ARTIST STATEMENT

2347QCA Interdisciplinary Sculpture 2

Working title

Know that I am

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Aim of the project

In response to Project 1: The Body, Identity and The self the intention was to discuss the concept of identity. Using the writings of Nick Inman as a starting point in his book, Who on earth are you? (2013), Identity come from two main forms. The self and The perceived self. The self is how you see yourself ( the inside) , The perceived self is how others see you (the outside).

The search for understanding of self is not passive but an active persuit. The approach taken in creating this work is one from gaming. For example in writing, you show not tell and in gaming you take it further, you do not show. You provide the experience for someone instead of showing them the experience. My interest is to provide the opportunity to partake in an experience. The experience I am exploring is the connection to the self and the spiritual/divine.

The intention was to create two low plinths and one human form which were intended to be visual ques to the concept of identity. On one of the plinths is a scale abstracted human form which is seated. Acting as a que to discuss the external and projected identity. The empty plinth discussing the internal/self identity. This empty spot is an invitation to the viewer to become a participant, in connecting with their own "self".

The intention with the human form itself was to to reduce the form down to its basic components. I am interested in the generalities not the particularities of the individual to create that connection to the self.

This piece now acts as a center piece for the kingscliff community gardens, where it is installed, changing the tone of the space. The intended tone being one of peace, contemplation, intimacy, connection and spirituality.

To understand this work, one needs to interact with it. For the purpose of presentation within the university context the intention has been to document the interation between audience and artwork through a series of photographs. These photographs have been displayed via projection through a webart platform which transitions between the photographs.

Theoretical Framework

What is the issue you are addressing in the work?

The issue that is being addressed in the work is one that is raised I the title of the work, Know that I am . And that issue is, 'I am what' ?

There is an unbridgable gap between the intimate self and the rest of the world.The inner self is insubstantial. The outer self really has nothing to do with you at all. The important elements of identiy are inside and are out of reach. This raises many questions as to what you are:

For identity to work, does this mean you must remember who you are. Are you only to be what you recall.

Are you a collection of memories and sensations that are interpreted by your senses ?

Are you truly alone, after all other people cannot hear or see "you".

In the end, Am I alone ?

Is death the end of your life, your identity your everything.

What was the motivation for doing the work?

Understanding and questioning of the self is a question we have been asking ourselves since antiquity.With the biggest question of the self being, are we alone.

It is in those moments of clarity that we get a glimps of that answer. An answer that is unique to the individual.

Studio Methodology

How did you create the work and was process important in its creation and why?

Refer links to creation process …

(brief description of process)

The process of creating the work was constructive, with a planned process.

• Creation of marqette and digital mockups
• Wire armature and mesh
• Concrete application and texturing
• Installation
• Recording process of interaction.
• Preperation for presentation of the recorded interation

For me this process has been important as it acts as an analogue for our building of an external identity. In the way we do our hair, the clothes we choose, our careers, friends etc.

Context

Compare and contrast your work with  two  other practitioners in the field who have similar aims to yours and support your conceptual ideas.

In my research two artists were integral to the resolved work Mariana Abramovic and Alberto Giacometti .

I resonated with the interactive aspect of Mariana Abramovic's a minute of silence and how it explores the relationship between the performer and audience.

I was also interested in the the recording process of the experience for participants and found the film 'the artist is present' which documents the exhibition was particalarly insterested. The sculptural composition and recording process of her work, and of num june pak, greatly influenced the process used to document my own artwork and in the installation. The most notable difference between the works being hers exploring the relationship between performer and audience where as my interests lay between the audience the object and 'the self'.

The other key artistic influence was Alberto Giacometti's Walking man and the stylised male figure, with no individualised aspects that conveys the human condition. I chose to further abstract the human form till I felt that I had reached a minimum of information to convey a 'humaness'.

Conclusion

How is your work performing against your aims and theoretical framework?

Do you have any evidence for this?

At the time of writing this conclusion the work has been installed for almost two weeks. And I have had the luxury of being able to receive feedback and photographically record interactions with the work. 

 The conceptual intention behind the work was successful as responses  to the work were varied and often viseral. Participants projected their own interpretations onto the figure, some seeing a woman others a man, envisioning prayer, meditation, contemplation, rest, connection and peace. . An  unexpected outcome of the work was that after participants had interacted with the work, memories had been stimulated. All participants told me a story afterwards, some from child hood, of their children/partners/siblings.