Comments for MidPointReviews:
In your concise presentation you show both philosophy and system, painting in connection with poetry. I do very much like the idea of the time-based painting, unfolding its history of the making. The symbiotic methodology of painting and digital documentation makes sense. I think that the execution of the bit unstable photography may improve if you could make a totally fixed setting (with your new camera). Then any visible change or transition is purely from the painting, not by the unpurposely movement of the canvas. For me, any reference to animation should be avoided here. This may be a question of production, maybe of taste, but I just would like the focus on the changing paint itself.
Clear presented work with interesting contexts.Seeing your pieces with the thought of “creating reality around us in a digital realm” make them comprehensible. In a way I am searching from more narratives. Although they are different in colouring, textures, patterns and shapes, in a way they feel kind of similar. I wonder if you could make them more personal in some way, whether scanning of personal surroundings would make sense, if the textures could morph too, or maybe you could experiment with the rotating speed, rotation/translation, and so forth.
What an energy and what a speed. Your video makes the inner stream felt at work, however you present it so overwhelming that it is sometimes difficult to get the meaning of all. Lots of making, reading, thinking, public work going on. It is an fascinating mosaic.
You say you want to make simultaneous narrative work. I would like to know why are you attracted to this? Does your audience need to understand its purpose or is such a context not necessary? What would you like to convey to your audience with the mosaics. Is it about the narrative or the aesthetics?
There is a narrative quality in your painting that I like. In my view it is a play on the border of figurative and abstract, keeping just parts for meaning aboard. Talking about the poetics of space, I had to think about Dali, surrealists, and my imagination was making connections. Your theme of being sensitive to your space, brings body and space together and may lead to fine works.
You present a fine document of your digital drawing working process. I would like to understand your colour explorations better, as you for example state that you hate a piece of work at a certain stage (3:15 min.). Can you explain why you hate it?
You talk about vibrant colours, to get some more excitement. Should I consider this in juxtaposition to the original molds and shapes? Should your viewers be aware of the abondonned buildings or just see it as abstract digital drawings without that context?
I find your critical drawing series illustrative, fun and to the point, they could easily be imagined as daily pictures in a newspaper.
Were there reactions on your prayers in the real space? If so, what kind of responses?
Jumping to the questions you raise, I am a bit in doubt what you mean with these. How do you see multi-spaces? Multi-online spaces…? Could you explain how “everything is captured for raw prosperity change the way we love” could be understood? I have difficulty to get the idea here.
As I figure your work is now driven by bringing back the important sense of belonging. By focussing on the mere expressions of the faces and by colourful imposing on the surroundings you replace part of the original aura. How do you pick colours and shapes for that process?
About taking your own photo’s, are there specific emotions you want to depict? Should the images be strong of character or everyday life pic’s; answering this may lead you to going into the studio respectivily “street” shooting.
The idea to rework on a picture to get to the inner child, fantasy and dreams can be imaginative. When looking at your video, I was thinking what would happen if you take 1 picture and make 7 different fantasies from that? Maybe an indepth series would evolve from such an approach.
Two main questions arose while watching: Are you planning to make an associative narrative from your work? And what specifically are you looking for to convey about the innerchild? I would like you to search even further into “the inner”.
Thinking about your quote “An artist paints a landscape, a geographer studies it”, where do you position yourself? Do you consider yourself as an ecological artist, as sustainability and the impact of agriculture on the natural environment is key in your work, or is your main focus directed towards the aesthetics of the landscapes you create?
Did farmers react on your open call? Did you have interviews with them and what resulted from that, what do you expect from these talks, what will be the intention with it?
You convey intense feelings, where conversation and physical presence are essential. Seeing your highly personal work about being alone and coping with grieve, made me think of a relevant Dutch student film called “kopje troost” which freely translates into “cup of consolation”. I recommend this link https://vimeo.com/150112648. There is only one Dutch sentence used which means “can you pass me the butter”, so I think you will get it.
I feel lots of profound narratives coming forward from your approach of making art about something that is not there anymore. Your family stories are specific but do have universal meaning. Please keep this subject as your main theme and dig deep as you can in different aspects of personal storytelling about past memories. Try to work with different media on specific emotional conversations and maybe juxtapose them together.
Furthermore I would like to recommend Bill Viola’s video works “The Passing” and “Heaven and Earth”, about death of his mother, birth and memories. Maybe artists and their parents https://vimeo.com/190068702 and http://channel.louisiana.dk/video/bill-viola-cameras-are-keepers-souls are interesting about the personal and family relations too.
Your open approach is appealing, the work psychologically interesting. I see your social experiment with the balloons also as an experiment about feelings of unsecurity, which you could further explore too. Maybe it interacts with happiness of buying too?
I sense you work with a hypothesis in mind when you start and then try to do your social tests. Making underlying emotions of human behaviour visible can be an fascinating field of expertise. How do you see your work yourself, was my main question after seeing your video. I would like to read your project proposal, could not find it though, and was wondering why you did not incorporate “Is she easy?” because this makes me understand even more what you are after.
You showed an interesting path of regenerating found objects, the vacuum pieces catched my attention for sure, I think the bone-light videos are captivating. I would like to get more insight what your reasoning behind these works are. I found that bit by bit in your really personal blog-texts. Respect! There from I do understand your intent behind the video game concept. In a way it feels many things are parallel to each other. I wonder if you could integrate for instance the vacuum pieces and the bone-light imageries into the game and so on?
Seeing your drawings and paintings I believe eyes are your personal expression. You elaborate already on that theme with the sunglasses and eyes painted on your body. Maybe think what you could do with your own eyes too. Or place the eyes in different settings and making narratives with the sunglasses. Perhaps have a look at video artist Tony Oursler (see for instance https://www.youtube.com/watch?v=JXA-gt4eVDU) to see if you could relate this to a connection with fashion, Russian, or connect it to the dark and the light that eyes need.
The sense of hands, a touch of intimacy. If feel your work is about being in touch with your environment. In finding questions for you I would like to add these: what is touch, surface, texture, skin and why can we sense something when we touch. Maybe questions about nerves, finger tops, things like reaching out, being in contact. Reminding me to work I saw this weekend of Gary Hill, making continuous contacts with hands and face to the wall (photo’s).
When you showed the bin with misformed clay, I wondered whether you could do something with that too as it evoked a different touch altogether of the smooth bowls. And could you do something with the wobbliness and touch? That might be even more thought provoking than trying to make the perfect bowl.
While hearing you speak in the MPR-video, I started to count the word ‘time’, which was over ten times. So I grasp that time is your main research subject. Having a better understanding of time (in the arts) by doing performances can be really interesting. Although I think your performance work is really expressive, I have trouble to find how your performance work explores the explained types of time. For me it has stronger links to the body and bodily experiences as such.
When you talked about installation, I guess you meant in these cases mostly multiscreen projections. Are the examples given in the sheet “time logic in video installation” in some way a guidance for your next performances?
You talk about going to empty buildings, when the seagulls video brings forward your attraction to fast movement and Jules Engel. Parallel works seem to be going on, moving image, painting, deconstruction and merging ideas that connect to me. I have read in your proposal about language and Australian history. There are many interesting contexts around. Then this remark about the death penalty. How does it connect to what you present here? It honestly feels a bit jumpy, so I am not sure what to make of it.
I listen to a fine motivation why you focus on sound now. At the same time a bit confused by the hefty sound quality, it made me think about deafness.
Posting sound recorders seems a kind of political statement, so why do you do it and to whom become really essential thoughts that I think should be expressed. Furthermore there is the question what is actually an (un)interesting sound? And why is it (un)interesting? Here your perspective becomes of real importance I think.
At the end there is my question whether you research sound in itself as your final objective or do you want to merge it at some time again with your visual work? And I find your own hearing test as next starting point an attractive one.
You show a meandering and searching in your honest experiments. Exploring different formats, questions of identity jump afront, I wonder about your actual theme, maybe there is a possibility that you integrate your 3d-rendering and painting skills together in your next experiment? They could bring different qualities to the (food for thought) table.
It is an enticing idea to make a physical copy of the digital imagery, and the question then becomes what this tells us about the online “gloss world” that is out there? Are you taken a stand, commenting on it… in what way or context can I read your response? I sense about the body dysmorphia, when enlarged, this may lead to a number of pieces and according issues about people photoshopping themselves for online representation, or about facelifts in the real world, or models with extra long legs in advertising campaigns and so on.