Tag Archives: psychogeography

Artists working with experiences of place

The map experiments I have been doing brought me to look back at one of my favourite / most inspirational quilt artists, who also works with ideas around place – in particular cityscapes. I took the opportunity to look into any other people working in this sort of area.

Eszter Bornemisza

Eszter is a Hungarian fibre and textile artist, who like me had a former life as a scientific PhD researcher. Her artist’s statement picks up a number the features of place that I am working with:

My starting points are ideas that reflect our relations to traces and settlements of past cultures: the layers of existence. City plans appear as motives, signs, traces, ruins, the silt of the past. As the urban structure develops, widens, thickens, clots and creates subsystems in history, the cities that live within us undergo an endless and continuous evolution. The exploration that appears in most of my works also determines my working process: on the one hand research of civilisation history and on the other hand experiment to find the right techniques for my expressions.

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I have loved Eszter’s work since the first time I saw her display at a quilt show. I could look to incorporate more of the actual materials of place and people (newspapers or things related to identity perhaps – family photographs? old letters?)

 

Yu-Wen Wu

Yu-Wen Wu describes herself as an interdisciplinary artist and has a range of fascinating work through drawing, installation to video. I like the way she uses abstraction, but still has the traces of the data it is built upon. A couple of her most relevant works are below.

In the broader context her work explores systems–its universal connectedness, interdependency and the persistence of change. She distills the transitory and migratory nature of our natural and built environments. Her investigations incorporate the visual language of data transforming them into abstract narratives

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“Random Walks is both process and metaphor for the larger “random” paths of life. Here is structure and serendipity reflecting journeys and transitions. Throughout the years walks have been mapped in the language of informational notations with albums, video footage and drawing installations. They are manifestations of outward and inward journeys, rhythm and embodied topography.”

yww2“Mapping the Stars is part of a larger project based on constellations, constellation maps, and musical notations. Since ancient times constellations narrated the deeds of heroes and villains. They became a part of religious beliefs and at times influenced the decisions of nations.
The series Mapping the Stars is based on the charts of ancient Chinese star maps. The musical elements are from the score of Chopin’s Nocturne.”

Gail Biederman

Of the artists I found, Gail’s work most formally links identity and place. Her work is an exploration through mapping, which looks at identity and relationships as well as the physical terrain. I also noticed the way she describes mapping as both the material and process – exactly as I hope for my project to do.

Mapping is both a form my work inhabits and a strategy through which it evolves. As I work, the messiness of real life mixes with abstract information. The autobiographical and the geographical fuse, and the border between interior and exterior dissolves. Reconstructing places, personal experiences, and memories, my pieces become visual diaries, encoded narratives, even a type of portraiture. More than just a record of physical trips and places, these works symbolize passage and transition and plot the uniquely personal directions that our lives have taken. They translate an impersonal diagram of routes into an examination of identity and the ways one can define oneself in comparison to another.

Gail’s material choice is often more playful and occasionally uses soft textiles such as felt. She suggests that this offers a striking counterpoint to the conceptual aspects of the work. Some of her other works function clearly as psychogeographic maps or journals, some layering images of various places, networks, diagrams, and architectural plans to evoke the complexity of travel.

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MA Proposal v3: Mapping Identity

I have resisted getting sucked into writing and not doing things, so my project proposal remains untouched since November. In my head however, I have started to re-frame what I am looking at, and how I want to address my research question. My research question is still looking at the interconnection between our sense of self and sense of place. I want to make work which acts a reflector – asking us how we encounter ourselves in the places in which we are. Can we unravel our own journey through life to get a better understanding of ourselves?

Locality 

The key aspects I want to bring into my making process is locality – from my research I saw how you can generate place through action and agency (through dwelling or movement). I stated before that I wanted to use a process and materials which embody a sense of locality – I need to look deeper into all of the meanings locality can have. Locality can mean much more than just ‘from a particular place’ when you consider that in your mind you make your own place within yourself. This is how our identities can act as a map of ourselves

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What my project is not…

My work is not about space, it is not about our experience of space nor how the human body interacts as we move through it. Places are not the same as ‘spaces’; places are saturated with a human narrative: our experiences made manifest though material demonstrations of human practices, marking these places out from other purely abstracted spaces. Neither is my work about life in very specific places or cultures (like capturing the vibrancy of a local community) or about discussions on biological and cultural identities (feminist politics, race, religion, migration and so on).

Mapping Identity 

People define themselves through the filter of their experiences. How people navigate through their surroundings can shape their identity and create psychological associations with places. There is always a familiar ground on which we begin which branches out through our lives into different places, each following its own path. These paths create our different responses and the different facets of ourselves. They interact with the paths of others and with the very fabric of the world itself as we pass through it. We each exist as the root, with the different paths all being part of us and our sense of self. If we look at once at all of the branches from which our lives are made, we see a map of ourselves (=identity). You create your own map. Look at it, you understand it, because it is you, it is your story.

I am going to continue experimentation with the ideas around ‘mapping’ and the connections between identity and place. All maps are a mixture of objective truth and subjective representation –  an edge – as such are an ideal place to generate work from.

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As well as my material experiments which I will continue for now, I also have a new, grand idea about testing a new art process – using my psychogeographic rambling as a way to change the projection of the map. By changing the frame of reference we begin to see things we would not otherwise have seen. More on this later!

More making with maps

Following on from the map patchwork I did the other day, I was wondering what to do in response. I began playing with the leftover maps which had all of the hexagons – my meaningful places – cut out. There was something sad, sorrowful about the remnants. The leftover places which were devoided of all meaning through my act of cutting.

I decided then to take this idea and repeat it with another map, purposefully looking at the negative spaces as opposed to the ‘meaningful spaces’. This was the result:

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I like the depth, the sense of overlapping stories being layered upon each other – hidden and partial histories revealed. Something gained in absence which is obscured in completeness.

Who are you where you are?

Following on from my discussion with Shane a couple of weeks back, I have done my first test of an ‘ephemeral’ temporary sculpture out on site (I wouldn’t really call it site-responsive as such). Since I made the weaving it hasn’t stopped raining / drizzling, so have been a bit delayed in getting out to take some shots. Interesting results in the end though.

  • I like: the camera, my latest obsession is providing a lot of fun, although I’m still not great, I’m getting better at scene setting.
  • I like: the atmosphere of the resulting photos, I have tested a few different approaches to the light, so they don’t stand as a set – but this is an experiment after all!

But where do I take the photos? Somewhere “meaningful” or somewhere random? Does this make a difference to the viewer? If I don’t tell you (dear blog readers) where these photos were taken, does it matter? What do they say to you?

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Alice Fox workshop day 1

Walking, collecting, making

Sometimes serendipity smiles on you, and three weeks ago I was offered a last-minute spot on a full-a-year-in-advance course being led by one of my project’s main reference artists: Alice Fox. The activities began today!

I wanted to go on this primarily to experience first hand the methodology of someone who can so successfully capture the essence of a place into her work, using walking as a key part of her practice. She also is a big user of natural mark-making and dyeing processes so should be able to teach me a few new tricks to add to the box.

As an aside….I am aware my MA proposal is still in flux between three different angles on our sense of place: (1) psychogegraphy / making through walking, (2) culture v nature / wildness and (3) potentially bringing in elements of humanity’s cosmological sense of place. This week’s course is playing into the hands of the first two – but I’m not going to worry about aligning anything for now – I’m just learning and enjoying the process, and intend to make what feels right for the materials we use this week….

So! Today we started with an overview of Alice’s methodology and the principles behind the course. She talked though some of the context around walking and collecting – as a method for recording experience of place / landscape. This record can be through objects, images, words and thoughts which captures a snapshot of a particular place and time. Alice also had some very interesting thoughts on using found objects (directly or for mark-making), in that she seeks to explore the potential of materials have been found, to see how far they can be pushed. This is one of the things I’ve not succeeded fully with yet on my project….

First up today we went on our first short walk around the studio, recording in whatever way we were inspired to. This was the most curious photo of my journey:
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and a shot of all of the sketches, words and objects I brought back:

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We spent the rest of the day experimenting with two different processes. First up was rust printing on  paper and fabric strips. Having done a lot of rust dyeing recently looking at texture, I thought I would do something different by focussing on the quality and pattern of the marks – hoping for some clear distinct lines. We just used tea as an activator and will need to wait a day or so to see how they turn out.

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Second up was eco-printing using a process of India Flint (I have her book!), which I haven’t tried before. This involved gathering a whole host of different leaves and botanical oddities, wrapping and steaming in order to transfer the whole mark onto the substrate. Again an opportunity for clarity of mark as well as just transfer of colour. These also have to dry out fully before we can look at them – maybe tomorrow or the next day!

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So far, very enjoyable and Alice is a great teacher (plus we had cake). Getting some interesting whirring in my brain about my project – letting them swirl by themselves for now.

Let’s see what tomorrow brings!