Rosie Kearton MACAP 501 proposal “… drawing is part of our interrelation to our physical environment, recording in and on it, the presence of the human. It is the means by which we can understand and map, decipher, and come to terms with our surroundings as we leave marks, tracks, or shadows to mark our passing. Footprints in the snow, breath on the window, vapor trails of a plane across the sky, lines traced by a finger in the sand - we literally draw in and on the material world” (Dexter,E p.5) Context At this moment in time, at the end of my degree, I am struggling to define exactly how I want my practice to develop. During my degree, I explored the mystery of our existence revealed through our connection with the world, and the marks and traces we leave behind; embodying the relations between history, daily life, memory and the everchanging present. I am a collector of ‘seemingly’ mundane objects that hold a personal fascination. My artistic practice often feels like a forensic investigation of 'historical' fragments; a search of the past in order to create associations that can be illuminated in the present. I am interested in layers of meaning and memories, and concerned with what has been lost or discarded. I focus on the transitory, fragile and fragmentary nature of existence; human identity and mortality. I am drawn to old technologies such as Super 8 film and slide transparencies but I also embrace the new digital age. My starting point for this module will be a day spent recording and collecting marks at Newlyn Harbour and to explore through making how I can translate my experience of being in a place into a phenomenological experience for the viewer. Aims To explore the translation from place (Newlyn Harbour) to artwork To question what is it that is lost or abandoned and what happens in the time between an object being useful and of no use To critically reflect on the aspects of chance, unpredictability within my work Objectives To explore the effects of time and abandonment in the quotidian and incorporating found/used materials Produce a body of work that explores processes such as painting, sculpture, video and sound. Make work that captures the sensory experience of being in a place Explore the notion of trace and trace residue Explore the differences and similarities of indexical and trace marks Intended outcome A record of the processes and work made during this module on my blog and in a book format, and to have a body of research work, which will inform the development of my practice. Methodology Collect and examine objects that are lost, discarded, abandoned Make a number of works using mark making/drawing to translate a sensory experience Make a series of 20 small works of each different processes/materials, sound, video, objects, paintings, etc Use the following concepts within the making of the work chance unpredictability spontaneity repetition Document thoughts and processes (including group crits, tutorials) in my journal or/and in my blog at the end of each working day Develop a set of questions that provide insightful critical feedback. Use a forensic model to collect and record evidence Research Artists and art movements Arte Povera Richard Wentworth Gabriel Orozco Joseph Beuys Jannis Kounellis Ann Hamilton Marco Maggi Guiseppe Penone Exhibitions Turner Prize 2012, Tate Britain 2 Oct 2012 – 6 Jan 2013 The Far and The Near – Tate, St Ives 6 Oct 2012 – 13 Jan 2013 Potential resources Print Workshop Letterpress Casting and Moulding Screen printing Film – super 8 and 16mm found footage Video – Final Cut Photography – both digital and analogue – slide transparencies and alternative photographic techniques (photogram, pinhole etc) Bibliography Dexter,E To draw is to be human, http://blog.lib.umn.edu/ali/2008fall/htdocs/blog/ali/2008fall/vit_d.pdf Ricoeur, P (2006) Memory, History, Forgetting (trans. Kathleen Blamey and David Pellauer), Chicago and London: University of Chicago Press Dean, T and Dellar.J (2005) Place: Artworks Thames and Hudson Adam, L, S Methodologies of art; an introduction, 2nd Revised edition edition (2009) Westview Press Inc; Kwon, M. (2002) One Place After Another: Site-Specific Art and Locational Identity, Cambridge, Mass. ; London : MIT Press Turkle, S, (2007) Evocative Objects: Things We Think With, Cambridge, Mass. ; London : MIT Ann Hamilton : present-past, (1998) Exhibition catalogue, MIT Press Gibbons, J, (2009) Contemporary art and memory: images of recollection and remembrance, I.B. Turius, London Bois, Y.A. (ed) (2009) Gabriel Orozco, October Files 9, The MIT Press, Cambridge Mass. London Websites http://www.annhamiltonstudio.com http://www.theartstory.org/movement-arte-povera.htm http://www.tate.org.uk/whats-on/exhibition/gallery-lost-art “Every journey conceals another journey within its lines: the path not taken and the forgotten angle.” Jeanette Winterson