Wednesday, 13 May 2015
10/10 PJCT: Mindscapes
10/10
PRJCT
Week 7
Monday
23rd March 2015
11 am – 2 pm
Installation Room (Art Building - ground floor)
Mindscapes
Gill
Lock-Bowen
10 Artists
10 Weeks
1 Space
tenprjct.wordpress.com
My
contribution to the 10/10 art project is about the construction and
MAGNIFICATION of MINDSCAPES.
The complex structures and forms which emerge when examining
rocks under a microscope have inspired me to generate multi-layered ink
drawings on transparent sheets.
The images produced by the drawings constantly change
according to their interactions with one another and the levels of
magnification and light to which they are exposed. Some drawings can only be viewed under a
microscope while others have been photographed and enlarged to A0.
I call these images ‘mindscapes’ as people tend to superimpose
their constructed realities, based on memories, onto abstract images.
Rather than tapping into memories with their constructed
and borrowed meanings, can we fast-forward into the co-creation of new empowering
realities; and if we can, what does it mean that we have such power and what
are we doing with it?
Responding
to the environment:
The Installation Room is approximately 23’ x 10’ with white
walls and a grey marked floor.
It is lit by fluorescent strip lights one of which was not
working during week 7.
The doors are fire doors which need to be kept shut at all
times!
Art
imitating life:
I took over the room from the previous artist on Monday
afternoon as planned. However, on the
Tuesday morning just as I had set myself up to work, I received a telephone
call the fallout from which overtook the entire week both practically and
emotionally.
I made the decision that being in the space throughout week
7 was going to be impossible but I could hold the Installation Room in my mind as
a room full of potential. I therefore
created my ‘Mindscapes’ outside the room but the empty room, mine for the week influenced
my drive to make art no matter what!
A1
A1
Samples of feedback:
'Amazing colours
and details! Fascinating to look through the microscope.' Emily
'Beautiful
values. Love it.' Andrew
'The microscope
images are amazing.' Lizzy
'Really nice
work, well done!' Joe
'Quite
incredible, I could spend hours looking through the microscope.' Bob
'I came upon
this by chance, glad I did. Perspectives
interest me – and I really like the concept of macro and micro and back again. And the colour used is enjoyable – so a very
pleasant experience overall!' Sean
'On the surface
of it, the pictures look really good but the thought provoking explanation
brings it to life. Really fantastic
project! We need more of this!' Ben and Chris
'Really
interesting images. They feel like
landscapes. Really good idea with the
microscope – enjoyed looking at them a lot. '
Laurel
Sounds created using principles of cymatics
Project images from microscope and/or video images
Film myself producing art and taking photographs
Art and Psychoanalysis, paranormal expereince - Susan Hiller
Susan Hiller
Susan Hiller is renowned for making works which investigate often overlooked everyday phenomena. Previous subjects have included UFO sightings (Witness 2000), horror movies (Wild Talents 1997), near-death experiences (Clinic 2004), Punch & Judy shows (An Entertainment 1990) and dreams (Dream Mapping 1974). She employs sound, video, text and photography, often creating large-scale installations. Hiller has been described as a feminist, a conceptualist and a para-conceptualist.
Susan Hiller: born 1940
Title: From the Freud Museum
Date1991–6
Medium: Glass, 50 cardboard boxes, paper, video, slide, light bulbs and other materials
Dimensions Displayed: 2200 x 10000 x 600 mm
Collection: Tate
Acquisition Purchased: 1998
Reference: T07438
The ‘from’ in the title does not refer to artefacts collected at the Freud Museum, but indicates that this is a work inspired by it. At the museum, Sigmund Freud’s personal collection of art and antiquities is displayed alongside objects pertaining to his professional life as a psychoanalyst, such as the couch used by his patients during their analysis.
As Hiller noted in the afterword to After the Freud Museum, a companion publication to her installation work, ‘[w]hatever might be said to be the “collection” on display in the Freud Museum is complicated by an overlay of settings where historical, biographical, archaeological, familial, personal, ethnographic and psychoanalytic facts merge to produce representations whose meanings are always in flux’ (Hiller 2000, unpaginated).
The diversity of Freud’s own collection influenced the form of Hiller’s installation.
See article http://www.aestheticamagazine.com/the-collective-conscience/ Colin Herd, 2011
Hiller initially trained as an anthropologist, and Dedicated to the Unknown Artists displays an anthropologist’s interest in collective psyche and imagination. In this work Hiller unifies the two meanings of the word “collective”, meaning both a commonality and an accumulative tendency. Her piece subtly interrogates the British tendency to exaggeratedly bemoan our climactic conditions, which is in fact one of the most moderate. A number of themes emerge in the collection, from a belief in naval supremacy, to the sense of Britain’s embattled isolation, aloof from the disorderly and riotous outside world. By taking the hackneyed images of seaside postcards and compiling them in an extensive collection, Hiller reveals and illuminates aspects of our collective imagination.
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