TRIPTYCH IS A COLLABORATIVE RESEARCH GROUP ORIGINATED BY KINGSTON UNIVERSITY, LOUGHBOROUGH UNIVERSITY AND THE DUBLIN INSTITUTE OF TECHNOLOGY. PRACTICE AND THEORY WILL BE EXPLORED TO CONTRIBUTE TO KNOWLEDGE OF THE ACT OF DRAWING. THIS INCLUDES INVESTIGATION OF DIVERSE AND CONTEMPORARY ASPECTS OF THE FINE ARTS, DESIGN, BUILT ENVIRONMENT, PEDAGOGY AND THEORY ON DRAWING.
Triptych-Process is a thematic sub-group of Triptych
I work with the concept of process all the time, but as a physical part of the creative process alongside the invisible thought process, neither being as clear as hoped. However without the combination of the two, no piece of work (in this case my my work) would be made. Looking at the notebook strand , there is a clear idea for a notebook project, which encompasses , potentially, many people and indeed possibly all strands, a simple idea which is accessible and which has an immediate outcome for further development.
I am taken with the notion of space in relation to your ideas about conversation and gift.
In conversation the space between thought and word, between giver and receiver, between intention and actuality, the space around the words. How do we navigate these space? Spaces that can be physical, emotional or ideologfical and probably much more. A minefield or a space of tranquility and reflection? Space in my practice is a primary concern, not only within the work but between the viewer and the work,if, as I believe, I am trying to communicate with my work then consideration of the viewer and their conversation with the work is really important The notion of a gift also appeals as it suggests to me something given away so I have no further part, but do we ever really give without thought of return? The gift, like words in a conversation must traverse the space between the giver and receiver. To whom does it belong during that transition? My practice aims for directness and immediacy and it strikes me I am perhaps looking for ways to minimise the space between me and the artwork and between the viewer and the artwork, when paradoxically I want the work to be open and allow much freedom in interpretation.Thorny problem- by reducing visible signs of mediation am I just employing a more covert means of control and manipulation? David Batchelor speaking at the Dan Flavin symposium last year suggested that now more than ever we need work that allows people freedom and (space for)projection.
2 comments:
I work with the concept of process all the time, but as a physical part of the creative process
alongside the invisible thought process, neither being as clear as hoped. However without the combination of the two, no piece of work (in this case my my work) would be made. Looking at the notebook strand , there is a clear idea for a notebook project, which encompasses , potentially, many people and indeed possibly all strands, a simple idea which is accessible and which has an immediate outcome for further development.
February 22, 2007 10:12:00 AM PST
I am taken with the notion of space in relation to your ideas about conversation and gift.
In conversation the space between thought and word, between giver and receiver, between intention and actuality, the space around the words. How do we navigate these space? Spaces that can be physical, emotional or ideologfical and probably much more. A minefield or a space of tranquility and reflection?
Space in my practice is a primary concern, not only within the work but between the viewer and the work,if, as I believe, I am trying to communicate with my work then consideration of the viewer and their conversation with the work is really important
The notion of a gift also appeals as it suggests to me something given away so I have no further part, but do we ever really give without thought of return? The gift, like words in a conversation must traverse the space between the giver and receiver. To whom does it belong during that transition? My practice aims for directness and immediacy and it strikes me I am perhaps looking for ways to minimise the space between me and the artwork and between the viewer and the artwork, when paradoxically I want the work to be open and allow much freedom in interpretation.Thorny problem- by reducing visible signs of mediation am I just employing a more covert means of control and manipulation? David Batchelor speaking at the Dan Flavin symposium last year suggested that now more than ever we need work that allows people freedom and (space for)projection.
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