Introduction. What are my expectations of the last part?
Reflecting on my current practice and artistic journey, I find that the material and technical aspects of my process have evolved through a combination of personal research, experimentation with unconventional materials, and an ongoing focus on socio-political themes. My primary materials - newspapers, debris, and found objects—reflect my deep interest in temporality, fragility, and the role of media in shaping perception. I’ve also employed a range of media including installation, sculpture, video, and photography.
This too shall pass, 2024, paint, recycled newspapers, screws, metal grid, сhipboard, acrylic, fixatives, wood, 87 x 85 x 10 cm.
Temporary Permanence, 2024, recycled newspapers, acrylic, water-based fixatives on metal grid, wood. 1 panel = 245 x 116 x 10 cm., 245 x 696 x 10 cm.
Fragmented Perspectives (Temporary Permanence), 2024, Inkjet print on fine art paper - fuji crystal archive shiny, profile 20 mm (maple white), glass (shiny), passpartout 3 cm. Natural white (external dimensions: 103 x 79.7 cm), 79,7 x 103 x 2 cm.
Fragmented Perspectives (Temporary Permanence), 2024, Inkjet prints on fine art paper
Vaporform, 2024, acrylic, newspapers, burlap, screws, cardboard, metal grid, сhipboard, paint, fixatives, wood, 68 x 48 x 8 cm.
In Sheep's Clothing, 2024, recycled wood, fur; acrylic paint, screws, 59 x 33 x 35 cm.
“Temporary Permanence”, which will be part of this course, embodies these ideas as it highlights the transience of both life and the constructed narrative of media.
(The biggest technical part of this project was developed and created during the previous OCA courses, but the project itself was implemented later. Therefore, it was not included in the official assessment of the last two courses - Fine Art 3 Advanced Practice and Research.)
The six panels of this installation were originally displayed outdoors, exposed to the elements, and now with vandalism inflicted on two of them, it has opened a new direction in my practice that addresses violence and destruction.
I intend to deepen this exploration, as it ties into my ongoing research on propaganda, perception, and the destructive force of media.
In terms of future directions, I wish to continue working with photography, particularly focusing on an unresolved series that delves into these same themes of impermanence and media distortion.
I also see an opportunity to experiment with fine dining, where I would collaborate with a chef to explore synaesthesia through food and art. This project is still in its conceptual stage, but I am excited by the possibilities it offers for a multi-sensory exploration of perception and emotional response.
My research has always centred on challenging norms and exploring themes of conflict, propaganda, and the impact of media. Brian Massumi’s affect theory, Deleuze’s ideas of difference, and Derrida’s deconstruction inform much of my thinking. I’ve sought to synthesize these theoretical perspectives with my practice, allowing my artworks to question established structures and provoke introspection. The act of violence against “Temporary Permanence” seems to resonate with these themes, as it reveals how fragile the constructs of art, media, and perception can be when confronted with real-world aggression. This incident also ties into my broader interest in how propaganda operates through selective presentation and simplification, concepts I have explored in other works such as “Fragmented Perspectives”.
Fragmented Perspectives No 1 (Perfectly Imperfect), 2024, Inkjet print on fine art paper behind glossy acrylic glass 4 mm., Dibond 3 mm, aluminium rail, 53,3 x 40 x 1,7 cm.
As I reflect on my professional practice, I see it evolving towards a more socially engaged role. My involvement in exhibitions like the one in Hamburg
or in Stuttgart to which I am currently preparing now
or urban installation
has helped clarify how I want to position myself within the art world.
I am increasingly interested in community-based art (in other words I want to talk to simple people on the streets who would not go to the art gallery normally) and educational initiatives, such as the free art theory course I plan to offer in my city. This endeavour will allow me to bring contemporary art theory to a wider audience, creating a dialogue around the issues I care deeply about. I also recognize that in these roles, especially when working with others or in community contexts, ethical considerations are paramount. Ensuring inclusivity, diversity, and a commitment to ethical practices will be a priority in all my future projects.
Sustainability is another key concern for my practice moving forward. The temporary, fragile nature of the materials I use aligns with a broader awareness of the environment and the life cycle of materials. By using recycled newspapers and found objects, I am contributing to a form of art-making that is less resource-intensive and more in tune with the ethics of sustainability. Additionally, I noticed that there are often insects in my installation, I want to check if there is a connection here.
Besides this, I want to return to painting. After the exhibitions I have held, I realized that the viewers have remained very conservative, and in order to keep them in the field of my interest or, on the contrary, to attract to my ideas, I want to expand the palette of my creativity. Today I have a huge number of ideas on how to combine my physical works and theoretical ideas with painting, but I need to test it all.
Looking ahead, I see my practice continuing to evolve as I refine my technical skills and deepen my engagement with critical theory. The themes of violence, destruction, propaganda, and media influence will remain central to my work, while I continue to explore how these ideas can inspire both aesthetic and conceptual innovation. My interest in facilitating collaboration and community engagement will likely lead me towards more participatory projects that involve dialogue and collective reflection.
Moreover, I remain committed to creating art that challenges complacency and encourages transformative thinking (this was the topic of my essay https://www.marinawittemann.com/post/in-what-ways-can-i-challenge-established-norms-and-perceptions-through-my-artworks-to-disrupt-potent ) - both within myself and within the audiences that encounter my work.
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