I need to consider my body of work, which I am doing in Fine Art 3: Advanced Practice, and reflect on it for the contextual study. Then, I can test whether it integrates elements from my Research course.
Research Question: Consider how theories around interconnectedness can open new ideas for making in a contemporary art practice
Through my art making, I have learned much about myself and realised that my projects shown as separate ‘para’-sites are stories about who I am. When considering using para-site, I am reminded of the general scepticism (aversion?) about fungi. Fungi act as both a parasite and symbiotic – can we ever accept the one without the other when Fungi become both subject matter and medium?
I remember words that stuck with me when reading Braiding Sweetgrass: I am the woman with the basket, and how I fill it is a question that matters (Kimmerer, 2015:177). My research considers the theoretical work of Phenomenology and New Materialists like Harraway and Bennet. I will contextualize the practice of other artists and look at ideas around Ubuntu to inform how this theoretical framework can be applied practically to contemporary art practice.
Return your critical investigation to your studio practice
The question for me became, ‘What do I want to fill my basket with’ for this research part of my studies. I like this essay to become another vessel- about how it all came together. Below is a synopsis of my basket, and I hope this gives structure to my envisioned first draft:
- My making has different strands: I try to find kin between the works within my materials and thoughts about inter-dependency and co-collaboration in human/non-human relationships.
- I envision that the work I make contains thoughts and ideas around the cycle of life (for example, in fungi, in particular) and how we as humans can learn from symbiotic relationships and consider this transient aspect;
- Dealing with human experiences of loss and death through collaboration with humans and non-humans made me consider embracing impermanence and decay;
- This opened ideas around Phenomenology, in particular how my body experiences the world and my attempts to collaborate with the non-human;
- I learned by observing nature that my work could evolve into other thoughts around connectedness with nature and non-humans and thinking about ‘my cohesion ‘ with the other as words and ideas came together;
- This led to a need to work with natural materials and consider weaving, 3D structures, and/or installations that could be placed outside in nature and not necessarily hang on a wall.
- I will continue to explore weaving as a narrative method to add layers of meaning. A woven nest can tell a story, evoke emotions, or convey a message.
I suggest that viewers choose at least one image from each ‘para’-Site and compare the making to the research question. I created a list of questions that I want to consider. I do not expect you to go into this in much detail. This is a working document to unearth aspects of my work that I may have overlooked or want to consider for my contextual study. Challenging my views will be welcomed. I value feedback. Thank you for taking the time to do this.
‘para’-Site 1: Containers and nest-making
What is the work made of : feathers, wire, gauze, papermache, acrylic paint, clay, raffia, grass
how has it been made (processes and actions): tied together, glued, painted, woven, wired, moulded
Is the process of making visible in the work? Weaving brings strength to a fabric by interlocking threads. Similarly, I like to think that the diversity of human experiences and backgrounds enriches the fabric of society, fostering resilience and harmony through accepting differences. How? do have video/photo and written documentation
What are the various qualities of the materials I used: pliable, fragile, soft
What part does construction and composition play in the work? ideas around size, fragility, and materials like leaves, grass, or branches in the weaving process enhance (? does it?) the metaphor of interconnectedness.
How does the work occupy or use space? My idea is to develop more giant nests as outside installations. I know we humans experience the world within specific temporal and spatial boundaries. This limitation may prevent us from fully comprehending the non-human, which could operate on different timescales and dimensions.
Does the work have a relationship with time? Containers and nest are captured over time, making use of it for specific means; it shows decay over time.
How is scale used in the work? I want to believe that somewhere in this work, I found a place where I made peace with my own smallness.
How does this work relate to other works? Organic materials, and the form contains ideas of a holding space
Does the work involve other people? How and why?
If the work has a title, how does the title function within the work?
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‘para’-Site 2: feathers
what is the work made of: feathers, monoprint, drawing, installation of feathers with thread and beads
how has it been made (processes and actions)
Is the process of making visible in the work? How?
What are the various qualities of the materials I used: soft, fragile
What part does construction and composition play in the work
How does the work occupy or use space
Does the work have a relationship with time
How is scale used in the work
How does this work relate to other works
Does the work refer or deal with real or imagined space?
Does the work involve other people? How and why?
If the work has a title, how does the title function within the work?
‘para’-Site 3: Fungi collaboration with fungi (non-human) and human (Involution with Annette Holtkamp, started 2022)
2023
what is the work made of : fungi spores, fungi ink, fungi, clay, soil, coffee grinds, straw, paper,
how has it been made (processes and actions) sculpture, imprint, drawing, embroidery, installation outside in garden (documented it at least once a month over 10+ months)
Is the process of making visible in the work? How? The collaboration work, now almost consumed/deconstructed was made for an online exhibition with the OCA Eu group as a digital work due to the distance between where we live. Annette send her work to me and I placed the work outside to deconstruct. The making of the hand sculpture is documented as I hope fungi will grow, at this stage mycelium is barely visible and I keep the work in a dark box, spray it twice daily with water to create the optimal conditions for fruiting bodies to appear (mushrooms) I used my own mushroom (tissue?) culture, harvested from mushrooms I have previously collected.
What are the various qualities of the materials I used: pliable, fragile
What part does construction and composition play in the work
How does the work occupy or use space
Does the work have a relationship with time: Fungi growing, spore print making and deconstruction sight is done over time and conditions have to be just right.
How is scale used in the work
How does this work relate to other works : I wonder about touch when I look at the hand sculptures I am making. Part of showing care is to touch, a sensorial experience it at the heart of care/involvement –
Does the work refer or deal with real or imagined space?
Does the work involve other people? How and why? The deconstructed work is part of a collaboration which started in 2021 when Annette Holtkamp (textile artist) and I created a digital work together after we both became interested in fungi and read Entangled Life together in a student online reading group.
If the work has a title, how does the title function within the work?
‘para’-Site 4: Daily drawing practice (sketchbooks)
what is the work made of : charcoal, pastels, pencils, ink, watercolour paint,
how has it been made (processes and actions) : drawings by observation
Is the process of making visible in the work? How?
What are the various qualities of the materials I used: pliable, right, liquid, solid, resistant
What part does construction and composition play in the work
How does the work occupy or use space
Does the work have a relationship with time : repetitive and over a fixed period
How is scale used in the work
How does this work relate to other works
Does the work refer or deal with real or imagined space?
Does the work involve other people? How and why?
If the work has a title, how does the title function within the work?
REFLECTION
Did my work develop into a lived experience?
Is there a sense of becoming part of interwovenness in my artist practice?
My research question will allow me to delve into various aspects of my interests. I should be able to explore different art forms, mediums, techniques, and their impact on viewers’ emotions. Additionally, I can consider investigating how art can convey messages of environmental conservation, social issues, or personal experiences, emphasizing our interconnected world’s fragile and vulnerable nature.
I am not keen on considering using methodologies such as qualitative interviews or surveys to gather insights from artists, art enthusiasts, and viewers. However, I can also analyze existing artwork, movements, or expressions exploring these themes. Furthermore, studying relevant literature, art theory, and environmental studies should provide a theoretical framework. My tutor reminded me that research questions can be refined and modified as I continue to investigate. I must remain open to new insights and adapt my approach as I discover more about the topic.
The principles of Ubuntu as an ideology support my position when I think of ways of social connection as less ego (individuality) and more the effect of participatory and generosity that benefits all. But could it be too focussed on the ‘human’ is a question to be answered as I am doing more reading. I am considering to not continue with this idea.
Learning Outcomes On satisfactory completion of the unit, you will be able to:
- LO1 demonstrate comprehensive knowledge of your subject area and build a theoretical framework for your practice
- LO2 demonstrate the application of appropriate research methods in the identification and understanding of broad contexts and specific practices
- LO3 synthesise, articulate and evaluate critical, contextual and conceptual knowledge and understanding of your subject area
- LO4 provide a clear and sustained written argument presented according to academic conventions
Bibliography
Kimmerer, Robin Wall. (2015) Braiding Sweetgrass: Indigenous Wisdom, Scientific Knowledge and the Teachings of Plants. Read on SCRIBD as PDF