Post September advisor meeting 9/30/22.- I feel I am becoming more acquainted with art research. My advisors helped me refine and direct my approach toward my research proposal.
They allowed me to reduce my proposal to my entry point which is sketching rocks which i dreamed of in 2010. I do this in preparation for drawing non objectively , which informs and releases me to an other worldly flow in my artmaking.
BACKGROUND
My trajectory in artmaking is driven by my dream life. My contemporary practice and perspective of dreams reflects 20 years of research investigation and interpretation of dream elements using a metaphoric method of analysis. I investigate what dreams can reveal in regard to time and forms in another dimensions. /Other worldliness.
There are scientists and theorists from various disciplines who examine the mechanism of dreaming, and those who practice the dream as part of a cultural therapeutic tradition. Ultimately I intend to embrace reception and metaphoric dream analysis as a tool for research. Perhaps to fill in a gap for further research or discussion.
My MFA research proposal is centering on my sketches of rocks since 2010. This is my point of departure and is foundational in my practice.. For the proposal I am doing an archival exploration of various views of rocks that I have sketched since 2010. Along with dream journaling these two practices allow me to receive and respond to my night season. Sketching and journaling are foundational in my practice. I use both methods before moving on to the next stage of expression. Balance in mind, body, spirit and a spontaneous flow in lines of my sketches' of rock must be embodied in my preparation to make art.
Prior to my crit 2 review 10/30/22 -Michael Bowdidge (advisor) recommended I ask the following questions:
THESE ARE MY ANSWERS. A FEW FROM Crit 2 (to be identified)
M-Where do the rocks come from?
R- The image and practice of rocks being illuminated in a dream i had in 2010.
M- I take it the drawings are realized from an internal source or notion of 'rockiness'
R- i practice eye hand coordination as I draw the rocks, shifting them around showing various views.
initially after practicing realism i release myself to a flow and erase what i might have seen.
When I feel a need to be grounded I go back to drawing the rocks realistically
i don't attempt to recreate rockiness as much as i desire to recreate form with line while overlapping edges
that could refer to a figure ground relationship in air. I often look for depth in the arrangment of lines,
and i desire he composition to airy and fresh.
sometimes the line will flow with repetition that can cause a rhythmic pattern ,or or reverberation that will take the drawing into another realm.
i don't want to overwork or second guess the flow.
M-do you have specific form(s) in mind when you start each one,
R-no, not at all (i am blank)
M-does the form(s) emerge from the process?
R-the form emerges mostly after i see the rocks attempt to recreate the shape.
ii am sometimes able to look at the rocks and connect with a rythm or energy that the rock emit
M- have you always thought of them as 'rocks', or was that something that emerged after you had done a few?
R- i do not think of them as rocks but as lost forms or mark is my indraw . i press into form then i release flow
MY interaction is drawn from inner spirit responding to the shape or angles that flow out. I DO NOT KNOW WHAT I AM DRAWING when i
M-How did the first one come about? When did you first make them?
R-after i dreamed of these rocks in 2010.i didn't see the need to travel to draw mountain scapes. Rocks in my natural habitat (garden, park) are sufficient
The following questions were gleaned from my Crit2 group presentation;10/20/22
C-Have you worked with rock pigments?
R-Not really I have visited a store in nyc that creates paint pigments from rocks.
C-Connecting to the consciousness of the material itself, and its geologic history
R- No I haven't. That would be something I would consider investigating.
C-Let the flow of the rocks take you - could be helpful to know their flow in history - were they ever in actual flow (metamorphically)
R- This is a wonderful observation that I desire to investigate THANKYOU!
C. What does it mean for your practice to not be politically oriented but to find yourself taken there in your dreams as your primary methodology? Do you surrender to that guidance?
R. My internal motive is to remove my thinking from the chaos of our human atmosphere (mind turned off) and to be at peace. When I am at peace I am able to receive (dreams, vision etc.) more clearly. I believe that most dreams come from the source of our creation.
The following Crit 2 power point presentation is an attempt to begin to shape my inquiry into my rock sketch archive.
CRIT 2 presentation 10/30/22
Renee Brown
Research;
Artist-
Tacita Dean;
http://enclavereview.org/drawing-time-tacita-deans-narratives-of-inscription/
http://loisguarino.com/books.html
Agnes Martin :view film 'back to the world"
Images of Hilma Klimt https://imagejournal.org/2019/06/19/visions-of-hilma-af-klint/
JW Dunn An experiment with time;
https://archive.org/details/in.ernet.dli.2015.524576
Element(rock)
Culture of stone-https://www.dukeupress.edu/a-culture-of-stone
Concrete processing of action metaphors: Evidence from
ERPhttps://www.sciencedirect.com/science/article/abs/pii/S0006899319301283
(http://www.ifrao.com/rock-art-research-journal/
AURANET auranet@optusnet.com.au)
https://www.chabad.org/kabbalah/article_cdo/aid/3965005/jewish/Twelve-Precious-Jewels.htm
Metaphoric methodology (personal methodology)
Concrete processing of action metaphor:
rhttps://www.sciencedirect.com/science/article/abs/pii/S0006899319301283
Article sleep meeting;
ONEIRONAUTS SPECIAL EDITION-podcast-ttps://podcasts.apple.com/us/podcast/the-art-of-social-change/id1502031582?i=1000543628360
"the possibility of spiritual transcendence in the modern world"
Response to original proposal questions (following sept. session Byrnes) given to do; in september
Outline Topic or Title: p
“Rock drawings entry point”
inquiry as a research method.
A very challenging aspects of studying creative processes is that artists, can have complex
thoughts and beliefs about their own way of working.
Drawing, like dancing, is an exploratory, sense-making process where the observer, and the thing
or idea observed, are inextricably bound together in a physical, material space/time relationship
. in my own metaphoric methodology as a point of entry into other worldliness.
My Drawing of rocks is seen as an entry point into abtraction and possibly even as a mysterious
gift that needs to be explained
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What is it you want to do: What are the key things (3 maximum) that you would like to develop in
your studio practice through research – this will give you an idea of your topic area.
What I want to do is;
Be able to better articulate how I do what I do in my practice as I use the by-product of a loosening
up method of sketching rocks as a portal into abstraction, look at current research into drawing
and Explore varying views of artist that have also allowed spirituality to drive their work.
3 installation components for art exhibit
1.Archive my sketches of rock 2010-2022 and create a video , question and answer; text overlay
observations, reflections, personal anecdotal.
2.Create an extension of some of the rock sketches as a painting on canvas.?
3.Create a short publication reflecting research and my personal methodology
Rock archive video, painting.
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How are you going to undertake this research? Give a maximum of 3 things you would look at (e.g
artists work, and theory you want to look into, an aspect of your practice you want to know more
about/put into context) – this will give you an idea of where and what to start researching
Research- 20th century artist that parallel my art praxis; '
J Dunn art precognition theory Precognition (cognitio 'acquiring knowledge'), is the purported
psychic phenomenon of seeing, or otherwise becoming directly aware of, events in the future-
Hilma of Klimt- I will look at her spirituality blended into her abstractions.
Charles Burchfield, Burchfield has been more recently described as a mystic, cryptic painter of
transcendental landscapes, trees with telekinetic halos, and haunted houses emanating
ectoplasmic auras depicts his personal view
Tacita Dean, conceptual artist, Conceptual art is a movement that prizes ideas over the formal or
visual components of art works. An amalgam of various tendencies rather than a tightly cohesive
movement, Conceptualism took myriad forms, such as performances, happenings, and ephemera.
Wassily Kandinsky
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What do you think would be the key benefit to your studio work for undertaking this research
The research will give a comparative analysis and platform to my personal metaphoric dream analysis methodology which will fill in a gap in understanding and possible open up further discussion of spiritually driven art from the turn of the century to the present giving validation to my current pra)is thus giving footing to my video, painting and publication.
NOTES FROM INTENSIVE;
DEVELOPING THE CONTEXT OF YOUR RESEARCH AND PRACTICE
WITH JOHN BYRNE 10/29/22
My written to text notes from John BYRNES ; 10/29/22
Developing the context of your research and Practice
Create Folder-intro, timeline, information key to progress, research.
Draft out introduction (sets out intentions)*
DOUBLE DIAMOND START WITH A POINT(NCREASE IN INFORMATION NARROW DOWN TO POINT)
POINTS; WHERE YOU BEGIN TO PUT 2-3 THINGS TOGETHER
IDENTIFY A KNOWLEDGE GAP
WHAT ADJUSTMENTS MIGHT NEED TO BE DONE?
NEW WORDS CAN BE WOVEN INTO
PLAY AROUND WITH THINGS)
INTRO-SUBJECT REVIEW OF LITERATURE METHODOLOGY- EDITING
AND OF PRACTICE IN YOUR FIELD PROJECT PROPOSAL
SUBJECT REVIEW NOTES-
ID KEY ELEMENTS TO PRACTICE ISSUES OF IDEAS
OPPORTUNITY TO BEGIN TO USE PROPOSAL TO COALESE
INITIALLY DOING THIS FOR MYSELF
WHATS IMPT. NOW
THE PURPOSE OF THIS IS TO IDENTIFY 2-3 ELEMENTS TO ARTICULATE AND MAKE WORK. THEREFORE USE MOST APPROPRIATE METHOD THAT WILL WORK FOR YOU.
WHY DO YOU CHOOSE WHAT YOU DO? EDIT IT DOWN
TRIM TO GET IT TO IDENTIFY WHAT YOU WANT TO LEAVE IN
CLARIFIES WHAT YOU WANT TO LEAVE OUT*
DIVERGENT AND CONVERGENT = chain(
Overlap process over it) and see other things can have context( engine room?)
(double diamond can overlap)
PROPOSAL TO SELF FIRST
ARTICULATE, COMMUNICATE , TO INVITE PEOPLE
*PLOT CRITICLE THROUGH LINE DEVELOP POSITON*
MAKE IT CLEARER WHERE YOU SIT IN THE FIELD.(DEVELOPING)
FLIP TO EVIDENCE- HELPs TO WHITTLE DOWN
KEY AT THIS STAGE
*ENJOY GATHERING INFORMATION AND MAKING IT ACTIVE
CONNECT SOURCE MATERIAL
EX:
I WANT TO USE.....
I'M FAMILIAR WITH....
THERE ARE SOME IDEAS I WANT TO DRIVE....
GIFT TO HAVE VOICE IN FIELD
*EX.
I WANT TO USE THIS TO IN MY…
.
JOIN CONVERSATION...
ACTIVELY JOIN CONVERSATION...
*WHAT YOU WANT TO DO IN MY PRACTICE
USE RESEARCH AS A GIFT TO HAVE VOICE
DRIVEN BY YOU FINDING YOUR OWN VOICE
CONSIDER:
*Ways of research thru practice and practice thru research
Rethink what you do
This is what I’m doing next...
WHAT IF – argue your point of view...
10/29/21 INTENSIVE SUM UP; —5 question to start ( My abbreviated response of proposal given at end of class)
1.What are you doing?.
I am investigating how I do, what I do in my art practice,
by going to my point of entry,
Daily sketches of rocks which I am currently archiving from the 2010 to present,
When lead me into creating past, present and phenomena
Why are you doing this?
2.To open up and examine my very complex thoughts and beliefs and give voice to it.
How do you want to do this?
3. Create an installation; video of rock archive, painting, sculpture
and small publication of that surveys other artist who have created art in this same vein over the last century and give a comparative analysis of these artist with my own methodology.
4.Strengths- practitioner
Weakness- how to go about research, technology
5.Because of this I will establish my own voice
