This is a summary of information from my tutor, viewers and fellow students at the institute. It seemed important to me to once again reflect on my work in order to move forward.
Tutor:
The narrative of the material speaks more than words as well as the way of working with it. Also, the process of work is endowed with ambiguity and a strong narrative.
Repeating actions, the monotony of the assembly process clearly stands out in my colour fields.
My works cause visceral, uncontrolled, intuitive, pre-cognitive reactions and feelings.
Spectators:
After holding several exhibitions and attracting visitors to my workshop, I collected some comments about my work.
"Artwork cannot lie!"
"Your works are honest"
And I was surprised by the fact that it was said by people of different cultures, gender and age.
I also noticed that the spectators like colour fields and they want to have these works, and artwork with “wood” makes people think more. They react emotionally faster than they begin to think and associate.
Peers:
My fellow students and I met at Zoommiting, where I presented the idea of Brian Massumi's Affect and invited my fellow students to give their opinions and comments on the connection between this theory and my physical work. These are not modified comments that I received:
My work visually references the quality of the material. The viewer feels the surface and texture without touching it.
My sculptures speak of reassembly, destruction and restoration, the reconstruction of what was once toppled, rebuilding and tumbledown. Unification of all of it.
The materials have the contrast. Because they are sometimes rough and hard, and the colours I use are soft and pastel. If you are talking about synaesthesia, how does this relate to your sense of colour in emotions? Are you trying to soften the essence of hard material by changing its colour? What does synaesthesia mean to me in my work?
What is the difference in my work between works full of materials (sculptures) and only one type of material (colour field).
My works trigger multiple senses.
To what extent does your work differ from other similar works?
I use traditionally masculine materials and feminine colours, which stimulates issues of gender and identity.
My colour fields give a feeling of immersion in this material; it seems to draw in and plunge the viewer into this abyss.
My reflection:
All viewers of my works note the most important and important difference between my works is increased physicality. All viewers note the most important identification of my works is increased materiality and physicality. The second concept probably arises because through texture, shape and colour, my works stimulate sensations in the viewer's body. Such references to natural sensations correspond to the definition of truth. It turns out that you cannot lie to your own feelings. Sincere, intuitive, unconscious emotions are in the space before reflection and cognition. It turns out that in fact, this is the area where my works are located and communicated.
So the questions that automatically arise in my mind are:
Can you lie to yourself?
Can sensations deceive?
Is it physical emotions or emotion as material? Also, respondents always note that my works are about destruction and reassembly. I'm rebuilding something old, reorganizing something unintended. I interpret this as my visceral emotions and forgotten past, which unconsciously returns and is modified in my works. I work either intuitively, without a preliminary plan, or from small sketches (notes) that come to me unexpectedly during the day or in a dream. I especially feel the need to work during times of psychological stress. So, after the start of the war, I accumulated a huge amount of emotions that must be brought to life. And at the same time, I understand that I don’t want to pour out my soul about how painful and difficult it is for me; rather, I want to have a discussion with the viewer on topics that concern me. The main one is how can you justify and support war? Why can't you just be happy and enjoy life? Who is right and who is wrong? That's why I started making attractive colour fields - it's like a flower for a bee, it attracts and gives nutritious pollen, which is light and remains on the tips of its paws. My colour is in line with popular trends and modern aesthetics, but the material has no value, it is newspapers for recycling, the work is not durable, it is fragile, it goes against investment and accumulation market trends. All these nuances are that weightless, but extremely important pollen for the bee, without which the entire swarm will die.
I am surprised by the connection between masculine and feminine, which I don’t think about at all, but which constantly comes out in students’ comments. It seems to me that good work always contains many levels of interpretation for any person.
And regarding my synaesthesia and colour - I don’t try to show it directly, for example, I drank hot chocolate and experienced the colour purple. In my opinion, such a narrative is very primitive. I rather strive to go further for myself. To think more deeply and understand the structure of my parallel feelings. For example, when I first learned about my colour, I didn’t pay attention to the shape and texture. Now I find connections with more expressive colours, shapes and textures and associate them with emotions. At the same time, I do not show a specific feeling, but I use synaesthesia as an additional setting in my body to create a more sensitive object for the viewer.
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