BRIEF REFLECTIONS ON THE VISUAL ESSAY My intention with the visual essay was to create a tour of my virtual gallery space, adapting the lexicon and attitude of the art institution to create a medium for challenging its traditions. My script went through a number of revisions and I feel I was able to achieve… Continue reading 2-10: VISUAL ESSAY
Month: May 2021
2-9: WRITTEN COMPONENT 4
HOW HAS YOUR ORIGINAL POSITION CHANGED AS A RESULT OF YOUR FURTHER WORK? Whilst my personal belief in my original position has not dramatically changed, through iteration I have allowed the work to carry on in a direction that engages with it only as a part of a set of wider ideas, rather than being… Continue reading 2-9: WRITTEN COMPONENT 4
2-8: WRITTEN COMPONENT 3
[PROMPT: Where else—whether in a piece of writing that you find outside of the reading list, or in someone else’s creative practice—can you find evidence of a similar or opposing position?] I looked to the work of artist Lawrence Lek initially as a point of reference for the utilisation and presentation of ideas through virtual… Continue reading 2-8: WRITTEN COMPONENT 3
2-7: WRITTEN COMPONENT 2
[PROMPT: How are positions most effectively developed and demonstrated? Discuss this in relation to a creative practice or text. Then explain how this has helped you think about developing your own emerging position.] American performance artist Andrea Fraser is considered something of a luminary of a so-called second generation in the Institutional Critique movement. Her… Continue reading 2-7: WRITTEN COMPONENT 2
2-6: HETEROTOPIAS IN SEQUENCE
Each of the rooms of my gallery simulation are designed in isolation. In a sense, they are wholly individual ‘worlds’, connected only through the game’s mechanics — passing through a ‘door’ will bring the viewer to another, randomly selected room, with no repeats occurring until every room has been viewed at least once. Each iteration… Continue reading 2-6: HETEROTOPIAS IN SEQUENCE
2-5: GAME WORLDS AS PARTICIPATORY SPACES
In previous writings I alluded to a case for the video game or simulation to be considered a unique form of artwork in that the medium is detached in some way from lived experience (see 2-3). This is not to discount the medium’s ability to bring together art and life, as the likes of composer… Continue reading 2-5: GAME WORLDS AS PARTICIPATORY SPACES
2-4: DIGITAL HETEROTOPIAS
RE-CREATION / MODIFICATION The next stage of my project began with the creation of a 3D model of a single-storey gallery building. Void of any contents, patrons or other components related to the gallery experience, it was intended as a purely ‘physical’ means to an end for virtually simulating the rules of a ‘white cube’… Continue reading 2-4: DIGITAL HETEROTOPIAS
2-3: EMBRACE OF SEPARATION
I began my visual experimentation process by constructing a simple 3D environment in Unity; white forms against an impossible sky, in a composition vaguely resembling a series of rooms. A viewer or ‘player’ is able to move through the rooms and observe them from a first-person perspective; each contains different objects, ranging from simple shapes… Continue reading 2-3: EMBRACE OF SEPARATION
2-2: BETWEEN ART AND SPACE
BETWEEN ART AND SPACE Six transparent glass panels, held together by a reflective stainless steel border, sat under heavy light atop a pedestal in a white-walled, laminate-floored room in a campus gallery building at the University of California Irvine. In the September of 2018 I spent eight hours with the glass cube; an untitled 1972… Continue reading 2-2: BETWEEN ART AND SPACE