• is there a need to differentiate 'Co-art' and 'collaboration'?- regardless if the works produced display clear separations of artist's individualism or involves 'anti-compromise' processes, the art is still a 'collaboration' of skill to come to a final outcome.

• i believe the speculated need to subcategories is due to consumerism. - where value is placed above process, a more enriching experience for the artists being overlooked in place of materialistic value. - Aesthetics over journey

• For example, Andy Warhol and Basquiat's collab in 1985 at Tong Shafrazi Gallery showed clear separations between the artists participation to the paintings. Ronnie Cutrone states 'Basquiat thought that he needed Andy's celebrity, and Andy thought he needed Basquiat's new blood'.- C-art- outcome over process

• needing what the other lacks doesn't diminish need to collaborate but suggests being labelled as co-art is when the collaboration is done so in a manner where outcome is goal

• Contrastingly, Marina Abramovic and Ulay refer to themselves as 'parts of a two headed body' named, 'The Other'.

• rejecting individualism in this manner shows that process is valued over outcome. - experimenting with limits and bonds

• is the attempt to push the category of 'co-art' to place higher/equal value on it - becoming a movement

• audience, opinion, value

• a side effect of traditional values?= 'no painter may put his hand to the brush other than Piero himself, thus attributing symbolic value to Piero's genius, raising it far above the skill of any of his studio artists.'

• " Still only Ruben's signature could authenticate a work produced by his studio."

His works are a mesmerizing display of a contemporary society, suggesting themes of overpopulation and industrialism through fantasy-like excesses of pencil drawn, stacked towers filled with unconventional shapes.

His work above in particular fed the desire to make something stacked in excess and my research, and collective conversations thus far have solidified the want to make a fantasy world of some kind.

I really liked the presentation of her 'Osedax' project and how the subtle hums of animation are ever present in her works. I really like how she portrays narratives in this film work through image based story telling. Pathways and movement are created in unconventional ways working materially. I am also fond of the space she chose to project her films. Simple yet effective, the dark room with the fading in projections mimic the essence of the depths of the sea where this narrative takes place. Exploring ecology and materializing bodies of thought, Ellen's work served as great inspiration for my on site show project.

His website reads:

'Since i was a child , i like to create and invent. I like to express myself with all possible media drawing, painting, video, sculpture, video games, and by all possible means. I am passionate about History, Biology, Philosophy, psychology. I like to understand the world around me, but i also like imaginary universes that allow me to escape reality. I imagine worlds populated by strange esoteric creatures and infernal machines. I am fascinated by insects, because they make me dream.'

I was absolutely mesmerized by his sculpture above, i followed along with his construction journey posted to social media, with both the intricacy of the piece and moments of unfavorable weather conditions it took Francois many many months to make. Both his concept and relationship with the work was inspiring to me. I liked the idea of also creating a new land and tapping into a childlike mindset to generate new ideas, unconventional structures and characters. Watching the way he created with such enthusiasm and zero pressure felt like the relief i needed to feel a part of the work.

. lots of floor space for our installation

. affordable/ free

. public/ local/ family friendly

. not too busy - safe from tripping hazards/ navigating around the work

. easy to transport the work- fragile/ could easily tumble down and break

I had done a few doodles about being under the sea, i think i must have felt i needed to be somewhere that was my own. I had read somewhere that axolotls have something called neoteny, where they don't naturally go through metamorphosis so they can stay like their young selves forever. I felt like i missed out on some of my childhood and so sometimes wish to go back and live it.

• fantasy
• imagination
• childhood
• play
• collective
• world building
• immersive
• story telling
• sculptural
• material

• VFDalston Opencall

• Springfield Park cafe

• Woodberry Downs/ Wetlands Colehouse Cafe

A cat named Penny living in a desensitized, unstable world has to find a new job after she gets fired in order to make her dad proud.

This had a really great storyline and the angle everything was drawn in really helps portray those feelings of depression, disassociation, and anxiety that penny was feeling.

I was surprisingly happy with simplicity of the plain black fabric however i knew i wanted something slightly more to add to the presentation and make it feel more immersive. 

This current project delves into my personal transition to adulthood. Unpacking suppressed feelings by revisiting significant places from my childhood, documenting them in a video diary manner and reflecting on my feelings about home and childhood through drawing, journaling, and poetry. Building off of this, using recycled materials, pencils, paints, and inks, I materialized bodies of thought in a playful, abstract looping animation, detailing my desire to escape to another place. The ocean themed film is a metaphor for my craving to sink to the bottom of the sea, to be alone, experience quietness, stillness, and to feel weightless from personal struggles, responsibility and once again feel that sense of security you have as a kid.