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I thought it could be uploaded on here but I made a video using adobe premiere and my audio/sound piece expressing/personifying the anxiety i was confronting in all my performances.
it’s nearly 2mins long and refuses to upload to padlet.

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i actually found this artist after my deadline, i think he's quite bloody good

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There was a self empowerment workshop which encouraged us to look at and discuss what made us feel empowered. There were many different examples which was refreshing, and we all wrote a short piece on what it felt like- prioritising writing about the sensory experience, instead of painting a picture: 'showing, not telling'. This was my piece: I felt the most empowered when I chose to disown my father.
**
She slowly looked around- facing the sofa and stepping towards it. Her back facing the room, her face facing the window. She lets her body confront reality as she drops onto the sofa. The wooden prayer beads around her neck bounce slightly against her.
The walls and her plants hear her raspy whisper.
"I don't deserve this." Lilian forces her head to move- no longer facing the window, now facing her ancestral altar.
"You put him through this, now he puts me through this.". Her voice gets louder. Her face tasting of salt- the ancestors a blur through the tears.
"Daha guzel bir baba olsa... belki... belki..." her voice fades.
The silence was loud but the altar stayed unmoving. Lilian's fingers move to feel the sanded wood beads around her neck.
"I am you, but I am driving this bloodline now."
Unintentionally, her body moves to face the altar too, her feet now getting pins and needles beneath her.
"I promised things will change-
they will change. I will change things," her voice shaking, quiet, but not breaking.

"You're just going to have to trust me."

****
Self empowerment for me is heavy after spending most of my life under abusive influence, and I can truly say that this workshop opened me up to the idea that I am self-empowered, I just didn't realise.

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is dedicated to visuals I wanted to keep, but are not necessarily relevant to typical academia- it tried to be a uni diary, i just kept forgetting it existed

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I was sent this photo by one of the audience members for my draw & be performance.
At the end, I let people take a sharpie and i told them to “make bad art, and fall in love with it”.

This brought a smile to my face and confirmed my piece was successful. If even 1 person went home and were less judgmental to themselves and their ability to create, then
Revolution: 1
spreading hatred: 0

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please see
musings and tales
on wattpad if you're interested in any of my written pieces.
"Once upon a time in Revolution" which was read at the end of my final performance draw & be: words & sharpies.

Until I get them published, they are accessible on that platform under the username: scorpiocalledlillian

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Making this exhibition happen. If we cannot get spaces in LCB depot (eg the back room spaces), Two queens, or LAEC, Pip and I plan to find less art-associated spaces. I think this will be very interesting, a challenge but fun to do as well. One thing we both found enticing was pop up shows in upstairs areas like Firebug or The Western.
I want to hijack more crewSOC sessions with different writing ideas as to increase the number of creative writing pieces (not sure if I mentioned, depending on the space and the number of pieces I get given, they will either be framed and put to the walls, or placed on a labelled table within the space and close to the art).
This year was difficult in my personal life and left me increasingly drained and I didn't get to take part in nearly as many exhibitions as I wanted to. Next year, this is my goal. Showing pieces such as the mdf board doodles from my performance (and the screenprints with footprints and doodles), my Turkish flag from year 1, my large canvas- with less on my mind, I've been brainstorming lots of ideas with my writing and combining it with my art practice as well and I think the public needs to see them!
Even if we do not get the LAEC permission, I would still want to extend and volunteer my crewSOC workshop to them as well. Hopefully, next year, I find more efficient ways in communicating events like my performances and workshops and exhibition(s, hopefully!).
I'm also considering publishing my writing and want to add art pieces into this as well- this is something new I will be working on.

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I spoke to Shaz in third year for information on working with LAEC and I found out that sensitive content is usually rejected because it is a public space attended by individuals that may feel disrespected or uncomfortable with the content. Changing the content is not an option (discomfort is kind of the point of the exhibition), and so I've been hesitant in sending the emails. So Pip and I decided to visit the space while it was empty>
We checked how much could be seen from the stairs and while walking down, where we could show pieces (sometimes it's the context of art that makes something uncomfortable rather than the imagery), so we planned where we would put 'visually-comfortable' art vs  where we could place visually sensitive pieces.
I used snapchat on my phone to take photos and mark each place and overall, we could hold a minimum of 5 pieces with the wall space. Plus, on entering the space, we have a wall where we could demonstrate trigger warnings. If we get granted a meeting, I will ask if the establishment has statistics on the most common foreign languages found in the building and have the trigger warnings accessible to anyone who may not fully understand English.

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my photo from when I visited Tate Modern when seeing family. 

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Jenny Holzer: Inflammatory Essays (photo1)

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Jenny Holzer: Inflammatory Essays (photo1)

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“I wanted a lot… to leave art outside for the public, to be a painter of mysterious yet ordered works, to be explicit but not didactic, to find the right subjects, to transform spaces, to disorient and transfix people, to offer up beauty, to be funny and never lie.”

This is Jenny Holzer: an artist who appeases the writer &artist in me. Using language in my art became very important to me (including every single point Holzer made in the quotation) and was central to my final piece.

The Inflammatory Essays are a collection of provocative writing; exactly 100 words each, and 20 lines long. Found in Tate Modern, where I witnessed it covering an entire wall- repeating the 10 Untitled lithographs (on paper) from ceiling to the handrail (431 × 431mm each). Tate added it to their collection in 1983. Holzer used this rigid format to explore her ability to use language successfully, creatively and ecstatically: her interest is in “rapturous writing”.

Originally, these essays (made between 1979-1982) were used as flyers: in fact other work by Holzer was purposefully removed from the context of a museum/gallery in an attempt to access the public in a less bottlenecked way. Holzer was inspired by religious fanatics (e.g. “NOR SHAKE CLENCHED FISTS AT THE GOD WHOSE PLAN IS TERRIBLE BUT PERFECT”), political theorists (e.g. theme of domination, “GUNS MAKE WRONG RIGHT FAST”) and even folk literature. She uses these essays to address her ongoing concerns around social control, consumption, sex and power

From my research, it seems colour is imperative to the essays, but the colour changes: in Tate, “DON’T TALK DOWN TO ME”, the print is pink, but elsewhere, I have seen it printed in robin egg blue. It seems, to Holzer, the art is in the language, and its curation (choosing colour of paper, the context it’s presented in) becomes a way to evolve the art- it’s context and colour become fluid, the language becomes the unmoving foundation/message.

It was seeing the repetitive presentation in TateM that inspired me to utilise repetition: seeing so many words but knowing many of them are the same, made the piece overwhelming yet chewable. The necessity in looking up gave the words a hierarchy I was drawn to (thus me hanging my screenprints from the ceiling). I was interested in using colour, like Holzer, but wanting to keep the words the foundation of the performance, I stuck to white, black, pink (to question its gender relation) and blue (my interest in the night/dark side of the mind).

Holzer has also used lights and installation as mediums and I believe she will begin the process of evolving my most recent performance- love her stuff.

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https://shop.ica.art/products/jenny-holzer-10-inflammatory-essays-1979-1982-1993-2018

https://www.tate.org.uk/art/artworks/holzer-inflammatory-essays-65434

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SOLD OUT Set of 10 offset lithographs on variously coloured paper packaged in original plastic seal bag25 x 25 cmComes with Certificate of Authenticity10 sets produced for ICA in 1993 (Unlimited APs)£3000 The Institute of Contemporary Arts is delighted to offer Jenny Holzer's Inflammatory Essays, 1979-1982, which is b

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this was the lithograph that spoke to me deeply and is my favourite essay(next favourite is the one about fear)

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info form for art commissions plus artists

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info form for art commissions plus artists

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Name:
Pronouns:
Medium(s):
Size:
space and equipment requests:
Statement for the art (100-200 words):
trigger warnings:
considerations for moving your work/travelling etc:

**********

John and Kitty in our year have both confirmed they are willing to show. If I am able to host a performance, I would like Joy Yaa Kincaid also (having spoken to them they said they are willing but it depends on the dates). If not and I can host a performance, I may do one of my own (or both on separate occasions, it all depends).
That makes a total of 5 artists, including me and Pip.

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Sheila Hicks: Minime (Four tunnels of exploration)

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Sheila Hicks: Minime (Four tunnels of exploration)

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Sheila Hicks is an artist who works a lot with textiles and I found her in my research when I became interested in using weaving in my practice. Similarly to Hicks: “I want to go do something I don’t know how to do”. This was what interested us both with weaving.

Describing textiles as a “universal language”, Hicks travelled across the world, learning about how different cultures interact with mediums. For example, Prayer Rug (1965) uses the common imagery of archs found in Islamic art from her travels in North Africa. She combines traditional weaving with her creativity and extensive understanding and interest in colour, as well as the cultures she had been exposed to.

Minime (Four tunnels of exploration) was made in 2015 and is 206 x 302mm. She uses wool, linen and cotton in the foundation of the weave: mixing weaving notations and weft yarn across the warp to create an inconsistent, non-repetitive base. Within the weave, Hicks involves razor clam shells within the weave itself: the shells interrupt the view of the weave notations by existing horizontally across them. They’re also woven into the weave making the piece three-dimensional. This piece blurs the lines between 2D and 3D, between sculpture, textilesnd painting, even mimicking a canvas (considering canvas fabric is a woven material).

Similar to my draping, fabric screenprints in draw & be: words & sharpies performance, Hicks used waste linens from the fashion industry when in France (I took my own fabrics from the waste box in the dye room). Hicks says “you can play with it [waste linen] freely” because there isn’t a pre-existing plan for all the materials she had. I had a similar experience, but I also felt at a loss because fabrics that I favoured were limited to what I could find- making them more valuable and therefore scarier to use in case the experiments are unsuccessful. This was another process in which I learned how to release expectations; accept any conclusion.

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Her use of female-oriented mediums widely contrasted Minimalist concepts (throughout the art world, minimalism has been considered ‘masculine’) and sharper, harder shapes found in many abstract painters that surrounded her context. Eva Hesse was a student and creator beside Hicks who also uses sewing/crocheting/etc to make soft sculptures with atypical materials..

This piece was gifted to MOMA in honour of Roy Davis.

Hicks’ Predestined Colour Wave I & II(2015) is also inspirational to me.

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Predestined Colour Wave I & II(2015) - S.H

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Sheila Hicks (Four tunnels of exploration) refs

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Sheila Hicks (Four tunnels of exploration) refs

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https://www.moma.org/collection/works/200444

https://weaveprint.com/2020/10/01/sheila-hicks-textile-artist-anthropologist-capturing-environments-through-the-medium-of-textiles/

https://www.google.com/search?q=Sheila+Hicks+(2015)+From+Hangzhou+to+Shanghai:+Telling+Tales+with+Materials.&rlz=1C1CHZN_enGB962GB962&sxsrf=APwXEddoOT7uuRTe98vC0sTPqOOkbkSLyw:1682955615066&source=lnms&tbm=vid&sa=X&ved=2ahUKEwjZ_e6cutT-AhXSVMAKHeVsAgMQ_AUoA3oECAEQBQ&biw=1280&bih=577&dpr=1.5#fpstate=ive&vld=cid:45eca810,vid:UWaMJrWCTjM

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I would like to experiment with how creative writing can play as a medium for art. Personally as an artist, I find that my creativity has a much easier and direct relationship with expression when using language. I find it easier to control and manipulate and play around with over print/paint/performance/sculpture etc.
In first year, I isolated my writing from my physical art. In fact, I didn't involve writing in the process at all other than journaling and statements. However, this year, I have been making ore of an effort in my spare time to experiment with my creative writing; this was stimulated by the CREW society at DMU. Attending these sessions was eye opening for me as a writer who had not been exposed to many different types of creative writing. While my creative writing leans more toward poetry and prose, others played with characters and fantasy or storylines. Judy Chicago reminded me of the value of a community within [niche] interests with Woman House and I am an artist who believes that context and community is an invaluable and inevitable part of art (and therefore society).

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Dancing in Peckham was inspired by a woman who was dancing in the Royal Festival Hall: she was in her own element, completely unselfconscious. Seeing the woman behave as though she was in her own bedroom interested Wearing: this exploration of private vs public was a language Wearing became intrigued in. Gripped by the image of someone looking crazy, instead of filming, she decided to recreate the moment.

"Sometimes when I see someone it goes through my head endlessly."- Gillian

For Dancing in Peckham, Gillian Wearing records herself dancing in the middle of a busy mall with no music. The film was made in 1994, the film of the performance lasting 25 minutes and passers by were either indifferent/confused. She lets herself dance freely, moving every part of her body as she pleased to music in her head.

Before the performance, Wearing practised hearing her favourite music internally and dancing in her own private space- before taking it to the public: Nirvana, Queen, Gloria Gaynor to name a couple she was internally vibing to. Some describe it as ridiculous and it’s often perceived as a social experiment too. The difficult thing about performances like this: I think I am missing a perspective so to thoroughly analyse performances I’ve researched because I didn’t experience them in real time.

Considering Wearing’s goal and from watching the film, I believe the performance was successful in creating a temporary liminal space: Gillian’s body and the performance created a ‘societal glitch’: the result of placing something that is unseen, into the seen. Also, it should be noted that even though it was in public (and that itself is enough for Wearing’s message), many passed by choosing to ignore/avoid. The lack of interaction, to a certain extent, is a societal way of making her moment dancing as private as possible: to not look even though the person evidently doesn’t mind being seen. Wearing wanted to be seen, yet these mysterious, disinterested people wanted to not see/pretend she wsn’t there, dancing, to silence, in a mall.

Even in the past, using masks (obscuring the face is a concept I found interesting for my first performance), working with identity is common in Wearing’s art.

She characterises her art as “a kind of portraiture”, questioning the nature and construction of identity- splitting and merging it.

"You don't expect to see something like that in Peckham".

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https://www.southlondongallery.org/collection/gillian-wearing-dancing-in-peckham/#:~:text=For%20Dancing%20in%20Peckham%2C%20the,between%20public%20and%20private%20experience.

https://www.youtube.com/watch?v=lQqZj7DhRzQ

https://www.theguardian.com/culture/2000/jun/03/art

https://southamptoncityartgallery.com/object/sotag-199610/#:~:text=Dancing%20in%20Peckham%20shows%20Wearing,moment%2C%20decided%20to%20recreate%20it.

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Gillian Wearing's powerful and provocative film, video and photographic works question the nature and construction of personal identity. I'm Desperate is one of a series of five photographic portraits titled Signs That Say What You Want Them To Say and Not Signs That Say What Someone Else Wants You To Say, in which members of the public revealed their private thoughts and feelings on hand-written signs. For Dancing in Peckham, the artist recorded herself dancing in a busy South London shopping centre to the bewilderment or indifference of passers-by. Wearing's intimate understanding of the language of documentation explores the gap between public and private experience. The artist was a recipient of the Turner Prize in 1997.

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Gillian Wearing, Dancing in Peckham - South London Gallery

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Gillian Wearing's powerful and provocative film, video and photographic works question the nature and construction of personal identity. I'm Desperate is one of a series of five photographic portraits titled Signs That Say What You Want Them To Say and Not Signs That Say What Someone Else Wants You To Say, in which members of the public revealed [...]

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Barbara Kruger: Untitled (Your body is a battleground)

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Barbara Kruger: Untitled (Your body is a battleground)

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Kruger is an artist well-known for her ability to utilise capitalist methods of mass media and advertisement. Untitled (Your body is a battleground) was made in 1989 in response to the US government amending reproductive laws for women. Specifically, she made this photographic silkscreen (on vinyl) for the pro-choice Women’s March in Washington to support it. It is 112 x 112inches.

It depicts a white woman’s face that has been split: left side in black and white, and the right side is a monochromatic inversion: positive and negative exposures. Three lines of text, the title split into three (lining the top, centre and bottom) of the poster produces a tabloid-like, authoritative and direct effect to the viewer. The lexis itself adds to this confrontational theme, and even though it was made for a specific cause from the past, the reproductive rights of women are, unfortunately, in constant danger and thus, the poster becomes timeless. Direct address is a theme of Kruger’s other posters, and is reminiscent of the Guerilla Girls’ posters: ‘in your face’ and factual. Kruger says:

“I like [directness]because it cuts through the grease”.

Kruger’s art encourages the viewer to consider identity as something forged by culture and as something that can be represented through language as well as image: herself, combining the two.

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“There is an accessibility to pictures and words” and Kruger also says society has learned this almost universal language of media, capitalism and advertisement. I looked into Kruger when deciding to utilise a quote that inspired Revolution within my practice and her work is a lot more direct and simple than my two part quote. As much as I agree with the effects of constantly consuming tabloid-esque language, I do not think language is universal. In my own writing practice, my lexical choices are perfect (for me) to express something, but often, what is expressed is nuanced by the reader’s own experience. While direct address in capitalism is more universal than the metaphors in my writing, the word “battleground” depicts a personal experience: the use of “Your” limits the audience to women (it’s about abortion).

If women’s bodies are the battleground, and the piece was made to catalyse change, should we not be appealing to a political, majority male audience?

Language can never be universal in my opinion, but I don’t believe it makes this poster less effective, maybe less successful.

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https://www.thebroad.org/art/barbara-kruger/untitled-your-body-battleground

https://daily.jstor.org/the-history-your-body-is-a-battleground/

https://publicdelivery.org/barbara-kruger-battleground/

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Barbara Kruger addresses media and politics in their native tongue: tabloid, sensational, authoritative, and direct. Kruger's words and images merge the commercial and art worlds; their critical resonance eviscerates cultural hierarchies - everyone and everything is for sale. The year 1989 was marked by numerous demonstrations protesting a new wave of antiabortion laws chipping away at the 1973 Roe v. Wade Supreme Court decision. Untitled (Your body is a battleground) was produced by Kruger for the Women's March on Washington in support of reproductive freedom. The woman's face, disembodied, split in positive and negative exposures, and obscured by text, marks a stark divide. This image is simultaneously art and protest. Though its origin is tied to a specific moment, the power of the work lies in the timelessness of its declaration.

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From The Broad Collection: Barbara Kruger, Untitled (Your body is a battleground), 1989, photographic silkscreen on vinyl, The Broad Art Foundation. Barbara Kruger addresses media and politics in their native tongue: tabloid, sensational, authoritative, and direct. Kruger's words and images merge the commercial and art worlds; their critical resonance eviscerates cultural hierarchies - everyone and everything is for sale.

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The Guerilla Girls are an anonymous art group that work mainly with posters, facts and humour, to educate and expose gender (and race) violence and disparity in the art world. One of their most famous posters, Do women have to be naked to get into the Met Museum? [DWHTBN?] was made in 1989 and was updated twice after (2005&2012). Using a white female body to compositionally lift up their statement &facts (who also wears their famous gorilla mask), they use direct language and statistics to nail their point. Commissioned by the Public Art Fund in New York, it was rejected for the billboard and so they put it on buses instead. In my opinion, the updated statistics in the 2005 and 2012 versions are the most-telling: successful in using art to express the rejection of women artists and the lack of urgency to change those percentages.

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One of my favourite Guerilla Girls posters is The Advantages of Being a Woman Artist [TAOBAWA]. It’s a white political poster with black text- a photo-offset lithograph on paper (431 x 560mm). Also exposing gender disparity within institutional contexts, the Guerilla girl named Frida Kahlo in an interview explained that people are more likely to accept uncomfortable facts when presented beside humour. Many of the listed ‘advantages’ in this piece are comical but true. I find this effective: it is also successful as I began using light-heartedness to connect to my audience during performance.

These two pieces explore the two main ways of creative communication: language/lexis, and image. Their tools are humour and bluntness.

Anonymity is another:

“In one way, you don’t know who we are, but it attracts attention to our cause”.

Believing that art should be about all people, not just those who have the power and facilities to afford it.

In 2016, they began operating a complaints department in the Tate Exchange space: using a wall for people to add their complaints and add it beside the others. They’ve been described as “the conscience of the art world”  (outraged by the total rejection of women’s art)

“If you can make people who disagree with you laugh, [you can] change their minds”.

The complaints board in Tate Exchange really spoke to me when it came to improving my performance: allowing other people to take up space, and as an artist, being the one holding that space.

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https://www.guerrillagirls.com/projects

https://womenshistory.si.edu/herstory/activism-art-design/object/advantages-being-woman-artist-poster-guerilla-girls

https://www.artsy.net/artwork/guerrilla-girls-guerrilla-girls-definition-of-a-hypocrite

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ACTIVIST WORK PROJECTS/POSTERS/VIDEOS EXHIBITIONS/STREET PROJECTS BOOKS CALENDAR BOOK US PRESS STORE

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Mehretu was commissioned to do a painting by sfMOMA and selected an abandoned church in Harlem to complete it. She began the painting in November 2017 after the US elections that selected Donald Trump as President, and her shock created the urgency to paint.

Mehretu explores landscape paintings from people such as Edwin Church and Thomas Cole. The artist used photoshop to combine Church’s and Bierstadt’s landscape paintings with blurred images of race riots which emerged after media coverage of the murder of people of colour in America. The sirens and flames from the riots add colour to the huge scale paintings (27ft x 32 ft). Mehretu says that this “embeds the paintings with DNA so I can respond from a deeper space”. Some of the brushes had been modified by her to achieve her goal, as well as manually operating the forklift she used to access the huge painting to create her desired brush strokes. Her medium was ink. She also used screen prints which created a ‘digital’ layer on top of the layered landscape.

Jazz musician Jason Moran was invited to the Harlem church that Mehretu used as a studio for this project- the artist wanted a jazz musician because historically, jazz was commonplace for politics and she felt it fit her theme and her expression. He found A flat to be the tone that resonated with the space of the church and ended up creating a composition that was played when viewing the paintings: the piece became a musical and visual collaboration with the intention of bringing light to upsetting political climate, turned-violent riots and innocent murders.

“actually hearing your drawing somehow, the mixture of the hand, eye and ear at the same time.”

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In an interview, Mehretu discusses how landscapes in terms of geography, reflects society: such as how annihilation and preservation can occur on the same geographical landscape.

I also began working with sound: instead of jazz, I’m inspired by the story telling and poetry of rap and wrote my own piece. I layered drums  and other sounds with my voice to experiment with expressing emotional significance with sound, alongside my performance.

Mehretu was also my inspiration to utilising a canvas fabric larger than myself- her paintings, even though thoroughly layered, used simple mark making. Using circles, simplistic but careful ink brushstrokes, these canvases were my inspiration to create my big pink ‘Revolution’ canvas (used in all my performances).

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https://www.youtube.com/watch?v=xcM3lF4Es_s

https://www.nytimes.com/2017/08/03/arts/design/julie-mehretu-san-francisco-museum-of-modern-art.html

https://art21.org/press_release/art21-enters-julie-mehretus-harlem-church-studio-to-document-a-monumental-museum-commission/

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Julie Mehretu: Politicized Landscapes | Art21 "Extended Play"

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Woman House, Judy Chicago & Miriam Schapiro

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Woman House, Judy Chicago & Miriam Schapiro

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The first major female installation Woman House is a performance and installation piece by Judy Chicago and artist Miriam Schapiro. Chicago took over a neglected building in Los Angeles, and invited 23 women (artists and students) with the intention of helping these women unlearn the patriarchy.

Chicago taught women the necessity of speaking loudly, even shaking hands: mainly teaching the “Fresno girls” how to take up space in a male-dominant field such as art.

Woman House is how Chicago and Shapiro pioneered a new pedagogy: collaborative, nonhierarchical, feminist.

The building became a space for over 20 installations/performances. From November- January, the women had a strict schedule that involved consciousness-raising sessions (every person had the space to discuss their experiences of domesticity, which was then further discussed as to how it could be used as subject matter for art). There were over 10,000 visitors.

There was many different mediums used in the installations: the menstrual room was filled with sanitary products (used and packaged), the Womb room was filled with crocheted web-like features, domestic related items such as lipsticks, shoes, pillows and performances that involve domestic labour as well as caricatures of types of women in Three Women.

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ArtReview discusses the clashes within the community/school Chicago had created- the artist wanted to introduce the women to work ethic, and sacrificed the freedom to make art whenever they wanted. ArtReview also says

“do women want to be accepted on the same terms as men – terms set by men themselves – or do they want to… create a new game?”

This is a concept I’ve been playing with in my performances: how to create a universal safe space. After the failed dancing performance, like Chicago, I used people’s creativity to form a space of permission and safety.

The piece was then taken by a filmmaker, Johana Demetrakas, and made into a documentary (giving Woman House a global audience), which led me to make a mini film as well. In my second performance, I decided to not record the performance itself (in a way to make the audience feel more comfortable), and instead recorded the making of the space and made the footage into a video overlapped by the audio I made which represented the state of my mind when I’m faced with something that causes me fear.

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https://judychicago.com/gallery/womanhouse/pr-artwork/

https://artreview.com/ar-april-2018-feature-womanhouse/

https://judychicagoportal.org/projects/womanhouse#:~:text=The%20house%20included%2021%20feminist,art%2C%E2%80%9D%20Chicago%20later%20recalled.

https://en.wikipedia.org/wiki/Womanhouse (for list of installations)

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When the studio space promised by Cal Arts to the newly founded Feminist Art Program wasn't ready at the start of the 1971-72 academic year, the teachers and students on the program decided to improvise. Between November and January, Judy Chicago, Miriam Schapiro and the young artists on their course took over a dilapidated Hollywood mansion, restored it and turned it into a collaborative workshop and gallery. The space they named Womanhouse opened to the public at end of January and was visited by 10,000 people over the next four weeks.

Womanhouse was the subject of much condescending coverage in the press, with the LA Times calling it 'cheerful and disarming as a pack of laughing schoolgirls under a porcelain sky'. It is difficult to reconcile that verdict with documentary images of the exhibition: in Judy Chicago's Menstruation Bathroom, a bin overflowed with bloody tampons; in the house's theatre, the living room, two women bearing a giant cock and oversize cunt argued over whose job it was to do the dishes ('Stu-upid, your cunt/pussy/gash/hole or whatever it is, is round like a dish. Therefore it's only right for you to wash dishes'). In one of two works collectively titled Maintenance, Sandra Orgel very slowly ironed a large sheet; later in the night Chris Rush would come out and scrub the floor. There was a 'Womb Room' (officially titled Crocheted Environment), filled with Faith Wilding's massive web of rope and yarn, and a kitchen by Robin Weltsch and Vicki Hodgetts whose walls and ceilings were dotted with stencilled fried eggs, suggestively titled Eggs to Breasts.

This combination of site-specific work, performance and installation unabashedly made women's experiences the subject of art. It was also an ambitious attempt to democratise art education and artmaking, a utopian feminist project now the inspiration for an exhibition titled Women House (perhaps to skirt the pesky accusations of essentialism that have dogged criticism of the original project), which opened at the Monnaie de Paris in late 2017 and transferred to the National Museum of Women in the Arts in Washington, DC, in March. But there were flaws in the conception of the original project that led to friction between its participants, and from today's perspective it functions as a case study of the relationship between individual artist and the collective, and of feminist collectives more generally.

'Art is social', the sociologist Howard Becker reminds us, 'a form of collective action'. This applies even in the case of artists who sign their work individually but are supported by other artists (in the form of apprentices or assistants). It is built into the very transmission of art: the workshop was for a long time the dominant educational model for young artists, in which to triumph was to make work that the older artist would sign. That history continues in the studio practice of artists such as Damien Hirst and Jeff Koons, though whether these more closely resemble educational institutions or factories is moot. The trainee artist's individual labour was understood as contributing not only to his personal advancement or the success of his master but to the renown of the atelier. Art has historically been social, and gendered: the master artist was always a he, as were his students; women were barred from the apprenticeship system. Womanhouse was an attempt to pioneer a new pedagogy: collaborative, nonhierarchical, feminist.

Some of the participants thought Chicago and Schapiro were imposing their own agenda on them; these students had come to Cal Arts to do their own work, and instead found themselves learning to use power tools to restore a house

Yet the power relations structuring the interactions within a collaborative are highly charged, and there was a fair amount of friction within Womanhouse. Some of the participants thought Chicago and Schapiro were imposing their own agenda on them; these students had come to Cal Arts to do their own work, and instead found themselves learning to use power tools to restore a house. The work was all-consuming: eight hours a day painting, plastering and wallpapering, fixing broken windows, restoring floors, building partitions. One participant, Mira Shor, would later call it 'a boot camp of feminism' in an interview with Paula Harper, the art historian who had first proposed to Chicago and Shapiro that they rent a space and turn it into a women's art project. Wilding recalled having to 'get there at 8am, work until lunch, then a meeting or CR [consciousness raising] or a big fight over lunch, then work again until everybody had to go home'. At night they would reconvene to work on the performances or to 'sew pillows for the performance space or to work on bread dough for the dining room food piece. I was never home for three months - that was Womanhouse.'

Chicago wanted to instil a work ethic in these young artists, to disabuse them of the notion that the artist enters her studio and creates masterpieces by the light of the muse. She wanted, in a word, to give her students a community

Chicago would write some of her students off as overprivileged, with no sense of the sheer manual labour it takes to be an artist or the importance of collaboration for female artists at a time when women were just starting to claim a space in the artworld. She wanted to instil a work ethic in these young artists, to disabuse them of the notion that the artist enters her studio and creates masterpieces by the light of the muse. She wanted, in a word, to give her students a community. 'A model based on work and professional learning', she said to Harper, 'can transcend the personal, which is where many women's groups get bogged down.' Where her own project got 'bogged down', she claimed, was in issues of class. Where her students in the women-only programme that Chicago had led at Fresno State College the year before were mainly working- and middle-class, the new girls, students at a private art institution, 'resented' the work they were being asked to do. 'They didn't think they should have to work regular hours. They wanted to just work when they wanted to. And they resented me. And they resented Mimi [Schapiro]. And there was a whole lot of struggle. But some of it was creative struggle.' Yet Chicago doesn't address the conflicts of interest the project provoked; a school cannot become a collective as easily as that.

For all of these frictions, Womanhouse generated important pedagogical techniques and processes that constitute valuable contributions to art education. Brainstorming took place as a group, by 'going round the circle' to build on an idea, an image, a story. The ideas for the rooms were generated this way, as the women opened up about their experiences with domesticity. The texts for the performances were drafted as a group, and while some students had their own rooms to 'decorate', others collaborated in such a way that it was not clear who had contributed what.

Chicago and Schapiro were not alone in believing it was crucially important for female artists to band together: groups like Women Artists in Revolution and the Los Angeles Council of Women Artists organised protests against their exclusion from group shows. Given that women have not been afforded the same opportunities for self-expression in the visual arts - that they have not been fostered or recognised as artists in the way that men have - they wanted to provide students with the kind of positive reinforcement and support that would enable their creativity to 'flow'.

So many hurdles to women's declaring themselves artists derive from the cultural assumption that they should be at home, performing (unpaid) domestic labour

For all that it was politically inflected and content-driven, the work has attracted more than a few charges of essentialism; given its emphasis on middle-class domesticity, Womanhouse reflected the cultural fetishisation of a particular kind of woman (probably white, probably heterosexual); it did not represent a model for all womankind. Such a project would truly be utopian; there is no one place that could ever be all homes to all women. Instead, Womanhouse employed manual labour usually coded as male in order to problematise ideas of women's labour, within the larger context of a radical art programme empowering female artists to problematise the idea of who can be an artist. So many hurdles to women's declaring themselves artists derive from the cultural assumption that they should be at home, performing (unpaid) domestic labour. Womanhouse calls this into question, not through propaganda, but through the process by which it came into being.

Far from promoting an essentialist vision of the kind of art that women make, Chicago and Schapiro built a programme that instead recognised the importance of giving women a space in which to develop a sense of themselves as artists. Schapiro wrote of hoping to teach the 'ego strength [the students] will need in order to survive as artists in our society' in a 1971 issue of Everywoman. But in this case they were asked to forego their egos in the service of the larger project, and it is understandable that the collective seemed threatening to young artists trying to define themselves in a hostile professional environment. It points to a key feminist dilemma: do women want to be accepted on the same terms as men - terms set by men themselves - or do they want to scramble the rules and create a new game? For untried, untested undergraduates, the former seemed a safer bet.

According to those who took part in it, the Feminist Art Program was trying to break down the hierarchies of traditional art pedagogy, from the atelier to the academy, and the whole value system it kept in place: in terms of professionalism, the elevation of art over craft, the distinction between popular culture and high art. But the problem with building this kind of collective in the context of an art school is that no matter how experimental the pedagogy, the teachers are still there because they have some expertise to impart to the students, who pay for the privilege. The school cannot be a true collective as long this imbalance of power exists, based on the payment of money in exchange for services.

The touring Women House exhibition, which I visited at the Monnaie de Paris, is more curator-driven than collective, featuring the work of established names like Louise Bourgeois, Nikki de Saint Phalle and Claude Cahun. Still, as I walked through it, I thought that perhaps the power of the Womanhouse concept lies not only in its collective roots, but in the interchangeability of the women who occupy it. The house itself is a potential space that women can occupy politely, the way they've been groomed to, or they can get out their power tools and rebuild it from the ground up. There's a whole history of women's artwork across media using domestic space to challenge the way we inhabit it, and the way we think about habitation in general: Francesca Woodman's Space² (1975-78), Nil Yalter's Topak Ev (1973) or Monica Bonvicini's Hausfrau Swinging (1997).

According to the descriptions on the Womanhouse website, it was the dining room that 'represented a greater collaborative effort than any other room in the house'. Beth Bachenheimer, Sherry Brody, Karen LeCoq, Robin Mitchell, Schapiro and Wilding came together to create it, sewing, painting, baking, and building a table. It seems appropriate that the most collaborative work in this collective experiment was a room celebrating conviviality, the joys of the flesh and the breaking of bread. Chicago is not credited as having been involved in this room, yet it seems a precursor to her Dinner Party (1974-79): a feast laid for a phantom group of historically important women who haven't shown up yet, but still might.
Women House is on view at the National Museum of Women in the Arts, Washington, DC, through 28 May; work by Miriam Schapiro is included in From the April 2018 issue of ArtReview Surface/Depth: The Decorative After Miriam Schapiro at The Museum of Arts and Design, New York, through 9 September 2018

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When the studio space promised by Cal Arts to the newly founded Feminist Art Program wasn't ready at the start of the 1971-72 academic year, the teachers and students on the program decided to improvise.

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This particular piece was performed in 2010. Abramovic sat unmoving on a simple wooden chair for nearly 3 months, 8 hours per day and the performance attracted over 850,000 visitors despite people’s belief that no one would want to see a performance like The Artist is Present, because of its over-simplicity. She will be remaking the performance for solidarity towards the war in Ukraine.

The performance involved audience members sitting on a chair across from the artist for a couple minutes at a time before being ushered away for the next person. It was only one person at a time and eye contact was Abramovic’s main medium in the performance. There was nothing between the members of the public and the artist. The space was open: people were free to witness the performance occurring from higher levels, looking down. Quite a few of the people who took part were brought to tears and Abramovic herself addressed these responses:

“It was [a] complete surprise… this enormous need of humans to have contact”.

There was even an audience member who chose to spend the whole day with her, “exchanging energy”.

The work was inspired by her belief that making the length of her performance so long, that she could shift the perception of time, but the outcome of the performance, and media coverage of it, is more oriented to the emotional responses. She explains that her past performances, and her meditative lifestyle, allowed for her to develop endurance. She says she couldn’t have stayed on the chair for 7-8 hours at a time otherwise.

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The performance, as well as many of her other ones, brought questions about the authenticity of art as well as inviting controversy. Her choice of clothes and use of symbolism in past performances allow for comparisons to satanism- there’s even an article and interview meant to clear up rumours where Abramovic talks about the threats and conspiracy theories her art has encouraged by the public.

Abramovic claims that the lengths of her performances are to shift the perception of time, and in an interview,

Abramovic believes “performance is about the relationship with the audience- this is our electricity” and I find this a necessary part of my own practice since beginning my journey as a performer. Eye contact became a vital part of my own performances and a fear I’m using performance, to help me overcome.

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https://www.moma.org/learn/moma_learning/marina-abramovic-marina-abramovic-the-artist-is-present-2010/#:~:text=In%202010%20at%20MoMA%2C%20Abramovi%C4%87,deeper%20engagement%20in%20the%20experience.

https://www.youtube.com/watch?v=M4so_Z9a_u0
https://www.theguardian.com/film/2012/jul/05/marina-abramovic-artist-present-review

https://www.theguardian.com/film/2012/jul/05/marina-abramovic-artist-present-review

https://publicdelivery.org/marina-abramovic-manifesto/#:~:text=This%20includes%20Marina's%20observations%20that,Artist's%20Life%20Manifesto').%E2%80%9D

https://www.newyorker.com/culture/culture-desk/marina-abramovic-the-artist-is-once-again-present

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An Art Made of Trust, Vulnerability and Connection | Marina Abramović | TED Talks

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posted on instagram by disturbance london

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Interview with Joy Yaa Kincaid on 'The Earth's Monologue' and more.

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Interview with Joy Yaa Kincaid on 'The Earth's Monologue' and more.

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“The Earth’s Monologue, how was it born?”

Inspired by Black Panther movements, spiritual leaders, and even using social media platforms as a form of communicating the need for change, they say:

“I have to bring into the world what I wanna see- I have to find a way to curate that inner space”. They spent over6 months preparing it. Kincaid was asked to be part of a residency called Disturbance in Ugly Duck (london); a trans-led space, and once seeing some of the natural disasters (e.g.floods in Pakistan), Kincaid felt that these disasters were Mother Nature’s (i.e.the black non-binary parent Earth’s) boundary. The human race has been taking from Earth, and so the performance became a space for spiritually channeling this being (who was well-versed in divine feminine self-sacrifice) to create accountability within the audience. Colonising land is one of the top causes of harming the Earth- abusing resources, taking, hurting…

As a queer POC, Kincaid inevitably understands the foundation of Earth, Mother Earth, is above confines of gender, black because humans began in Africa, and people are “running away from blackness because we can’t face ourselves”- describing blackness as a concept, not necessarily singularly describing skin (that being black is an experience including, but also above physicality).

“What is the purpose for art? Does your identity play a part of yours?”

Paraphrased, Kincaid used an example: there’s a reason why trans artists make art about transness, not just ‘pretty clouds’. People create art inspired by their experience, because art’s foundation is in being seen- trans people, POC are not seen, not heard, if art can hold space to have a concept, a belief truly seen, then art, to Kincaid, is inevitably political, inevitably anti-facist. Their identity is therefore, at least for now, involved in much/all of Kincaid’s art.

“I want to discuss the audience/artist dynamic in performance. Who is The Earth’s Monologue for? The audience on the final night was quite receptive, what if the audience isn’t?”

Kincaid begins by explaining that performance art made for the performer is not inherently “wrong/bad”, but artists must be aware of their positionality because being an artist is being seen. To Kincaid, performance, the “gift of live moment” is a privilege; Kincaid believes it would be unethical to not speak about current affairs, especially with the rise of neo-fascism:

“It’s a fucked up time”.

Curating a space for people to feel comfortable enough to interact (something I’ve been exploring in my performances) is difficult, the industry-based audience on the first night were not as interactive as the performance I witnessed.

Just being abit punk, “find the middle ground” between performer/audience, and remember: avoid depersonalisation/desensitisation, stay connected.

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Because I value creative writing as a form of art, I spoke to Pip about whether I can dedicate part of the show to creative writing that pushes boundaries. This was part of the show I wanted more autonomy over and was granted as such, and I will begin by collaborating with the writers in the DMU creative writing society. I attend myself and my plan is to be able to take over one of the evening session and dedicate it to pulling the activist out of my peers and stimulate their own creativity. This would be very successful for me in multiple ways:
Instead of crossing my fingers and hoping I will get enough random contact with creative writers- taking it into my own hands.
I get to work with a community of people, creating a safe space for people to let out anger and ask for accountability (inevitably, pushing people's boundaries involves anger and frustration, such as activism). By default, it enables healing by allowing for creativity to be the medium of release for a group of young people who have enough on their plate already.
I get to experience leadership from a place of mutual flow- structuring a workshop that allows creativity to be free but also held within a structure so it remains productive.
Exciting stuff really.

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Non-existent Paintings: creative writing workshop (2)

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Non-existent Paintings: creative writing workshop (2)

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Mary O'Neil arranged a writing workshop for art students- one that I attended discussed the existence of non-existent art. Is it possible for a piece of art to exist only within a viewer's mind? The workshop involved an activity where we had to describe a chiascuro, traditional painting by writing from the perspective of being within the painting. For example, writing about the subject's (the woman in the painting) experience that being visually depicted with the paint.

***************add my one

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"Hiya,

I was wondering if I could speak to a person/the people who organise the weekly sessions about hosting a workshop for the society. It can be a hosted event where posters can be put up, or it can be for whoever shows up on the Thursday, but I would like to be able to sit and discuss the whats, whys and hows.

In my course, I have a duty to begin developing my career as an artist and I will be curating exhibitions with a peer, (cc'ed) Pip, and I want creative writing to be part of the exhibition. Words can be taken, changed, manipulated and truthful, thus, inevitably, language is medium of art that the art world must begin to credit.

The theme of the exhibition is pushing boundaries.

I look forward to discussing this further. I am available the week of

Please contact me on lillian.ozelci@gmail.com, my university email gets spammed.

Thank you,

Lillian "

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crewSoc collaboration email response pt3

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crewSoc collaboration email response pt3

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This was the response to my first email asking for a session collaboration with the creative writing society.

"Hi Lillian

The poeple that organise the sessions are just me and the committee, we have weekly meetings on Wednesday afternoons. You'd be welcome to join us planning and run a portion of a session sometime soon.

I will bring it up to the committee this Wednesday, please let me know if you have a timeframe you need to do this within.

Hope to hear from you soon,

Bee

Secretary, Creative Writing "

I then spoke to Bee in the next creative writing session about the details. I have been invited to the next group meeting which takes place on Wednesdays.

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I had another back and forth with Bee who handles the emails etc of the society and I was invited to the chairboard's weekly meeting in Kimberlain.
I showed a draft of my powerpoint (which they didn't expect, usually when ideas are presented to them, they are expected to put together a lesson).
They really enjoyed the theme and my 'create a monster' idea, and even offered for me to hijack more sessions if I pleased so basically,I got the go ahead.
The meeting happened 2 weeks before Easter break. I had deadlines prior to Easter, and i didn't want the session to be straight after Easter in case some students hadn't travelled back to Leicester after spending the holidays at home. 27th April was appropriately chosen.

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i'm not 100% sure if the powerpoint is accessible in this format. please contact me on my uni email if there are any issues during marking, i can email it to whoever.

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reflection of hijacked crewSOC session pt5

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reflection of hijacked crewSOC session pt5

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About 5-6 people attended the session (even with Bee's mass email and my own pushing on the group chat) but I remained hopeful (quality over quantity and that).
I took part in the session myself.
For my language analysis slide (where i used one of my own pieces as a basis to discuss what words mean for different people), every person spoke- one person even felt comfortable enough to share that they didn't like the piece (i withheld the fact it was my own writing) because it was too complicated/too metaphorical.
For making the monster, one person ended up writing quite a thrilling beginning to a story, another wrote a few sentences i would describe as a short poem. The rest did not share.
The final section which involved an interaction with the monster they made, one person continued the story (inspired by the work made so far) and strayed from the monster interaction, choosing to build on the monster, I did the same, taking inspiration from Pip's monster, and another person rejected writing completely and drew a picture with their pen and paper (they did not feel comfortable with me taking a photo so the beautiful piece is a mystery to you all unfortunately).

I also wanted to reflect on myself as the person leading the workshop. I think I did well with getting people who didn't want to talk to share, but not pushing to the point of awkwardness, though for the language analysis slide, I think in future workshops, I should grab the reins a little more and be a more foundational guide- maybe leading them with an analysis of my own and even questioning their own images and assumptions a little more.
Overall, while I think I may have to personally track down pieces from each individual, I'm really grateful that I did it and I think I can build on this in the future. I certainly enjoyed leading others into places of creativity.

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This year, I began taking my art instagram more seriously after Hugo's talk discussed the necessity of a social media presence. It's still not where I'd like it to be- I'm not very good at consistently using socials since I've been keeping distance from them for personal headspace, but it is a working progress.
see @scorpiocalledlilian

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To whom this may concern,

As a Fine art student at DMU, I am working with my peer Pip Tomlins (cc'ed) to put on an art exhibition, and we are interested in using the space downstairs in the Leicester Adult Education Centre. I've seen the space used as an exhibition space before and I believe the space is perfect for our vision. We plan to show the exhibition in October 2023. We would love to show the work for between 1-6 weeks, but these details are open for change- I want our collaboration to be comfortable and aligned with your regulations and expectations.

Please contact me to let me know what requirements are needed of us to be able to use the space. I will be hosting a Creative writing workshop in my university and I'd love to bring this to the Centre to help give to the community in a more fun and engaging way.

The theme of the exhibition is "Pushing Boundaries". I wish to create a space that is safe for artists to exhibit (to have a voice at a time where media censorship) and we have commissioned up to 5 artists who will show. I understand that the public has full access to the space and so we must take into consideration how to manage the space accordingly. Some of the art shown will handle sensitive topics and so Pip and I visited the space last week to discuss how we could manage and curate the space accordingly. Any art considered by us, and you, to be sensitive will not be able to be seen from the stairs, and we plan to use the wall facing the stairs to hold warning signs for each topic to discuss. We want the space to be safe. We also understand that language may be a barrier, and so I think it would be beneficial to discuss the languages that are spoken by visitors in order to cater for them- the last thing we want is for somebody to witness something they wouldn't have bothered with because we made the mistake of assuming every visitor spoke 'enough' English.

The exhibition proposal is attached. Do let me know if there is anything else that may be needed in order to further discuss details and make any confirmations.

Thank you for your time,

Lillian Ozelci
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Sent to Pip for additions

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Dan said there is a danger of being off-putting if the email is too long. He proposed it would be easier if we met the people who will be involved in its organisation instead. I will be sending this through and following through with this after the deadline.
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To whom this may concern,

As a Fine art student at DMU, I am working with my peer Pip Tomlins (cc'ed) to put on an art exhibition, and we are interested in using the space downstairs in the Leicester Adult Education Centre. I've seen the space used as an exhibition space before and I believe the space is perfect for our vision. We plan to show the exhibition in October 2023. We would love to show the work for between 1-6 weeks, but these details are open for change- I want our collaboration to be comfortable and aligned with your regulations and expectations.

Please contact me to let me know what requirements are needed of us to be able to use the space. I will be hosting a Creative writing workshop in my university and I'd love to bring this to the Centre to help give to the community in a more fun and engaging way.

We both would love to have a conversation about our vision for the exhibition. Contact me if you need any further information and please let me know when we can come in and speak about it all

Thank you for your time,

Lillian Ozelci

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what we want- maximum 3 separate pieces, depending on size and the space we choose, we will select
plus the form of info

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DONE-leic adult centre viewing: together

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DONE-leic adult centre viewing: together

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would we be able to protect the space creatively?

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hv they done?

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For the performance, the canvas became a sort of altar- it became a reminder of the necessity of love, of togetherness in Revolution. By using the negative spaces within the word Revolution, the art speaks to the spaces between each other that get neglected. The canvas became a place holder for this reminder.
While I enjoy the almost religious nature of my idea, I'd like the idea that it can be a banner- to be taken to every workshop I do- to anything that I do as a result of my practice (this is inspired by Woman House ). The canvas becomes almost a logo if it was to be used in this way

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Here is a stream of consciousness about my thoughts on the performance:
The camera placement limited the movement of the people who watched the performance (and I didn't notice it until I spoke to them).
When watching the performance recording, I noticed how standoffish I looked, but during the performance I felt completely different to how I looked. This made me realise something. That while the obstruction of my face with the weave veil made me feel safer and more protected, it became the thing that made me cold, more unapproachable. I've been wearing large sunglasses in my free time with the same thought process as the veil- can't see my eyes, I feel better. And just like the veil, people are less inclined to speak to me but are more inclined to look. Making my fear of vulnerability into art showed the inevitable effects of vulnerability- it creates a wall. This is the opposite of my goal. I do not want a fear of connection, in fact I created the mask so I could create connection (hence why I took it off while facing the 'altar of Revolution'

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i don't want to have a mask anymore but i wish to continue weaving soooo...
make a weave using particular threads bc of how they speak to me- and making drawings with the yarn that i pick which would depict how the yarn is related to me and what it express for me- this way, i can weave however i want, whenever i want, and each finished weave does not have to be anything, it can just exist and have it's meaning in the context and in my experience of yarn, texture and colour.

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After watching Joy's performance, I began heavily valuing the artist's body and voice. The energy of the room after the performances was magnificent- it was the most spiritually present many of the viewers in the Ugly Duck felt in a long time, or ever. This began my journey in wanting to experiment with performance as a medium.

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after cutting out the shapes, i arranged the shapes until they resembled freedom and strength- the composition mimics the general shape of someone's fist in the air (a known symbol of Revolution, more recently seen in imagery for the BLM movement.

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inspired by Mary's writing workshop hosted by Chris? from the drawing studio

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I thought the studio lasted longer than a week so I visited once it was finished, but it was still interesting and inspiring to see creativity in fashion. see the other pictures for more

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second home

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learning how to make clothing was a possibility to me so i ventured into the fashion departments and saw loads of different textures that made me happy to interact with.

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separating myself from my image became key as I delved into performance: especially for my dancing performance.

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I used the weave i made during the weaving induction: after the induction, i continued learning and discovered lace weaving. This allowed for visual obstruction, but enough holes in the piece to see through enough to walk safely.
The wire was aluminium and a huge pain to weld together. In fact, Morgan had to bring out and use equipment he couldn't even induct me in because he was not aquinted with it enough.
update: i ended up rejecting the mask after my first performance. after watching the footage of the performance, I witnessed myself coming across as disconnected. Even though, internally, i felt safe enough to connect, i found it unsuccessful when it came to connecting with others. I still like the idea and the way it holds shape behind my head, but for this project, the veil has been abandoned.

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the history and foundation of graffiti gives spray paint a nuance when it’s perceived. there’s an energy of disturbance coming from a place of self belief.
believing in your morals more than the government or anyone who plays the devil’s advocate.
id like to harness this energy with my canvas (i did not have the time to experiment with this before my crit so i won’t hear about it yet but it’ll be good to hear what will be said about the simple canvas print.
Also im obsessed with the space created my spray painting over a paper loosely stuck to the wall.
update: i couldn't get health and safety permission to spray paint indoors in my performance (and it was winter, there's no way i'm going to do anythig outside in these biblical colds), but for my second performance, i used spray paint on the other side of my large canvas writing "vibe with me ;) "

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contents of the open studio hosted by the fashion department 

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inspired me to look into campaigning and propaganda posters etc

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atrium gallery opening- scandal ‘63 revisited

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atrium gallery opening- scandal ‘63 revisited

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the roughness and colour and movement in this was striking to me.

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i wanted to keep my background pretty simple and see the effect of simplicity with colour- the opposite of the symphonies of colour i used in the first semester with my print practice. in the video i am sketching out the revolution ‘symbol’ or sorts to paint.

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finally able to begin my canvas. i’m inspired by spreading the energy of revolution and teaching about achieving it- achieving it on an individual level so that it can be carried by each person within a community/society.

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using lacework and a loom

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Nathan in third year organised a talk with Hugo who is a curator for The Gallery in DMU during enhancement week. He spoke about how important writing and communication was in the curation scene.
Hugo was more focused on curation as a career rather that  curating individual projects, but the knowledge was still valuable.
Socialising and finding ways to make connections with interested people, going to other talks and talking to people as well as other opening nights to collect interested individuals. He spoke about the necessity in catering a show to the present moment e.g. political climate, because it is what attracts media and media is eyes. With the correct choice of artists, I think this works in favour with my theme. He spoke about funding: basically either get a part time job as a curator so you have a foundational earning, but also speak to Dan Kelly who knows more about the funding opportunities for such situations.

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My 1st semester crit highlighted my interest in curation and how much I valued it as a practice for any piece of art. Thus, I began exploring curation as an option for my professional project.
I spoke to Marco about my first steps- his advice was to create a plan that represented the 'best case' scenario for my show.
My theme is Pushing Boundaries. Since the beginning of this course, I've noticed the fear many of my peers have toward controversial subjects that push boundaries, some even hold fear to push their own boundaries. I very heavily value boundaries (and the breaking of them) in my journey as an artist. I want to create space for the action of pushing boundaries- a space that exposes the public/viewers to people who can and do push boundaries.
I would like an open space, quite like Two Queens, where there can be art interacting each other from a distance. Each piece having its own space to be contemplated.
Performance is the medium that pushes the most boundaries in art (I believe it's related to the disconnection that millenials and Gen-Z experience as a result of social media and the rise of the importance of online presence, not physical presence), so I'd love to be able to curate a space that experiences performance (simultaneously surrounded by stationary and physical art). Thus, the space would have to be able to have the floor space/plan to be able to host a performance.
Hopefully, the performance would be my own, if not, I would like to ask for Joy Kincaid (they/them) to perform The Earth's Monologue.
Number of artists: around 7 (excluding performance).
The performance would be scheduled about an hour after the opening (whenever I think there will be the most people/whenever would be most conviniant for the public but this depends on the day and whether the exhibition would be a day, or shown long term).

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piece of paper hung with masking tape on the wall, spray painting my name over it like the guy in 3rd heard graffiti, and when i’m done with the performance ripping it off and underneath it’s “The End” painted

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I was interested in my options for clothing- what I was to wear for my performance and why; what I'm interested in in terms of fabric and clothes and how clothes can make you subconsciously hold yourself differently. I've completed maybe about 10 inches of the weave that was to behave as hair but I've prioritised making the weave for my mask as crit szn approaches. I wanted to know my options and what was available to me in DMU. I went to speak to fashion about overlocking to see if I could manipulate the width and shape of a weave. The elitist experience of fashion was intriguing and I ended up finding Jo in contour. I was presented with the idea of calico (to stick the lose ends of the weave to a fabric to hold it together) but this would decrease the movement of the weave even further than its criss-cross foundation. Overlocking is possible but seemingly difficult and undesirable according to weaving technician, Claire. My best bet is creating a notation that supports a shaped structure (eg a point/diamond within the length of the weave) and not finishing the weave there but finishing on weave that covers the whole width of the loom.
Jo confirmed that if I go to contour at 9am on any day, I can be inducted by her.

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a beautiful exhibition that exposed a powerful knowledge, both of history and of self within the collective. so many textures and colours and a clear dedicated and perfected process. His discussion of the effects of the Empire is an inspiration to me.
assunta type one here- analyse this show until 400 words, ask Shaz for his statement too

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I wanted the experience of being able to select pieces of art specifically to compliment each other so i chose a theme for our exhibition.
"Push My Boundaries"
Whether it be politically, through identity and life experience, or through medium, images or words, I've noticed how many people are scared to be confronted- even if what is being confronted is in their own minds (only stimulated/created by the art).
As a first guess baseline for the number of art pieces, we both decided on around 7 but it depends on the space we manage to book and the pieces of art themselves.
We've made a mental note that we may have to make sure the space can accommodate things projected or video, but again, this conversation will continue after we find the space.
We've made a note to not book an exhibition space near assessment times because of the inconvenience.
The best case scenario, on opening night, there will be a performance, some alcohol, and maybe snacks if anyone is up for making some. Hollie has reached out and said they're willing to help with documents like liquor license, other health and safety stuff because of their experience hosting for other companies.
Basically, most other decisions to make (such as when we put up posters, when the date should be, how many people etc) cannot be decided until we know the space we will be occupying for the show. This is the immediate next step.

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It was during the first semester that I realise how much I valued curation- mainly through my own curating of my work for crits and assessments. It helped me fully see how much of an effect environment has on the viewers perception of a piece of art. I spent most of the first semester asking questions to people in order to have as much information as possible before starting.

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learning that I could be in a position to have my art sold was a very confronting fact. Being exposed to the opportunity to sell my work made me finally identify what was holding my art back- I felt like an imposter.
In order to give my art to be sold, I must believe it holds value outside of my own reality- that my art was valid even though my process does not feel natural yet.
This brought about a certain motivation- to find mediums that allows my creativity to come through as authentically as possible. Find the art sweet spot. Not so much so a 'sweet spot', but finding the medium that helps me flow in that state-of-chaos-art-making. I will not know until i try. So this semester, I really want to be authentically me, so I can find myself through my art- through my own eyes, and yours (because i am part of a collective).

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I wish to conduct some primary research and see how people desire life, so I can attempt to interact with different people's desires and fantasies with my art. It take a a certain amount of self awareness to KNOW what you want, and what you want says a lot about you. That interaction is an exchange of neutral information based on an individual's current reality.
What makes living delicious?
What will truly fuel your soul?

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i wish to branch into photography and really learn/confront what i look at and what I want to look at and study visually.
And why.

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the warp exposure looks like rain droplets!! so fluid

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what i made after the weaving induction from Mary! I loved how the warp yarn interacted with the yarns i chose with this particular notation. winding the bobbin is such a beautiful process to me, and working with textiles has created such a desirable textural experience for me. I am contemplating making this medium the medium i learn the deepest. Bc of how much experimenting I will be doing this semester, inspired by Chicago's "The Dinner Party"'s china plates, I wish to learn to perfect a craft to the best of my abilities. Weaving may well be my choice.

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a study of bones i done at college in 2020

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this was a powerful moment for me because i realised the power in my concentration, and when I saw this, I was inspired to make art where I concentrate. I have a low attention span and I'm impatient to see results, so seeing these primary and secondary drawings of mine was inspiring.

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a space where one can interact with their mind and with spirit; using the language of oil-based monoprint and screen prints to create a meditative, contemplative space.

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hoping to find something about the psychology behind interpreting the art- us it a universal truth image or is it solely a societal consequence

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idea generation: monoprint- figure with a wand

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the plate for a monoprint: figure with wand

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idea generation: leftover colours i made on a roller

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leftover colours i made on a roller: loved the colour and composition

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the empress: monoprint

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colour and composition experiment for death card

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I ant to push my wn boundaries and i realised while trying to photogrpah the Night sky, that my phone camera reflected twice and I really enjoyed the results.