This week I’ve mostly been working on the drawing project, collaborating with others in the studio to create ‘happenings’ and respond to the space. As a group, we thought about incorporating the work from last week and utilising the descriptions we’d already made. We thought it might be interesting to try and use our bodies (very much a semi-permenant feature of the space we work in) as a means of communicating the stationary details in the studio. We decided that we should all wear black to universalise the work and take away any distinguishing features that might distract from our positions, and eventually concluded that the idea would translate well as photography rather than being exclusively performative. All of us sort of became the objects and details we’d described – in Alex’s case, because his description of his space was quite elaborate, we chose one detail of that description – the aligned screws on the wall.
These are the photos we ultimately produced – I really like them as pieces of work in their own right and visually they create a lot of interest. I particularly like the images of the corner based on Sophia’s description, where our hands do not quite meet. I think that above all else, the hands personify the description and make it seem very human, which is how I personally read her text. Following this photoshoot, I printed out the images and reintroduced them into the space, so that the work had almost moved full circle; from detail, to description, to performance, to photography, and then finally became details of the space again. I deliberately attached them to the spaces where either the performance had gone on, or where the original feature was, however I think that because the studio, at this point, had become very cluttered and messy, the focus was definitely drawn away from the images and they lost some sort of status.
This week I have also been thinking about possible means for research and how I continue with my studio practice. I focused a lot last year on painting’s context and the fact that I find it quite difficult to move past the very traditional connotations of painting. I want to ask myself how, whilst acknowledging panting’s history and implications, I can challenge the stereotype and push it into a new direction and base my work around this idea.