I talked about how my Memory House came to be: Ben’s comment that I
should isolate parts of my images & blow them up, and Molly’s comment that
I should take pieces from my images and reconstruct them into one larger
2-dimensional house image. I got
thinking about Cornelia Parker’s Hanging
Fire sculpture at the ICA, and I became fascinated by the idea of making my
shredded imagery “float” in space.
(“Shred” was how I saw it in my mind – I think Ben & Molly were
thinking of cleaner boarders.) DT
told me to think about the words “isolate” and “attach”. She also said that what Ben said &
what Molly said are two different things.
Ben told me to “isolate” because there was too much going on in my
images. And now I’ve isolated, but
put them back together in a format where there is really way too much going
on. DT asked why am I doing
this? She asked if am I reacting to
Ben & Molly’s comments, or am I thinking and investigating? I need to look at how I make decisions. She also asked me to try to answer what
is hitting me about the word “isolate”. Why am I doing what I’m doing? But she also said to be careful not to
let the thought process guide the work.
Have intuition steer the work, and then step back and try to understand
it objectively.
DT said “process” and “place” are both very important in my work. She said my work is both material
driven and location driven. She
said I seem to be trying to make something that can be seen only through a
particular way of working. She
said I seem to work intuitively, but I need to look at how I make decisions. DT suggested I take some scraps of
chicken wire and make small samples of various imagery attachment methods. I shouldn’t think about a finished
product, but rather delve into the investigation of materials and attachments
and what the various results convey.
DT said she looks at my Memory House and thinks that it is not going to
just exist as an object, but that something will happen to it. She said I like to create a situation
and a spectacle and document it. She said I take objects and turn their
presence from “is” to “was”. And
she wondered if this was a “fact”, or a “fiction”. She said I seem to be bumbling down the road to dissatisfaction,
and that I am trying to see something I haven’t seen before. She said I again that should think
about “absence” and “isolation”.
DT suggested I look at the Situationists, like Guy Debord. And I should read Lucy Lippard. She said my process reminds her of psychogeography. And my next paper should be trying to
dig down deep into the “whys” of what I’m doing with my work.
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