Thoughts on midyear works:
I've been tossing up between the pohutukawa sequence and the kaikōmako work for midyear presentation. I've also been trying to figure out what the crux of my work that I'm putting forward is - it's been difficult finding the order of hierarchy between the digital/technological elements of the work and the organic subject matter, and I've been having trouble writing my artist statement as a result. I feel at present the format and experience of the subject matter takes precedence over the depiction of the reality of the ecosystems they are derived from (I am presenting an amalgamation, capture, assemblage, etc. rather than focusing on the nonhuman entities; less of an objected-oriented ontology lens and more of an exploration of mediated encounters perhaps? though still with a heavy lean towards ecological thought). At the same time though, I do not want the works to be binary - the separation between nature and technology isn't simple, nor do I want to reduce my statement to them being about one or the other. It's the combination...
Construction of and assumptions around nature have been an underlying theme in my practice for some time, and I feel that the combination of landscape format, organic forms and digital assemblage in the image sequence could potentially open up space for contemplation of these things. I think that the semi-real nature of the subjects in each image reinforce this questioning of assemblage, capture, fidelity, and the real; if I focus my works on these ideas that it will hopefully convey what I need it to... Looking into Sean Waugh's works this week has been helpful in contextualising the use of highly digital processes in an artistic format, especially around installation, visual effect and content.
The series of images I have been thinking of presenting from the pohutukawa works are an exploration of something uncanny. I think given the past two years of the pandemic, there is a heightened feeling of situational awareness that many of us have experienced. The reality of living with an unseen virus has opened up a broader consideration of how minute non-human entities influence our lives. While not a central element, these works also draw inspiration from the work of Timothy Morton, specifically his idea of the strange stranger and how bizarre nature is revealed to be when looked at through a non-anthropocentric lens, and the limits of our assumptions or understanding via different fields or rhetorics. In this case, that of digital technology. I think how the images in my work present a perspective of nature that walks the line of human expectation that mirror this (i.e. they are visibly "organic" but artificial at the same time...).
I have a hunch that the side-by-side static images on multiple screens may be more successful than the large, moving image sequence iteration of the work, but given the time and resources available to me I think the best way to focus around this work is by refining the image series. I've shortened the pohutukawa sequence from crits down so that each is now on screen for between 12-15 seconds (creating a 3-4 minute series depending on the number of images); this still feels quite fast but is flowing better than before. I will continue to refine this over the coming week, though it's hard to gauge what the work will be like in reality without seeing it on the screen itself. I'll continue to work on touching up some of the images to enhance the three-dimensionality and plausibility of the subjects. I'm a little saddened that we don't have access to higher resolution screens but again that's something I can consider for the future. I hope it will not be let down by the 1080p one for midyear (assuming I get it; I've also toyed with the idea of presenting large scale photographs as a last resort if not available).
Saying that, I'm considering whether it would be worth putting forward the kaikōmako work now - I think the content is stronger than the pohutukawa sequence, despite not being as developed... the images are also sharper, and the subject is clear (visually and conceptually). If i can pull that off in the next couple of weeks, I think it could be a good installation. I'll decide on this over the next week while I wait to hear from the AV department! If going with this work, the screen option I think would be best (printed photography would flatten out the context too much I think).
Other than this work, I've been continuing to work on the video version (walk through) of the assemblage space that I began a few weeks ago, and have done some small sound recording experiments - I've put the latter on hold until I can get out of the city as I don't want to continue focusing around my home as a site for generating content (starting to feel a bit too insular, and as with my practice in general, I don't want to be the focus the work).
I'm also planning to visit Rangitoto over the break if I have the chance - last time I was there I was struck by how alien some of the small plants and rock formations along the shore were, and the oddness of the landscape. It feels very unfamiliar and variable despite being so close to the city; being on the island itself, the city feels much closer than the island appears to be from the city.
Image of the mosses found on Rangitoto's shoreline, *
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