Experiment | Font | Script in Helvetica

So we are just going to have a conversation and see how it flows. So if you could tell me a little bit about yourself and your practice as an artist.

Ok erm my work at the moment is based on sculptural, looking at erm Marcel Duchamp’s standard stoppages and how he looks at an object and will look at various different purposes for it, look at recycling the ideas and the objects and seeing what other things can come out of it.

Okay

So my piece at the moment is based on a wooden pallet which I have taken apart and I’m looking at reconstructing it, looking at other forms I can place it in, looking at the sculptural element, from a drawing element, the lines of the wood and I’m also very interested in the nails and the rust in that. And really just seeing how I can maneuver it, see what can come out of a pallet without it being a pallet even though I’m still kind of keeping the same shape and relationship that it would normally have within society.

Is there a reason you choose a pallet or that wood?

It looked pretty, I was drawn to it, erm I lost piece of it and I tried to get another pallet, but I just didn’t like it. This is the pallet that I wanted to use that is why I am using it.

Can you talk about how you lost some of the bits of the pallet?

Erm, I lost three small pieces in, after taking a photography shoot, I don’t know if they were left behind or if I, if they were taken from my space. So that’s still a mystery. And I lost another piece once I casted it I left it in the plaster studio and the tutor thought it was dangerous so he hammered down the nails and threw it in the skip. And by the time I had got there and realized what had happed to it the skip had left.

Would this affect the outcome of your work in any way or are you able to continue?

Erm, I’m still continuing because my work is based on chance as well, that is the main factor of the work. So the fact that I lost these pieces is, relates in a sense to that. But you never know what could happen to a piece of work. It could easily break, it could easily be ripped or stamped on or anything could happen to it. So in that case I’m not seeing it affecting my work, but more as leaving me with different options of how pieces will finally come out of it.

Okay so if you are casting erm your work and you are on about how erm, the chance element so if it does break, so if you are casting and it breaks do you keep that within the work, does that remain as the chance element in it. So everything you test and try out is that just become straight into the work, or do you do testing and then do the final piece?

Erm, I am doing testing to then bring together a final piece rather than (That’s okay I’ve got some) erm then using the test pieces in most cases with it. Just because at the moment I am just still figuring out where I want it to go. But once I’ve found that, it comes to the casting of each piece, erm it will then be that set time that those pieces, that how they turn out will be the ones that will be presented.

Okay

As the final pieces.

So there will be a set time, chance kind of thing.

Yeah but I’ve still wanna, I haven’t, I haven’t touched the pallet in a way that it can’t be placed back into the formation that it came. Erm in each of my casts, it hasn’t affected the wood in anyway, I haven’t put any products or anything on it to do certain moulds because I’ve insured that it wouldn’t affect the final pallet depending how I do eventually place it.

Experiment | Font | Script in Times

So we are just going to have a conversation and see how it flows. So if you could tell me a little bit about yourself and your practice as an artist.

Ok erm my work at the moment is based on sculptural, looking at erm Marcel Duchamp’s standard stoppages and how he looks at an object and will look at various different purposes for it, look at recycling the ideas and the objects and seeing what other things can come out of it.

Okay

So my piece at the moment is based on a wooden pallet which I have taken apart and I’m looking at reconstructing it, looking at other forms I can place it in, looking at the sculptural element, from a drawing element, the lines of the wood and I’m also very interested in the nails and the rust in that. And really just seeing how I can maneuver it, see what can come out of a pallet without it being a pallet even though I’m still kind of keeping the same shape and relationship that it would normally have within society.

Is there a reason you choose a pallet or that wood?

It looked pretty, I was drawn to it, erm I lost piece of it and I tried to get another pallet, but I just didn’t like it. This is the pallet that I wanted to use that is why I am using it.

Can you talk about how you lost some of the bits of the pallet?

Erm, I lost three small pieces in, after taking a photography shoot, I don’t know if they were left behind or if I, if they were taken from my space. So that’s still a mystery. And I lost another piece once I casted it I left it in the plaster studio and the tutor thought it was dangerous so he hammered down the nails and threw it in the skip. And by the time I had got there and realized what had happed to it the skip had left.

Would this affect the outcome of your work in any way or are you able to continue?

Erm, I’m still continuing because my work is based on chance as well, that is the main factor of the work. So the fact that I lost these pieces is, relates in a sense to that. But you never know what could happen to a piece of work. It could easily break, it could easily be ripped or stamped on or anything could happen to it. So in that case I’m not seeing it affecting my work, but more as leaving me with different options of how pieces will finally come out of it.

Okay so if you are casting erm your work and you are on about how erm, the chance element so if it does break, so if you are casting and it breaks do you keep that within the work, does that remain as the chance element in it. So everything you test and try out is that just become straight into the work, or do you do testing and then do the final piece?

Erm, I am doing testing to then bring together a final piece rather than (That’s okay I’ve got some) erm then using the test pieces in most cases with it. Just because at the moment I am just still figuring out where I want it to go. But once I’ve found that, it comes to the casting of each piece, erm it will then be that set time that those pieces, that how they turn out will be the ones that will be presented.

Okay

As the final pieces.

So there will be a set time, chance kind of thing.

Yeah but I’ve still wanna, I haven’t, I haven’t touched the pallet in a way that it can’t be placed back into the formation that it came. Erm in each of my casts, it hasn’t affected the wood in anyway, I haven’t put any products or anything on it to do certain moulds because I’ve insured that it wouldn’t affect the final pallet depending how I do eventually place it.

Experiment | Font | Script in Courier

So we are just going to have a conversation and see how it flows. So if you could tell me a little bit about yourself and your practice as an artist.

Ok erm my work at the moment is based on sculptural, looking at erm Marcel Duchamp’s standard stoppages and how he looks at an object and will look at various different purposes for it, look at recycling the ideas and the objects and seeing what other things can come out of it.

Okay

So my piece at the moment is based on a wooden pallet which I have taken apart and I’m looking at reconstructing it, looking at other forms I can place it in, looking at the sculptural element, from a drawing element, the lines of the wood and I’m also very interested in the nails and the rust in that. And really just seeing how I can maneuver it, see what can come out of a pallet without it being a pallet even though I’m still kind of keeping the same shape and relationship that it would normally have within society.

Is there a reason you choose a pallet or that wood?

It looked pretty, I was drawn to it, erm I lost piece of it and I tried to get another pallet, but I just didn’t like it. This is the pallet that I wanted to use that is why I am using it.

Can you talk about how you lost some of the bits of the pallet?

Erm, I lost three small pieces in, after taking a photography shoot, I don’t know if they were left behind or if I, if they were taken from my space. So that’s still a mystery. And I lost another piece once I casted it I left it in the plaster studio and the tutor thought it was dangerous so he hammered down the nails and threw it in the skip. And by the time I had got there and realized what had happed to it the skip had left.

Would this affect the outcome of your work in any way or are you able to continue?

Erm, I’m still continuing because my work is based on chance as well, that is the main factor of the work. So the fact that I lost these pieces is, relates in a sense to that. But you never know what could happen to a piece of work. It could easily break, it could easily be ripped or stamped on or anything could happen to it. So in that case I’m not seeing it affecting my work, but more as leaving me with different options of how pieces will finally come out of it.

Okay so if you are casting erm your work and you are on about how erm, the chance element so if it does break, so if you are casting and it breaks do you keep that within the work, does that remain as the chance element in it. So everything you test and try out is that just become straight into the work, or do you do testing and then do the final piece?

Erm, I am doing testing to then bring together a final piece rather than (That’s okay I’ve got some) erm then using the test pieces in most cases with it. Just because at the moment I am just still figuring out where I want it to go. But once I’ve found that, it comes to the casting of each piece, erm it will then be that set time that those pieces, that how they turn out will be the ones that will be presented.

Okay

As the final pieces.

So there will be a set time, chance kind of thing.

Yeah but I’ve still wanna, I haven’t, I haven’t touched the pallet in a way that it can’t be placed back into the formation that it came. Erm in each of my casts, it hasn’t affected the wood in anyway, I haven’t put any products or anything on it to do certain moulds because I’ve insured that it wouldn’t affect the final pallet depending how I do eventually place it.

Creative Networks | Research | Bob and Roberta Smith

Research into Bob and Roberta Smith for my interview at the May Creative Networks.

http://bak.spc.org/everything/e/hard/texts2/1patbrill.html 

http://www.timeout.com/london/art/bob-and-roberta-smith-interview-unless-artists-stand-up-for-art-were-doomed

http://bobandrobertasmith.co.uk/who-are-bob-and-roberta-smith/

Exhibition | Layout | Text Layout

Using a cursive font and a individual font to explore the way we read, I have also explored how to present the text layout. Firstly I tried a interview or book layout but I found this was not only distracting as it was adding more to the writing, it also had too much involvement from myself. I found taking four and half minutes of audio and the text from this to present it as one large paragraph.  This allows less involvement from me and more for the audience to interpret and interact with it. 

Exhibition | Layout | Model of the Space

A scale model of my space to explore hanging and location of my banners and work. It allows me to visualise the space and listen to the audio to see what will work best. Pinning the work to the wall doesn't work because of the uneven and variation in wall, however hanging these works well and is a practical solution to getting this work to London also. 

Exhibition | Layout | How to hang text

The idea is to hang the two banners of text with a light pole of wood top and bottom just like VisCom did with their banner. This way I am able to hang the work over the uneven wall, hiding the two different walls and getting the two banners equal. Also this means I am able to unhook and roll these up quick and easily to be taken to FreeRange, allowing them to be hung in another space and still fit. This then will be accompanied by the audio with will be on a headset and MP3 for the audience to explore, listen and read. 

Exhibition | Layout | Space to Work with

My space is a corner area with a large window with window sill and side wall. First thing I need to do is clear out the area and prep the walls ready to hand pieces.

Work | Observations | How we respond to words in the form of writing and speaking

I’ve started to notice how people may respond to the written language and also that spoke to them. Firstly looking at how we may read of misread signs, I have noticed how people only glance or skim read notices when they are on the go. For example a sign in a shop may clearly state buy one get one half price, however during my weekend job in a newsagents I noticed that customers in a rush saw the buy one part of the sign and instantly finished this off as get one free. This then resulting in a mixture of embarrassment or anger of being wrongly sold something. I’ve also observed this misreading personally, for example the other day I went to pull the ticket from the machine on the bus as I always do like everyone else. I didn’t realise the massive sign stuck to the machine saying do not pull the ticket until it was too late. At this point I had only noticed the huge DO NOT, which I instantly related to the ticket situation as the ticket didn’t tear as normal. This was then met with an angry “Do not pull the ticket, tear it off” from the driver. I instantly responded to the verbal instruction over the written one and I wasn’t the only one to do so. What I noticed here was how we don’t always instantly react to a hand written sign, either we have less value or the pen on white paper doesn’t capture our attention as much as say a huge red stop sign does on the road. But then again we look out for signs like these as they appear everyday. Hand written signs are more of a response to a change in the everyday. And if we are going through life as normal we don’t expect the change or look out for it. Where as a verbal command or instruction is more likely to capture our attention, maybe because we listen out for what people might say to us or we are more likely to respond to sound.

Another example is the way we say something can outweighs the content of what we are actually saying. For example while watching gogglebox I noticed how the viewers were laughing at Ed Miliband during a elections debate because of the slight lisp and shake in the way he talks. He may have had good policies and been saying the most relevant things that would benefit the viewers however their responses to him were negative in comparison to David Cameron whose well spoken voice made for what seemed a much more trust worthy speech just for the way he spoke rather than what he was actually saying.

Another observation is this internal voice we have when we read, it is your own personal voice and internal dialogue for when you read. I’ve always wondered how other people’s internal voices may sound, is it their own voice or an interpretation of how they think their own voice may sound. Or is it something completely different? Personally I’ve never paid much attention to how this voice sounds until it was pointed out to me. I feel mine is more an interpretation of how I think my actual voice sounds.  

Discussion | Talk with Garry | Ideas on Space and Work

After further discussing my piece I realised that what I was actually doing was the thing I was trying to avoid. By trying to do more to the transcript I was having too much involvement with the text. By simple showing the transcript and audio as it is, I already have the outcome I was looking for. The transcript doesn't match a hundred percent with the audio because it doesn't contain the pauses and movements present in the sound. Also upon transcribing the piece I may have made mistakes and interpreted the sound a little differently. So presenting the two together creates these two parallel pieces that dip in and out of synch. Also by placing the text in two different fonts, I have created this idea of how the some text can be more catching than others. The overall aim of this piece is to create something that represents how we respond differently to writing and audio. By having the two separate I invite the audience to experience and respond how they wish to further this experiment.

Research | Book | Against Expression | Conceptual Writing | Kathy Acker

This set of research is aimed at looking at various ways Artists and Writers experiment and use existing texts, by doing so i'm looking at ways I might explore, experiment and present my already existing transcript for the end of year exhibition.

In Kathy Acker's Great Expectations, Acker combines rewritten sections from Charles Dickens Great Expectation and Pierre Guyotat Eden Eden Eden to create a book that attempts to solve the equation plagiarism + pornography = autobiography.

By combining and rewriting these Acker highlights sections of the books and questions the difference of the times and the act of plagiarism within this. Described as 'using postmodern form, Kathy Acker’s Great Expectations moves her narrator through time, gender, and identity as it examines our era’s cherished beliefs about life and art.'

Research | One to One Sessions | Reflecting on my practice | Notes on Space

Nice, secluded slightly cut off space. Quite intimate, cushioned. Plinth, mp3s, instructions, comfy seat. Can be static, can be mobile.

Let them be.

Allow it.

Research | One to One Sessions | Reflecting on my practice | Timetable and Action Plan

Week One

• Research 
• Observations

Week Two

• Responding to research and observations
• Experimenting with existing text
• Half week audio 
• Other half text

Week Three

• Combining the two
• Finalising piece 

Extension Weeks

Build show piece -

• Tidy area
• Create seating area
• Audio piece
• Written piece
• MP3s and Headphones
• Stand for these? Or place on seating area
• Short quick instructions

Research | Book | Against Expression | Conceptual Writing | William Burroughs

This set of research is aimed at looking at various ways Artists and Writers experiment and use existing texts, by doing so i'm looking at ways I might explore, experiment and present my already existing transcript for the end of year exhibition.

Through past research and my dissertation focus into Brion Gysin's discovery of the Cut Up technique, I have some substantial knowledge into the work and uses of this technique by William S. Burroughs.

The use of the cut up technique reforms and reimagines already existing text and purposeful placement of words, in turn making sense in part accidental rather than a writer purposefully stringing sentences together to create full and meaningful works of fiction and non fiction. By freeing the words it seems to open up new interpretation and ideas to enter and leak in. This use of an artists technique as a writer has formed a more free flowing way of writing, keeping the artists or writers personal involvement to a minimum through this act of chance.

Research | Book | Against Expression | Conceptual Writing | Charles Bernstein

This set of research is aimed at looking at various ways Artists and Writers experiment and use existing texts, by doing so i'm looking at ways I might explore, experiment and present my already existing transcript for the end of year exhibition.

My/My/My by Charles Bernstein is a comment on fiction writing and the authenticity of the voice of the protagonist. By using 'my' followed by a thing we learn nothing about the author or character in question, it's simply a list of ownership that doesn't give us further description or understanding.

For me the idea of listing these objects and items with this continuous connection to being owned by someone creates this unknown, the first person narrative simply just connects these together, no more no less. The audience doesn't connect to the character in a way they might while reading fiction books, the structure makes it readable but not connecting as such.

Research | Book | Against Expression | Conceptual Writing | Fiona Banner

This set of research is aimed at looking at various ways Artists and Writers experiment and use existing texts, by doing so i'm looking at ways I might explore, experiment and present my already existing transcript for the end of year exhibition.

Responding to a series of fictional films about the Vietnamese War, Fiona Banner has created a 1000 page epic using a mechanical response to the films to proved a written representation of these. Alongside her gallery practice Banner produces conceptual writing books that provide a link between the two forms of work and presentations.

My own understanding and response to this is that by creating this epic through the mechanical writing process, Banner has linked up these fictional films under the same subject to create a further fictional representation of the Vietnamese War. By connecting these together it seems Banner is connecting her subconscious thoughts between her own thinking and response to these popular culture films that are another persons reflection and fictional writing of a real event. It becomes a series of layers from true events, to writing based on this, to a visual cinematic response to then a viewers own response. Banner's writing connects personally to her, not in the means of personal thoughts and connections, but more on how she becomes the link between the subject and the work, it links through her actions of writing and that's how I feel my work has developed, this matter of working but not having this personal connection to it. Banner to me is an observer also and her writing becomes an extension of this.

Research | One to One Sessions | Reflecting on my practice | Notes on Exhibition piece

I am an observer of language

When I mess about with it too much it becomes forced

Start with an audio instead of writing

No- as well as writing

So there’s the transcript of the interview the talk

And then there’s the audio- the audio will respond to the writing.

These are parallel parts.

They disengage and re-engage

It is an attempt to represent what we read and what we hear and how we might engage with these 2 different things.

Dworkin and Goldsmith- artists responding to work.

Description/response

Response/description

Want to apply some of this critical perspective or framework to my own work and in particular use this collection of texts to explore how others have done this before me- to enable me to respond fluidly rather than forcefully.

The works I will use to experiment with are 3 interviews with students.

I already have the audio and text.

I want to play with the audio.

No more than 2 minutes. This will allow for the audience to respond. I need to make a space for the audience to hear read and respond. It needs to be conducive; people need to be clear about what they can do in the space if they want to.

This will also allow me to explore observations of how we read and how we listen. An example is the ticket machine. This is my research- primary research in a way.

I want to create, play with the transcript. Try some of the anthology examples as a way of practicing, playing, just to keep me fresh. I can refine what I’ve done later. Playbox, tool box.

Some of this has grown as a response to and from the sound booth experiences gained through creative networks interviews. I’ve been living audio and text for so long.