OUTPOST STUDIO 181121
Glass/Skin/Permeable/Translucent,Diaphanous and Wondrous.
The Sensation of Flesh/Skin, Surface and Subjectivity.
An ecological view of cognition, knowledge of the world comes from engagement with things.
Rather than studying the world as an object, we correspond with it in its own movement of growth or becoming. This correspondence sets up a relation with the world which opens up our perception to what is going on so that we can respond to it.
Tim Ingold. 2013.
Making as a process of thinking.
Making involves the socialised, skilled artist body labouring with materials, responding constantly to tactile, visual and emotional feedback from the emerging form.
I am exploring emergent objects as landscapes, inhabiting them and of making sense through them.
Barbara Bolt. 2007.
Creative 'practice' and the embodiment of the 'social'.
The Life Class/The Artist's Studio.
Knowledge is emergent as the artist engages with the environments and processes of practice.
Adopting a conception of cognition as ecological assumes thinking and perceiving occur as an organism moves through its environment.
The artwork and the work of art produce a knowledge that is performed in the moving interactions of body, material, and social actors in space and time of which the artwork is a trace.
Tim Ingold. 2000.
Event Spaces, as an experience of distributed artistic subjectivity and shared art-of-inquiry.
A Body Of Relations
Reconfiguring The Life Class
Yuen Fong Ling. 2016.
Intermediaries and happenings between my body and other bodies and their technologies, where their performativity is revealed offering new perspectives on the roles within the life class.
In my fixed physical position as the life model, the notion of the 'pose' reflects a union of the conscious and unconscious, instilled by the act of being looked at, and the ways to record this through optical devices and machines.
Modelling Subjectivities
Life Drawing, Popular Culture and Contemporary Art Education.
Margaret Mayhew. 2010.
Drawing is important because it delineates between elements in the physical, visual, psychological and cultural field, it also delineates between bodies and spaces, art and fashion, and present uncertainty verses timeless tradition.
The act of drawing itself involves considerable self control on behalf of the drawers, not only in mastering hand-eye coordination, but in concentrating on the present moment, the present action and in the immense discipline of looking at a naked body, culturally marked as sexually available, and not displaying sexual interest.
Margaret Mayhew. 2010.
The body is never isolated in its activity but always already engaged with the world.
Merleau Ponty. 1999.
Through the configuration of the body as potentially transparent, against which the human being can only push with her hands at the limits physical and psychic geographies that are between inside and outside.
Photography and the permeability of time evoking a physical experience of observing and examining other worlds.
Aesthetics of intimacy, photography and bodies of desire, the gaze of the passionate camera.
The intimacy and equivalences created through the photographic experience.
Her inert body both inside and outside the vitrine.
Potentially something dangerous about the experiments with her body, with and into its layering and embodiment within speculative spacetime dimensions.
Here the viewer has the sensation of seeing through a double protective layer of glass and skin.
Art Practice/Building Distant Realities/Wonder
Like glass and within the glass, with the skin that separates the body from outer/other space as well as inner geographies and selves.
Written on the body, maps and navigations of interior spaces. Winterson/Woodman.
Her poetic image of a space that presses psychically on her from the outside.
The earthbound, partial female body, transgressions of the everyday limitations on the body.
The psychic geography manifested within frames of spatiality that becomes an inner space that flips outwards and defies limits.
Through and beyond the drawn/sculpted and painted body.
Site for psychic inner explorations, a corporeality for others rooted in the body's present moment of experience.
Diffracting Drawing and Painting.
Mattering as a reconfiguration of its own making, understanding and encountering.
Atmospheres : Architectural Environments, Surrounding Objects.
Peter Zumthor. 2010.
Manuel Neri, Studio, Benicia, 1980
Francesca Woodman, Untitled contact sheet, Providence, Rhode Island, 1976
Material Thinking and the Agency of Matter.
Barbara Bolt. 2007.
Things and Bodies/Shifting Signs
The haptic image/indexical/involuntary markings and the present instant, a body at the limit of its moment when it is most definitely intensely alive and in the present.
Beyond the body's blurred contours and indexical markers, to see through, to see sense challenged.
Time is persistently liminal, a suspended, extended present.
Mattering/Mutability,Accident, Flux
Experience/Existence/Presence
Life Drawing/Staging Oneself/Others
Body in Space/Resilience,Endures
Organism-Person-Environment
Haptic slippages between subject and object, between what is alive and what is animate.
Drawing/Anamorphic Perceptions, apprehended and felt, more than seen.
