Weekly Summary: 22.2.16 – 28.2.16
by Beauchamp Art
(Photo by Jody Padmore)
Although I was unable to attend, my piece, RGB 24, was featured in the Float. event at the Firstsite gallery in Colchester, organised by the Y.A.K (Young Art Kommunity). Having heard some feedback from other participants, the film (displayed with a projector having sent the video files – along with a GIF version to be shown by the reception – to the organiser) appears to have been well received. There is also a residency opportunity at Firstsite that I have been made aware of that would be of interest, and revolves around an up coming exhibition of Andy Warhol; whose Pop-Structuralism was influential on the RGB piece display (in conjunction with the videos of Paul Sharits). This would be a highly appealing venture, as the outline is fairly open ended, and should I keep my current job following following an interview on Tuesday, it could be worked around this line of employment effectively. However, the deadline for applications is also this Tuesday, so Monday shall be spent preparing an application (possibly using elements of the incomplete Praksis application as a starting point).
The organisation of audio works, online sounds and old music project files has occupied no small part of this week. In doing this I have gone through an archive of complete and half-rendered musical remnants, deleting the large amount of duplicate files and restructuring the storage of tracks into a more streamlined format with a reduced number of erroneous sub-folders dating back to 2008 for the sake of efficiency. I have also reworked two songs from around 2015, but had been on the go for some parts of second and third year of uni. Indeed, this evidences one of the primary problems I have encountered has been the extended process by which both songs and sound pieces have been written, with some particular items only been addressed in small burst of the course of several years, and the musical side of my creative output being heavily neglected towards the latter half of my degree (in order to focus of the more paramount concern of my Fine Art work). Nevertheless, this reflects a wider problem of leaving projects, ideas, and proposals unresolved or otherwise out of mind for considerable periods of time, resulting in an unequal and sporadic output of varying works, often with limited periods of reflection – with the exception being my uni work.
Following this, the recent production of drawings, digital paintings and 3D sculptures, such as the cyber-centurion quickly done this week, alongside starting and working on between 5 and 10 other similar such studies may be positive in terms of quantity of output and technical skill-based progress; in the same manner as the recent Zbrush works (such as the Dawn Troll from last week, re-rendered without foliage with new lighting on Monday, or the full figure that is currently being undertaken – a coal miner using a mix of references, however, I have not garnered these with a great deal of consideration after the fact, not a detailing of methodology, both useful for current and future reflection.
Nevertheless, despite this critical reflection being absent from the majority of my fairly sparse written output*, it has been present in my verbal discourse with peers – that of the remaining student body of NUA with whom I am still in semi-regular contact. However, given the rather remorseful rush of the last two weeks of my degree whereupon I wrote such a colossal sum of reflection and review regarding my own work situated in a wider context (including the few hundred words on Safety Dance, which seems to have taken place in a dream haze of quotation, paraphrase, and parallel conjecture), it seems unfortunate to have fallen out of such a habit; although it should defiantly be undertaken in a more sustainable manner. The latter portion of third year resulted in a clear over-dose of contextualisation and the cold-turkey stage that followed is understandable (especially given the Information Overload subject matter present in all aspects of my work, and – in the Post-Modernist/Anarchist fashion of self-reflectivity/reflexivity – in the multiple modes of production, within which the output could be seen to parallel the problematic discourse of the intellectual input, evoking the feedback loop elaborated upon in my dissertation (and the short parodic prose which followed it).
In synopsis (which this summary should be**, but evidently is more an amalgamation of syntheses), although the type of output that is currently being produced is as a not dis-satisfactory level, and the nature of that output being within only a small area of potential production, these parameters are not inescapable nor necessarily inherently restrictive, as a limited palette often enables the most elaborate of creative solutions; both literally (in the case of the digital paintings which have adopted a cartoon/comic-like aesthetic of a minimal selection of colours or more often tones within a short spectrum of 5-10 shades with colour grading and atmospheric effects expanding this range) and figuratively, as in only undertaking a few projects or mediums at a time, rather than attempting all simultaneously (though this could also refer to the frequently ‘figurative’ nature of my visual, more illustrative, output – ergo, the ‘literal’ is also the ‘figurative’, and arguably ‘literary’ too, given the narrative text that accompanies some of the digital paintings, where critical reflection may have been found a few months prior). However, actually writing down critical ideas at length should not be overlooked, and may encourage the writing of application, such as the aforementioned Firstsite residency, or at the very least result in a situation where the genuine progress of ideas and projects is easier to track and therefore make plans and proposals for the future.
(*The language of the Post-Fordist Precariat has been amalgamated and naturalised here: that of ‘output’, ‘production’ and of allocating time to periods of lesser or greater material or intellectual development. This may possibly be as a response to the Socialist literature with which I have been engaged, namely The Ragged Trousered Philanthropists, following The Road to Wigan Pier, and the general miserable miasma of media, notably the various 25 and 40 documentaries from Al Jazeera and various BBC Radio 4 and World Service discussion programs.)
(**Unfortunately, this entry has been dogged by the menace of parenthesis, resulting in a monologue form that evidences an absence of redrafting. However, this is derived from principal/parameter set forth in the earliest of these regular Weekly Summaries, and that is to allow for a fluidity of style becoming of less formal modes of writing and the spontaneity of the single draft, in order to rapidly convey the intentionality and mentality at the time of writing, occasionally devolving into a diary-like format that typifies the blog of the semi-specialised. However, as this WordPress site can now be distinguished from my more formal portfolio website, than the luxury of a relaxed writing style may not be entirely indicative of a lack of professionalism, but rather the compartmentalising of intentions; distinguishing the external presentation of the the website, with the self-reflectivity of a public web log.)