Experiment 2


I began to think about the images and how light is used with film which is the literal medium that the book is based upon. I thought about adding light in a more 3-dimentional kind of way in order to evoke a space. I wanted to then extend on these constructs of space and consider the work in a more sculptural way rather than making physical manipulations with paint to the image that I had had printed. I was a bit disappointed with the quality of the printing that had been done. I was discovering This experimental outcome is considered a result of 'problem finding' rather than problem-solving.

I kept on considering the SELF RELIANCE book by Emerson and the transcendentalist notions of the psyche and the abnegation of ego in everyday life that this philosophical school of thought espouses. So the concepts of identity and subject-object relations and fragmentation of the self is a concept that work will be building upon. I loved the ideas of the work containing light and transparency so I made some back yard filmic experiments with paper, sound light, wood and wind.

Emerson's words.. Insist on yourself, never imitate.. ideas about art shifting from mimetic to unveiling what lies beneath or beyond direct perception. I began to think about serendipity and the unfolding of matter and subjectivity and the unravelling of the self. The fragmenting self as opposed to the classical notion of positivist notion fo the unified self. A French philosopher that I looked at was Maurice Merleau-Ponty who believed that the human chance happening off set each other

Merleau-Ponty writes in the Phenomenology of Perception that..

'Human existence is the transformation of contingency into necessity by an act of repossession (reprise). All that we are, we are on the basis of a de facto situation that we appropriate to ourselves and that we ceaselessly transform by a sort of escape that is never an unconditioned freedom.'

Making art is not easy. Experimental art is thinking about art and thinking of space as a unified field of expressive and looking at objects for their possibilities not our preconceived ideas about how they are limited to their objecthood. Thinking interms of metaphorical or symbolic meanings of object - the poetic nature of how we can perceive.

I have been drawn to Merleau-Ponty in the past but find it really difficult to grasp his phenomenology- but I like his ground breaking (for the time-1950's) understanding of phenomenon as perceived through the body. And thinking in terms of how we move through the world in our own bodies and how we intertwine with the world. The intertwining processes between the world and subject- intersubjectivity... and how we are responsible therefore in a way for what we give in relation to others. So when I was revisiting phenomonelogy for this project I came across Timothy Morton and his ideas about object oriented ontology (which places things as the centre of the study of existence). The idea that from the object - the THING - the BOOKS- that you could try and artistically extrapolate more to the object than what you first perceive. For example, the china cup activity that Paul did on the board. I was intrigued by the idea that there is so much more to objects than is on the surface- it is brimming with unexpected abilities. Transformative processes can unlock these but also perceptual processes. So I began to try to change the paper material to strengthen it with glue and then to play with light and shadow and the tramparent qualities in filming in the dark in the backyard..

Tibetan Singing Bowl
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thinking of space as a unified field of expressive