Project Space Plus
to be discussed
9-18 September 2015
A winding path A winding path can be a wonderful way to feel lost, without actually straying from the correct track. A drift can be aimless, but usually involves structure, either by bumping up against something or by instigating a set of rules or parameters to stick to. In Nicholson Baker’s novels a series of particular tasks – the lunch-break, striking a match to light a fire early each morning or feeding a baby – give a structure to allow meandering and divergent thoughts to emerge on the page. Within what could be perceived as repetitive, somewhat mundane activities, a congregation of insightful commentaries and observations surface. Through Baker’s writing, the reader’s mind is taken on a rich exploration of diverse human experiences. Fine art students chart their own journey through the MA structure. Getting lost in an art practice can be exhilarating and useful where the route taken is rarely clear-cut and often not the one the student believes it will be when they start off. That is what makes studying and making art so exciting, challenging and generative.
The ability to take a personal concern or observation and to communicate it effectively to others should not be taken for granted. It requires knowledge, curiosity, experimentation, insight, playfulness and intelligent sensitivity. Nothing is achieved without dedication and commitment. The paths these students take requires them all to learn, unlearn and re-learn. I believe that they are all better artists for their unique journeys taken on the MA. An artist keeps discovering fresh winding paths to take.Though on the surface they may appear to be the same, underneath they are all distinctive, much like the different thoughts evoked each time a match is struck or when on a lunch break. It is often in these â€˜in betweenâ€™ places, times or situations that the most profound possibilities are waiting, hidden from view, ready to be brought out into the open and unlocked by the artist.
Andrew Bracey Programme leader MA Fine Art
to be discussed exhibits four artists whose work displays extraordinary focus and enquiry at the edges of the tangible, identifying particular moments of fleeting but intense experience. Through such concentrated, focussed work, these artists ask us - the audience - to consider if these brief moments are perhaps the most important moments in understanding the human condition. Instants of grieving for the tragedies of our shared history, or of oneâ€™s own intimate biography. Gestures of celebrating our community in its everyday variety and tracing our capacity to both heal and memorialise: meetings, losses, loves, accidents and tragedies, passers by, aftermath, and deferred beginnings. These are the kinds of intensely specific experiences we all share, but find challenging to interpret and explore in visual language. It is this highly complex and challenging seam of life that these artists mine. So what is to be discussed? Awareness of our self and our world now; our self and our history then and the infinite threads of possible and impossible futures. Michael Wilde paints the aftermath, the inscription, of the bloody trace of history in our memory and landscape. Eleni Zevgaridou seeks out and captures the individual on campus, and through conversation and meetings, celebrates their presence in sculptures
which exist as both objects and as groupings in conversation. Elizabeth Wright’s delicate ceramics and wood pieces emerge from processes of repetition, memorialising private grief, while Malynda Umland crochets the never-were as absent presences in women’s lives. What is key in reading the work in ‘to be discussed’ is that while there are multiples, groupings, series and apparent repeats, none are ever the same. Why not? Because these artists also understand identity as in becoming, constituted anew in the now. The passage of time, repetition and remembering, constitutes each recurrence, each instance, differently, as different sums of then and now, of you and I, of here and there. As Kierkegaard wrote in 1843, Repetition and recollection are the same movement, except in opposite directions, for what is recollected has been, is repeated backwards, whereas genuine repetition is recollected forwards.* Dr Catherine Burge Principal Lecturer, School of Fine & Performing Arts *Soren Kierkegaard from ‘repetition’ 1843, re-quoted in Christine Battersby (1998)’ The Phenomenal Woman’, p. 172. Battersby’s translation reads more fluidly and poetically than quoting directly from my copy of ‘Repetition’ which is Princeton, 1983
i’ve been thinking about this forever Malynda Umland’s work questions the internal conflicts raised in response to contemporary family planning. She reflects on and explores her own constant emotional struggle to make the decision to either prevent children or not. She examines the concept of not allowing something to take form outside one’s own imagination through the repetitive process of crocheting and subsequently unpicking a pair of baby booties as her way of memorialising each opportunity passed by. These baby booties, which other than within the artist’s own memory and documentation end up as something non-existant, are indicative of a desired experience which she is actively denying herself yet still mourns the loss of. email@example.com
time is up I am taking a bath. This is not an unusual practice for me. I love copious amounts of bubbles and soothing hot water. I sit there. 30, 60, maybe 90 minutes. 90 minutes. 90 months. 90 pairs of baby booties. 90. 90. 90. Usually I read, or listen to music. Not today. My mind is distraction enough. To do list: Make. Research. Make. Research. Reflect. Repeat. Was that the laundry buzzer I just heard? What will I make for dinner? Forget dinner, I have not planned lunch. I need to order groceries. Should we try, should we wait? I need to figure out my life first. House, dog, career, 401K. Forget that, put groceries in the fridge first. Maybe then, after we have groceries. My eyes close, ears and nose fill with water. Momentary silence. My heart is restless. Boom-boom. Boom-boom. Boom-boom. Clockwork.
I am sitting on the couch. A needle produces fabric out of wool in my lap. A bearded face is asking me for lunch My head is in the refrigerator. Nothing is worth eating. Itâ€™s crinkle cut chips and chicken strips. From the freezer, to the oven. 220 Degrees. Timer set. Tick tick tick tick. Tick tick tick tick. 12 half double crochet. Join. Chain 2. 12 half double crochet. Tick tick tick tick. Tick tick tick tick. Boom-boom. Boom-boom. Boom-boom. My mind is back under the bubbles. Boom-boom. Boom-boom. Boom-boom. Tick tick tick tick. Tick tick tick tick. RING. Time is up. Hands still. My lap is home to half of one baby bootie. And unused wool. Not there yet. Time is up. Malynda Umland
Michael’s work offers momentary images aimed at the subconscious. Presented in groups they are seen one after another, each having an opportunity to make an impact on the viewer or pass without effect. For a few individuals, the glimpse of some particular image or other may excite the imagination in a dynamic way, whether consciously or unconsciously. It will have a separate, “postbeing”, existence alongside other continuing events in time, but fade at an extremely slower rate. Its impact on the continuity of experience will be marked and remembered and it will in itself be resistant to conscious modification through time; unable to be changed by prolonged perusal, it will punctuate the life of the individual.
Postbeing I am, Some where, some when. Moving through space and time, Transformed with each happening. Me as other, after and before, here and everywhere else, My being being different after each event I meet. Instants of each passing “now” reveal a varied focus That may reach the sublime in a sudden explosive burst that has a “postbeing” of unchanging impact, living forever as it was; A permanent landmark in existence with its own times and spaces. It fixes the changes it causes in me; It moves my essence on and around the universe of all the instances that I am.
Michael Wilde July 2015
Human culture is invested in things â€“ but the arts have long hoped to disclose the human essence within them (Charlesworth, 2014). How do objects mean? How does a broken plate mean? How does a plaster cast of a cereal bowl mean? When we attend to the work of Elizabeth Wright, we find ourselves posing these questions. The carefully choreographed vignettes before us seem to make more salient, more vivid, the everyday means we all employ to make objects into emissaries of meaning. Vischerâ€™s term Einfuhlung (feeling-into or empathy) comes to mind; we feel into the objects, and through them on into the other who created them. We have an inkling of her intentions through our embodied simulation of her actions - intersubjectivity through intercorporeality. Charlesworth, J.J. (2014, June 24). Subjects V Objects. Retrieved from http://blog.jjcharlesworth. com/2014/06/24/subjects-v-objects/ A written response. David McAleavey 2015.
NOMATEI a koinônia of minumental figures Nomatei* is a monument to the unacknowledged people. Nomatei identifies differences of characters, advocates diversity, and eliminates hierarchies and social positions. Nomatei is a ‘minument’ to human nature and to the thesis that every one holds an important role in society. It offers space to frailty, to the seemingly insignificant and the often bewildered. How does one capture external characteristics which embody what is hidden within? It might be said that figuration in contemporary art is currently a rare phenomenon; yet, at the same time the figure may be accessible and identifiable to most people. More so, the role of the figurative monument is unclear in contemporary art and life. Nomatei seeks to address this lack, explores * Nomatei: a group of eponymous people that share the same ideology in this case the idea of a university.
complementarity, understanding and social behaviour, through the heterogeneity of the figure and through minumentalisation. The constant repositioning of these sculptural â€˜sketchesâ€™ seeks to explore experiences of cooperation, loneliness, tolerance, success, loss, prejudice, and ultimately coexistence. The mode of working, sketching in three dimensions, emphasizes body language and poise, over detail, arguing that the whole body is as eloquent as a portrait of each one of us. Recognition of the sitter happens from the total body not just the face. The scale and presentation balance collectivity and solitude. We exist as ourselves
but also through others. For this reason we might consider them not to be separate pieces but one collective piece of work, a form of human society.Â Nomatei is a monument for the inhabitants of the University of Lincoln as a community. People that perhaps have nothing in common apart from a common denominator, the love for learning, the inclination to research, to the new, to a collective future. Eleni Zevgaridou firstname.lastname@example.org elenizevgaridou.wordpress.com
We are very grateful to the following for their help, advice and interference: Ang Bartram Richard Black Andrew Bracey Rob Britt Catherine Burge Stewart Collinson Frederick Dickinson Steve Dutton Jeanine Griffin Steve Haddock Medina Hammad Lee Hassall Annie Morrad Ann Povey Alec Shepley Felicity Shum Gerard Williams
to be discussed MA Fine Art Final Exhibition2015 School of Fine and Performing Arts
MA fine art final show exhibition 2015 publication. University of Lincoln United Kingdom.