This a recommendation from tutorial 4, in relation to the Hornet Tree; we discuss it in tutorial 5 (and it is included in the tutor report).
Here an interview with the artist:
I really enjoy the form and presentation; I think the project is great to see as level of ambition and what is possible with my fiction/narratives, how these can be developed.
The theme of loss and adjusting for loss on Portland as quarry, hollowed out island is fascinating. I see how my own stories are very different to hers which are historical stories, almost ghost tales; I like the irreverence with which she breaks conventions and introduces contemporary concerns but also a whole range of meta-physical questions (via Hegel) to her invented site of the Loss Adjusters’ Office. That this office features a number of photocopiers, the sensuality (a constant hum, some warmth) of these as one way of coping with the task of adjusting loss, is quite ingenious and intrigues me no end; similar: her way of writing herself into these unstable stories and timelines.
Some of audio production is less interesting to me: it seems too polished with echo effects, I take issue with the actual voices; but these are smaller concerns.
That the project is available at a distance is great. I order End Matter, the small book publication and read it quickly. Again: some of the production choices are a little forced but also kind of work well for me in terms of her ambition and what she tries to achieve as a fictional, almost metaphysical narrative that is strongly conceptual and at once sensorial, sensual even.
The site which hosts the overall project and the audio files is here.
Following the tutorial I arrive at a point where I have a clear sense where this module has taken me and what a conclusion to it is. I am pleased to have articulated what is contained in the the Hornet Tree and discuss this both as a small, intimate piece of work which nonetheless reaches out – so to speak across the garden hedge, into the world, and speaks to contemporary concerns around diversity, divergence, ambiguity and a non-authoritarian social and political practice (ways for me to circumscribe anti-fascism). In this, Hornet Tree in its form is not dissimilar to earlier works (Der Grund, House, the line) but it seems to me that with this work I have begun to be able to articulate it in a way that does not feel so personal as some of the other works have seemed.
— this feels quite significant, big to me, and it feels also as if I am at the point that I can see the benefit of having stuck with the degree course and the numerous rounds of learning that it offered: there is a sense of an artistic practice emerging that can hold the above in balance and tension and be articulate with it.
The suggestion to explore various strands through speculation, sketches, marquettes was really useful and significant too, as I know that sometimes I falter at the prospect of not being able to enact or carry out an experiment. Allowing myself to scale down and think, write, model, illustrate through it seems feasible to not enact the block of not finding the means (time, finances, space) to enact it (this was something that at times I felt stuck with earlier suggestions about my work during the photography module).
I feel I have a good sense how the longer, parallel project relates to the main course work, assignments and while it is not quite concluded, there are two possible aims/goals and both are promising; and both will also then clarify work for Level 3.
I am excited to see the pace and intensity this course has acquired right now, in particular as the time has been personally demanding for me, so this is good to see and from this vantage point to look forward to Body of Work and Contextual Studies.
As part of the tidying up and making the material accessible, both to myself as I move to the final modules, and for assessment, I have continued to investigate the role of sketching for this module.
It takes place in a number of ways and finds itself then in a range of sites:
Moleskine sketchbooks, thin paper, they are notebooks, a slightly more square, slightly smaller than A4 format (3 of them)
the camera roll of my iphone 7 plus (a few thousand stills, around 150 videos)
I also think the experiments on templates (Corridor Breaks, Green, some around the lens/ink/diffuser project) are also effectively sketches, and I would like to make them visible/ read as such
these are then once mediated and reposted (often unprocessed though except for ration, in IG, and compressed heavily in both IG and FB):
some on the instagram account that also sits on the menu in this blog
abundantly in my personal FB account, the main sketchbook album ([untitled album]) has over 300 posts in 13 months
as posts in a private evernote account
it is only at this stage that the material would then on occasion be written up and become a blog post here (tagged with sketchbook)
As per my previous post, and a related enquiry on the OCA Discuss Forum, the biggest question for me is the practicality of giving access to the moving image material of my sketches (I have only about 10% accessible, mainly through the IG account, a couple of the longer one, and the processed ones are uploaded to a free Vimeo account). Here the question I posted on the forum
Hi – I am preparing my Drawing 2 module for assessment. And there are two questions that I would appreciate some thoughts on:
a. videos as sketchbook My sketchbooks feature a considerable amount of sketches in video clip form. My current subscription for wordpress does not include the embedded video player so I have been either uploading through vimeo (mainly edited, final pieces) or Instagram to be able to link to them. But there are a whole number of other clips that make sense as sketchbook material and I wonder how to present these… In my previous assessment (DI&C) I did not upload any material beyond the content and self-assessment to the G-Drive folder but my thought is whether to include a folder that contains a sketchbook collection of video clips? How have others presented experimental moving image material for their course?
b. Include photographic prints for Drawing assessment?
Quite a few of my assignment pieces use still or moving image lens-based materials, as well as a number of projects which work in series off a main template. For the latter I am thinking of binding them as small booklets (Japanese stitch binding or something similar); for the former I don’t really want to mount them on an A1 sheet but think of just sending a clamshell box with a set of prints alongside (probably A3). – Is this something people do for assessment of a non-photographic module?
Many thanks! Gesa
— I received quickly a very useful response about selecting, using the G-Drive, hosting on a separate page, as well as using QR codes to link from the physical log to an online space. It was incredibly useful to see a developed practice of making the material accessible, and while our practice is somewhat different, it was really useful to read the level of integration and working across forms and sites. I think this is something that I have been trying to establish too, really since the Facebook work of the final assignment in DI&C, but been struggling to find ways to utilise (and possibly even understand) my rather intensive writing/posting process of materials which at once was a recording, but it wasn’t really reflection but a recording (through posting) of practice (performance, writing, lens-based, drawing) and a testing of publicness to this.
— In this sense, the current investigation and seeking a presentation form sits also firmly within my investigation about the link between practice/audience (public) and where and how my forms of investigation are practice. (my expression of this remains vague, I remain impatient with the words I use, but will ignore that for the moment).
>> the question that Stefan raised in response to the second item (whether to include photographic prints for a non-photo assessment) is useful, and has been part of this module from the start, where the first submission for me was the photographic print, for Doug it was the installation — and I need to respond to that still. It surfaces again in the most recent Assignment, Hornet Tree, and as to what in this is the piece of work. Both assignments have different answers, and it is good that I seem fairly clear as to what is documentation of an artwork and when is the photograph the artwork. I think it may be possible to include different forms for each >> I will consider this when I turn to the photographic stills for submission).
For this module, I am submitting the following as sketchbooks:
three Moleskine notebooks, rebound together
PDF files of the assembled Facebook albums [untitled album]; [other people’s cast offs are…]; and excerpts (as relevant) from [bat run twice] and [close/open]
small, bound books that assemble the projects which worked with templates [corridor breaks], [green]
a selection of prints that document recording process
a selection of prints where these prints are the artwork, and are not suitably reproduced in the PDF or Moleskine notebook