Thursday, 12 December 2013

Transitions 4, 2013

Transitions 4

I turned up just as staff put up the 'Open' sign but the artists were a little later.
Upstairs the room looked a bit sparse and the two artists did not say anything to me, but were happy to talk when I began. It seems they aim to link their work by Saturday but so far there is a big space between them so it's hard to imagine. They are both on the BA at Falmouth and it's as if what they might do in their spaces there has been done in this huge gallery space instead so that the public can see, rather like the tv program,' What do artists do all day'.

 Emily Ross describes it as getting out of the confines if the studio, but of course the footfall here is not very large, makes me think how nice if they could be found space at a supermarket, which I suppose is very unlikely.

Emily has been drawing round and round starting from the inside and previously from the outside, as a performance and trying to be fully present in the moment.

Rhys Morgan has been typing on an old typewriter  and videoing it to a tv monitor and has blue velvet playing as soundtrack to 'Death in Venice' and an attractive writers brass lamp. It's something about the image if a writer.

To me it's fairly obscure and also in several days I think they could have done a great deal more, but I am a lot older and tend to work fast in case my time runs out.

There is no concession to the viewer, such as not putting unclear type on the floor too far away to be read easily, or putting some 
handwritten notes too high up on the wall for me, at 5 foot  two.
The blurb in the leaflet mentions appropriation, juxtaposition,the subconscious and volatility in a paragraph which seems to touch a few bases whilst not making anything clear.

Downstairs I encounter Rob Gawthrop and son? who is helping, and a room strewn with sound equipment and musical instruments, a violin, cow bells, cymbals etc. Rob has explained in the leaflet that he will be performing using noises from the beach and it's unfortunate that I am here several hours before the performance, which I imagine will be fun and wish I could hear. It takes me back to the sixties, art college experiments etc. which is apt as Rob teaches at Falmouth.

It's using the immediate environment outside and makes me want to try it too, but the sight of acres if electric cable and leads with different ends and microphones reminds me of happy days playing in a room at Falmouth myself with my film of Porthmeor, having spent several days out in bad weather struggling with a giant camera they lent me.

So, that's it, four weeks of various beginnings and now I want something finished, maybe Andrew Lanyon's show at Falmouth municipal gallery.

Even better would be if all these artists from this years' transitions came back with finished pieces a year or so later.

Maybe the audience for these transitions events could feedback online and the artists reply with feedback on the feedback. I believe film makers such as Woody Allen show a film in progress to audiences and react by making changes if things are reported as unclear, unbelievable, not funny etc. , but do these artists really seek any feedback, do they care if the audience can understand the work ? Do some of them  to my mind hide behind saying they don't seek to be explicit and it's up to the audience to interpret as they wish?

I always want to be clear and understood and like feedback.
What about some feedback on my blog here? Is anyone reading it beyond the three or four I am aware of?

1 comment:

  1. Yes, Mary, I do read your posts ... and I love how your insightful comments connect with your own experience as an artist. Your writing is both thought-provoking and entertaining. I look forward to more! - Helen