I would like to separately highlight several global projects that I continue to work on and that were born during this course.
This is, first of all, a project for a temporary wall installation called “Temporary Life”. At the moment, 4 panels are already ready, but the project has started to develop in a direction I didn’t plan.
To put it simply, the project began to tell me where it wanted to develop and «who» it wanted to be.
I completely changed the original approach to the place of implementation of this work.
Now I am looking for a place that would enter into a dialogue with newspapers, the temporality of the installation and the visual message as a whole. I assume it must be a construction site or, ideally, something old and falling apart that is suitable for renovation.
This work highlights the temporality and ephemeral nature of art and information. The large scale highlights the influence of mass media and the overwhelming presence of information in our lives. I want to accompany the installation itself with a QR code describing the theory of the project, but briefly, without complex matters.
For viewers, the changing colours from different perspectives will create a dynamic experience. But the final colour will be chosen when I have decided on the final installation location.
The next discovery I made through the glamorous coating experiment I want to implement in a series of sculptures and wall works. I am fascinated by how pop art, glossy superficiality and high-cost techniques, begin to communicate with simple working materials from a construction store or even trash from my studio.
AI generated ideas
This juxtaposition of materials and techniques opens up a wide field for interpretation.
Working on my essay gave me confidence, firstly, in what and how I do, and secondly, it forced me to reconsider my attitude towards synaesthesia. That's why I had the idea to collaborate with a chef from a restaurant who would share my passion for creating an art object on a plate that could be perceived, including through taste buds.
My inspiration came from my color sensations from the taste of foie gras in 2018 and chocolate in 2023. The color of the impression was the same, so I thought about the possibility that these products would be combined.
In addition, throughout this year I attended lectures at the "Art in Conversation seminars on synaesthesia in art" and one of them particularly impressed me. https://artinconversation.wp.st-andrews.ac.uk/art-and-synaesthesia/
Art in Conversation: Synaesthesia and Cuisine
This lecture covered many aspects of taste synaesthesia, and one point in particular caught my attention was how synesthetes work with professional chefs to create multisensory food.
Additionally, while researching for my essay, I came across a chef Gaggan Anand who has given a mind-blowing challenge to the culture of haute cuisine.
Gaggan Anand “Lick it Up” staple dish Available at: https://www.instagram.com/gaggan_anand/p/CbbltSULHev/?img_index=6 (Accessed 06.06.2022)
And in the previous course for OCA, I even tried to go via my experience of three Michelin restaurant stars fine dining and the ethics of people who support the war.
Aesthetics – fine dining. Can art and the beautiful turn down aggression? https://www.marinawittemann.com/post/reflections-i-can-think-taste-christian-bau
But I think I wasn't ready to combine those ideas at that time. Now I have a plan.
In addition, I am starting a collaboration with a new gallery in Stuttgart, Germany. And I am given the opportunity to realize several non-standard projects. One of which is the involvement of an old telephone booth in an art object. And this is very exciting and requires a lot of preparation, which I am eager to begin.
At the moment my thoughts are moving in the direction of Phillipa Barlow's anti-sculptural approach. Still, as I have already realized with the current large project - it is necessary to prepare better and more accurately and be ready for non-standard development when implementing the first work of such a scale.
Phyllida Barlow, installation view of “glimpse,” with undercover ii, 2020. Photo: Zak Kelley, © Phyllida Barlow, Courtesy the artist and Hauser & Wirth [online] At: https://sculpturemagazine.art/phyllida-barlow-5/ (Accessed 28.02.2023)
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