Book2 Introduction This document is not a manual, a “how to….” or an IKEA diagrammatic map, identifying all the differing Allen keys necessary to uplift your conversations. It is simply a collation of words and images that give the reader a glimpse into what participating in a concluded artwork might feel like. The problems start with the word ‘documentation’, belying the fact that it can never wholly represent its client. This document collates outcomes of various parts of my research. Some compositions are more of an insight into my personal experience of a conversation, through notes and jottings; these are usually divining the flow of particular conversations. All of these notes were consciously created as documents to inform others’ art practices, as well as my own. Publications are a usual outcome for my artworks. They give me an explicit format, which is quickly recognisable, but can also be played with. This initial comprehension of the format is important to me, as it allows the reader to feel that they can relay their impressions quite easily. Publications also are implicitly understood as edited and contrived in a particular fashion. This suits my purpose, as my narrative needs the support of the realms of the page. This is not binding, as it functions to expand my choices in particular things like; paper stock, fastening, size, fonts, margins etc. The greatest issue occurs when these objects become necessary as evidence for the processes undertaken. They are not the artwork: simply an artwork in themselves and a methodology for dissecting and re-evaluating the project through editing and collation.
All images courtesy of the artists; Talhia Jolley, Brooke Shanti Fenner, Melanie Neal, Katherine Heyward, Oliver Cloke. Many Thanks to Freya Robinson, Melanie Neal, Katherine Heyward, Tahlia Jolley and Adriana Bernado, for their contributions and their help. Handwritten notes used with consent from artists. Thankyou.
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