Lengths of hand printed silk chiffon suspended from ceiling as 6m double sided silkscreen printed pieces, double sided silkscreen print on Japanese paper, 6m length; dissection table, conical flask with fluid; lace veil. Wall mounted screen prints: somerset paper.-each 85x96cms
Silkscreen printed 2x6m lengths of silk chiffon suspended from ceiling. Ground level view (8)
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and from gallery (3 and 2)
Double sided print on 6m length of Japanese paper (7)
Movement, translucency, breath, delicacy, fragility, height, perspective.
Performance
A spontaneous, playful, collaborative performance, initiated by invitation...
Fi: 'It's a pity you don't have the dress that goes with the veil.'
T: 'I do.'
Fi: 'It's a pity you don't have the dress that goes with the veil.'
T: 'I do.'
A different wearing.
Laboriously stitched, care, attention, focus.
I held it together.
Once worn, now in free, creative, celebration.
Laboriously stitched, care, attention, focus.
I held it together.
Once worn, now in free, creative, celebration.
How does it feel to lie on a mortuary table?
Shocking, disturbing, dream like, provocative... the scent of those gone before.
Familiar formaldehyde.
Shocking, disturbing, dream like, provocative... the scent of those gone before.
Familiar formaldehyde.
Hiding or shrouded?
Protected or invisible. Silent.
Cocoon. Germination?
Rebirth.
Protected or invisible. Silent.
Cocoon. Germination?
Rebirth.
With thanks for Fiona Watson for photographs and co-creation of performance.
