I have checked out some of the artists Robert has suggested. Ron Athey Gifts of the Spirit on you tube
and Gina talked about Jo Spence
I remembered Marina Abramovic advice to the artist
so. the latest thoughts.
Under the skin. 17/01/2014
Personal to the general
· Set up easel with large board and paper at one end of room
· The Audience sit either side of long catwalk
· Perhaps a frame around the easel area so the performance is within a pros arch.
· With other frames at intervals along the catwalk.
· Lighting is by lamps.
· It has the atmosphere of a Vermeer or Rembrandt.
· Perhaps the paper is the window and I am the figure that appears in my paintings.
· The light is off I talk in the dark.
The drawing begins,
· Empty paper, using charcoal outline of a figure, child like, a face.
· Wiped away,
· Charcoal creates shadows over the page, large areas of dark and light that is rubbed in with a cloth, perhaps a diaper.
· Rubbing a form emerges, is rubbed away, different figure shapes are tried, responding to my mood and the room sounds.
Now I need to look at outside influences, fashion, independence, society’s expectations.
· Do I use props, slides, film, sounds?
· The drawing responds.
· I explore facets of identity using make up and costume.
I am ageing. At some point I depict pregnancy, hope, loss,
Now I am pregnant again. The one is two, independence has a constraint.
· I think I shall use balls of string, perhaps dyed as the children.
· One can fit in the hand
· Two needs two hands, how do I now draw? I have to support them, leave them etc.
· Three is difficult.
The drawing and the manipulation continue. Now the drawing becomes a woman.
· The balls become entangled. At some point I use a woven basket to carry them all in. as the individuals become a unit.
· Now the self restraints start to be a web.
· I use the strings which I attach to the frames to create actual barriers that I have to move to get to the drawing. (I may construct the frames at this point using gazebo poles.
· When I have made a doorway I may explore strings that are more conceptual, made of light and sounds to make continued barriers.
How do I show my perceptions of society’s expectations of women and mothers? Which barriers are real and which self imposed. Film, slides, make up, costumes?
· At some point I remove the string, only the conceptual string remain.
· I explore a kind of freedom; I explore costumes and identity again.
· The drawing comes to some sort of conclusion but remains unfinished. Perhaps I wipe it all away so none remains; perhaps I just rub out some areas.