Blue
Posted: November 18, 2014 Filed under: Ideas, Skills, Uncategorized | Tags: Ideas, skills Leave a comment
Taking inspiration from Yves Klein’s ‘Anthropometries’ series, where by, he composed and conducted three or four very beautiful naked women covered in the now infamous ‘Klein Blue’ paint, and directed them towards mark making on large sheets of paper using their naked bodies as tools. We did a sort of reprise of his work, but not as extreme as his original performance. This was a great introductory exercise to performance art. It was very invigorating and freeing, and all expectations of self consciousness, seemed to fade as we each made our way individually down the sheet of paper, making our marks. What you see above is the process of the creation, as well as the finished article hanging in our groups space. Something that i thought was very interesting about this exercise, is that even after hanging the paper in our space, the paint continued to drip and move and converge with itself, so in a way the performance was continuing on with only our initial interaction with the paper and paint, as the instigator of the piece. I liked the thought of it being an on going piece that you had very little control over in terms of outcome, process in making the actual marks, as well as the nature of the materials used. It raised some interesting issues to be considered when performing a piece.
First Day
Posted: November 18, 2014 Filed under: Ideas, Uncategorized | Tags: Ideas Leave a commentSo it has begun, and due to the schedule of the rest of the term, each day of field is pact with a lot of activity. This is a very practical course and there’s a lot to take in as we only have 2 days a week for 4 weeks. So really not that much time…
Andre Stitt, who runs this particular course, introduced us to what exactly painting performance is, through a rigorous and very well informed lecture. Here are some of my notes taken from the lecture, forgive me if some are incoherent…
While there was a large range of examples of performance art, and what it could possibly entail, more often it seemed that a performance piece needs to be experienced in some way, that there’s this constant concept of documentation within the piece. That sometimes the live performance is the evidence of it’s existence, wether that be by just the performer, or the audience, if indeed there is one. sometimes a video defines it, sometimes the residue of materials left behind, is the only known knowledge of the piece ever having taken place. I never knew there was so much to be considered when it came to performance art. Andre’s lecture definitely enlightened me and i feel a large amount of respect for these artists who have really tried to push themselves and their work, in such a dramatic and exceptional manner. That there’s a huge involvement of ones self within each performance, as the director or the subject, whatever it is, you have to be considered within the work, as well as the materials, audience and theme of your performance.
I loved the idea of the transference of thought becoming form. That as a way of solving an issue, or drawing light upon an issue, you can really physicalise it in your performance, and use it to draw an audiences attention to your specified subject matter. Rather than just an aesthetically pleasing canvas image, that is traditionally associated with fine art. Painting performance is radically different and sometimes uncomfortable, yet intriguing and can be particularly poignant, either for the creator of the work, or the audience taking part in it. I say this, as it seems that even by observing a piece of performance art, as one would a painting in a gallery, one is still involved in the performance, and i love that sense of inevitable connection with your fellow man. I guess this is something to remember when moving on in my main subject work, as i am aiming to involve the modern day man in nature, in a very similar fashion.
I also love the mindfulness of a performing artist. That you rely very much on the current moment, and it can often be the most significant aspect of your piece. Much like Jackson Pollocks work, were he relies on the spontaneity and instinctive marks made from his process. That there is a definitive shift from painting as a final product, to the moment that embodies the piece, in the moment of making.
This lecture alone opened my eyes to the world of art. Admittedly, as part of being human and learning new things constantly, it’s a given that my eyes are always being opened. But it’s such a wonderful thing when a new set of doors are opened to endless possibilities and things just seem to fall into place. I suppose this has been one of those times. It has allowed me to see what potential my work has, and that my painting is a mediator for what ever it is i want to say. And that’s something to really appreciate and consider when working from here on out.
Freedom and emancipation are key to performance. In gesture. In the message. In the moment
Painting performance
Posted: November 18, 2014 Filed under: Ideas, Uncategorized | Tags: Ideas Leave a commentOnce again, it’s that time of the year where we students must choose a project and subject to get involved with, as part of ‘field’, in cardiff met art university. In previous years, i have been skeptical as to how beneficial the field element of the arts course has been. On more than one occasion, i have found it to be rather patronising and inconvenient, as far as the development of my own personal practice is concerned. as well as, the nature of collaboration being a mandatory aspect, rather than an optional one, if your skills and direction of work within a project, required such a thing. However, having said all this, i have found this terms field to be extremely enjoyable, and particularly appropriate for my main project work.
The reason why i decided to chose painting performance, as my initial choice out of many, was mainly due to my progress and research on the subject of shamanism. I felt that, as a fresh take on my work, performance art would be perfect for me to step outside of my comfort zone, and really push myself as a fine artist. I feel that it’s easy to become quite restrictive in my practice, especially coming from an illustration background, where i’ve had to follow strict briefs, i wanted to use this experience to get looser, and really let it go. Focus more on the message and the process of creation in art, rather than a set finished outcome.
Below is the timetable handbook for painting performance:
Painting Performance Field 5 timetable handbook_2015
Marcus Coates
Posted: November 16, 2014 Filed under: Context, Uncategorized | Tags: context Leave a comment
Shamanism Continued…
Posted: November 16, 2014 Filed under: Context, Uncategorized | Tags: context Leave a commentAccording to the website ‘Shamanism.com’ (there is no name given to the author behind the website), the word shaman, originates from the Tungus tribe in Siberia. Anthropologists were the inventors of the official term, and have used it ever since, in reference to the spiritual and ceremonial leaders among indigenous cultures. ‘One could view shamanism as the universal spiritual wisdom inherent to all indigenous tribes. As all our ancient spiritual practices are rooted in nature, shamanism is the method by which we as human beings can strengthen that natural connection.’
Again this site, seems to be celebrating and advertising the shamanistic way of life. That through this form of ‘spiritual’ practice, one can reconnect with the earth, as a living, giving, natural organism, rather than a cold, bitter and harsh mass. I think that it is man’s intervention with nature, that initiated a sense of separation from all that is natural. With self awareness, comes a
Shamanism
Posted: November 16, 2014 Filed under: Context, Uncategorized | Tags: context Leave a commentTo progress my work further, i’ve decided to explore the subject of shamanism, in conjunction with the research that surrounds my trophy head artefact. I believe this to be relevant, as they both seem to share a ritual that involves the endowment of a supernatural power, upon an object, in order to serve a higher purpose. They also aim to reclaim a connection to the earth and all that the earth offers, as well as, being grateful for is given by their natural recources…
‘From ancient times, shamans have worked with the spirits of nature for healing, survival and knowledge. By learning from plants, animals, from the rocks and mountains, from the winds and waters, from the sun, moon and stars, shamans helped their people live in harmony with the universe’ -Michael Harner, Shamanism.org
This society (shamanism.org) seems to be a modern group that are trying to reintroduce the practice of shamanism, to the modern world. I’m aware that shamanism is still used in certain cultures today, but in the western world, i believe it’s something that is distinctly lacking, the connection to the universe at large, and all that is contained within it. this connection is obviously an inevitability, however, our awareness and ability to inherit our natural world as a vital element in our existence, is becoming more apparent to me, as a diminishing concept. I suppose this is my main focus of my ongoing project work. Although, i am not partial to the prospect of ‘spirits’ or anything of a ‘spiritual’ nature, i believe the universe is incredible enough, without having omnipotent beings controlling or having a dominant hand in anything that lead up to this current moment in time. But, i am willing to be proven wrong, so i shall use this ambivalence to my advantage, in order to approach my interest in shamanism and the direction of my work hence forth, with an open mind.
Michael Harner raises an interesting comment in regards to shamanism, on the principle that it was our ancestors who carried the knowledge that our survival depends on the survival of other species. A shaman intends to use his practice to initiate a sense of harmony amongst man and his planet. That there is a large amount of give and take, a balance, that ensures the endurance of a thriving planet.
The Golden Touch
Posted: November 14, 2014 Filed under: Ideas, Skills | Tags: Ideas, skills Leave a comment
For this skull, I used a cheap plastic skull that i had left over from halloween, again another example of a celebration of spirit gods, and man’s gratitude and attempt to appease said gods, that has been moulded over time, to represent commercialism and gluttony in our modern day. I layered tissue paper over the skull, then used more found materials, to create the ear pendants. Finally, i sprayed the skull in gold paint. The idea behind this creation, was to draw attention to what the skull represents. It’s a symbol of great value to the Mudurucu people, it brought prosperity in the form of food from the hunt. But to modern man, our concept of what is valuable, would be money, of corse. It’s our key to survival in this modern age, and is treasured and sought after, much like the Mudurucu trophy head.
Immediate Response
Posted: November 14, 2014 Filed under: Ideas | Tags: Ideas, skills Leave a commentAfter doing my research on the ritual of the trophy head, i decided to make my own head, using Das Clay and tin foil, Then using found materials, to create the dressing of flowers and feathers. Just as the Munducucu used these ceremonies, and the process of anointing the head, to increase the spiritual value of the head, i understood that when i make my work as an artist, i too, am undergoing a process that will enhance my technical abilities, as well as a feeling of resolution to a proposed problem. That it’s the process, or the ritual of creating art, that becomes more valuable than the finished piece itself. Just as the Mudurucu found value in the ceremonies that surrounded the trophy head, and resolved their problems with hunting game.
I didn’t feel that the appearance of the skull, as a finished piece, was particularly impressive. Obviously it pails in significance to seeing a real trophy head in front of you, like the one in the Pitt Rivers Museum. But it was my first attempt at this, using materials and techniques i’m not familiar with. Really Trying to expand my capabilities as an artist. and This is a good way of doing that. I think i’d use professional model making clay rather than a clay material that’s aimed at children to use. But sometimes you have to work with what’s available to you at the time, and at the time, i had this stuff. I also have an issue with my found objects. They’re largely plastic based, and if i’m trying to raise the issue of mans disconnection to his natural environment, then to create a piece using plastic materials, in a way, is ironically dismissing this concept. So maybe i can use it to work in my favour, using the plastic objects as a form of irony, that the trophy head was compiled from nature in order to honour nature, but the modern man’s connection is lost to the point that things that even are meant to represent nature, are actually largely man made and manufacture these days. Or, I could enforce the message of the presence of our natural surroundings, and our lack of intimacy with that. Largely focussing on people in cities, where you have a dominance of commercialism and concrete. Using natural materials would enforce that necessity to reconnect with the natural world, as a non profitable resource. Things i definitely need to consider….
Ink Marbling
Posted: November 12, 2014 Filed under: Skills, Uncategorized | Tags: skills Leave a commentMy housemate buff bought herself a marbling kit online. So Buffy, my other housemate, Louise, and I, spent the day playing around with it. Although there’s a fair amount of prep work, you need de-ironised water, special crystals to leave in the water over night, a tray to put the liquid in etc, it was worth all the hassle.
We got some amazing results and had a lot of fun doing it….
This was Buffy’s first attempt. It was exciting not knowing what the ultimate outcome was going to look like. The colours look weak when it’s on the water, but once you transfer it to paper, the colours just boom, and the effects are delicious. You can get loads of interesting swirls and shapes, just by using a stick to guide the ink, as it’s held thickly on the surface of the water…
And here’s me having a bash at it. The best thing about marbling, is that you can just clear the water of ink, using a scrap of paper, then you’re good to go again. We produced a decent body of work, just from one session…
Here are my two favourite pieces of the day, that i came out with. This really was worth doing. I’d recommend it to anyone, working artist or no. You can achieve such satisfying results with very little effort because the ink and the dense water does all the work for you. I will be trying this again indefinitely, not sure how i could incorporate it to my subject work, but a useful skill to acquire never the less.
The Ritual
Posted: November 12, 2014 Filed under: Context, Uncategorized | Tags: context Leave a commentIt was during the dry season that the Mundurucu began their expeditions, and the arrival of the rainy season, signified the end. The head hunting warrior would travel with either his wife or his sister, who would assist him in carrying the essentials such as food, weapons and hammock. Attacks on enemy villages would begin at dawn, they’d invade the territory and send the people into a panic, and the head hunter of the Mundurucu tribe, would assume his role. The women and children would usually be captured and eventually be adopted into the society of the Mundurucu. But a decapitated head of a fallen enemy was the main goal of these attacks. When it was taken, it had to undergo a ceremony to secure it’s quality as an offering to the ‘Spirit Mother’. But first, the head had to be desiccated, brain removed, as well as, muscles, eyes and tongue taken, then it was dressed and coloured with genipap or urucu (red vegetable dye). Usually an artificial brain made of cotton, was put in to replace the original. The eye holes were filled with rosin. Finally, it was exposed for several days over a fire or in the sun, until dry.
Once the head had been properly tended to, the ritual began. At this point i do want to clarify, that i have gathered this information from multiple sources. inevitably, there are a couple of different versions of the ceremonial process of dressing the head. but it all runs on the same principal. So i’m just trying to summarise as best i can, based on the information i have to hand…..
‘It was of paramount importance, to empower the talismanic trophy as soon as possible.’-Robert Murphy, Anthropologist. When the headhunter had returned successfully with head in hand, there would follow a series of complex rituals that involved several Mundurucu villages. ‘This not only validated the prowess of the successful headhunters publicity, it also solidified bonds of association among scattered clansmen and women.’-Robert Murphy. Several rituals would ensue, each focused on a different age group. The first ritual, referred to as ‘Decorating the Ears’, was lead by the warrior who had taken the head. This is when he gains the title ‘Mother of the Peccary’, the hair of the victim was cut to resemble that of a Mundurucu’s hair. At the climax of the ritual, the actual decorating of the ears, feather pendants were made from five species of birds and were suspended from the ears of the trophy head. Together, the feather pendants and hair of the head, signified spiritual strength to the individual who would manipulate and harness the strength for the well being of the tribe. The trophy became the permanent companion of the victor who would carry it by a string at his side, wherever he went. The head then gained the identity as a fellow clan member and was ushered in, via the ongoing ceremonies, as a significant part of the Mundurucu society. The head hunter had to abide by strict rules, some of which included, exclusion of everyday responsibilities, and a restriction from hunting. but would go with the hunters of game, as he and his trophy represented hunting success.
I think the main concept i seem to be prominently intrigued by, is this idea of harnessing their success as a tribe, by ceremonially indoctrinating the head as a form of talisman, and offering to their spirits. to which they obviously believed was for a good cause and was a successful endeavour. What i want to take from this is two main things: The ‘Spirit Mother’ concept, that this ensured an ongoing connection to that of man and nature, something i feel is lacking considerably in todays society. and secondly, the use of the talisman to enforce this concept on the people of the tribe. These rituals signified a prosperous future to the people, much like the harvest festival in the middle ages. and the adhere to these rituals would continue to maintain the tribes survival, as well as their connection to the earth, and the respect they though necessary to keep with it.
Refferences:
‘A Dancing of Heads: The Mundurucu in the 19th Century’ – Wolfgang Kapfhammer
‘The Mundurucu: Tattooed warriors of the amazon jungle’ – Lars Krutak
http://www.vanishingtattoo.com/tattooed_warriors_of_the_amazon_jungle.htm
‘Women of the Forest’- Robert and Yolanda Murphy (Page 108)
‘On Human Nature’- Edward O’ Wilson (Page 114) for some reason the reference i did use, has now expired
kairosCinco 
Recent Comments