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For me, Janet Cardiff is a great example of how an artist can immerse an audience within a work, and make them aware of their own bodily presence, whether that be within an installation, or as a participant in her guided walks. In discussing her audio installations she says, “I want people to be inside the filmic experience”.
Her work also shows how multiple mediums can be brought together to bring the audience an immersive experience. For example the installation’Whispering Room’ brings sound, audible narrative and occasional video projections to give the audience that ‘filmic’ experience.
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In investigating artist Janet Cardiff’s work, which often involves sound, video and narrative, I came across this beautiful piece made for the 14th Istanbul Biennial.
The themes of narrative and movement keep re-occurring in my own work, and recently, dance has become a focus in my research ( I have a dance background). As a dancer who is no longer really able to dance, I found this piece remarkably poignant as well as a great example of how movement and narrative can be explored in other mediums, in this case with marionettes and video.
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This MoMA site presents a comprehensive discussion of artist Marina Abramović’s retrospective exhibition ‘The Artist is Present’ from 2010. Abramović uses her own body as ‘subject, object and medium’ in her work. Although the physical body is not so obvious in my own work, in recent video work I have used my own physical presence to examine the themes of movement and constriction. These themes are also constants in Abramović’s work.
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Brian Dillon discusses artist Tacita Dean’s ‘The Roaring Forties - Seven Drawings in Seven Days’. He reflects on the parallels between her seven white chalk drawings on large black boards and their connection with film, time, place and memory. The drawings are considered as ‘story boards’, a reflection of a cinematic narrative. Text reflecting the cinematic action is incorporated in to the pieces.
For my drawing practice, based in movement and narrative, Dean’s work, both drawing and film, offers a way of extending drawing beyond the two dimensional. The static images work together as narrative, but they also work as filmic images of movement.
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Tacita Dean’s work ‘The Roaring Forties’ is a series of white chalk drawings and text on large blackboards that describe an epic sea narrative. As well as the drawings, the text takes the form of directional notations, as could be seen in a storyboard for a film. The effect is cinematic, due to the large scale of the pieces, and the narrative action they describe.
I have found this work particularly useful to study as I have been experimenting with animation as a way of bringing movement and narrative in to my work. I have used storyboards to plan the action of my animations, but have found the storyboards far more effective than my completed animations. Examining Dean’s work has given me clues in to how I can more effectively use drawing in my work.
Dean’s drawings do not need to be animated to give a feeling of movement and story. Her own hand and movement is apparent in every line and erasure, and the addition of directional notes allow the audience to visualise the action in their own minds. The chalkboards themselves are enormous in scale (8ft square in size), allowing the viewer a more immersive, film-like experience.
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I have been examining the work of artist Olafur Eliasson in detail as the themes he works with have some parallels within my own practice. He explores the natural environment, as well as how we physically respond to, and move within space. These are all themes I am trying to investigate further in my own practice.
I have also found it helpful to my own practice to consider the many ways Eliasson explores the concepts of his work. Rather than focus on one medium alone, as I have done in the past, Eliasson’s investigative practice is multi-disciplinary, and covers everything from immersive installation to drawing and photography.
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This exhibition of Eliasson’s work was particularly useful to my own research as it explores themes of landscape and the natural environment. He has used photography, a medium with which I am currently experimenting, to document landscape and natural phenomena. The work takes the form of a series of multiple photographic records, repeatedly documenting one place over time. For me, this work also illustrated how the two dimensional image can explore time as well as space.
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Photo
(Top) Black Canyon
2006
8 1/2 x 5 1/2 in. (21.6 x 14 cm)
Ink on paper
Photo: Todd-White Art Photography
(Below) Dear Another
2013
Graphite, ink and collage on paper
56 5/16 x 80 11/16 in. (143 x 205 cm)
Artist - Jess Rankin
Landscape is a theme constantly running through my own work, and so it does in the work of Jess Rankin. But Rankin expands on this theme, exploring through her own personal connections, how psychological meaning can be imposed on a landscape. She also uses more than one medium to explore these themes, developing her ideas through drawing, collage and needle and thread.
Anna Schwartz Gallery, in describing an exhibition of Rankin’s work at the gallery, refers to her images as “psycho-geographic maps”. This theme of ‘psycho-georaphy’, how the environment influences us psychologically and physically, has also recently emerged in the research for my own practice. This gives me a further motivation to examine Rankin’s practice.
“Rankin’s compositions are influenced on one level by personal experience – a road trip, camping under the night sky or snippets of conversation – and on a more universal level, by cartographic, cosmological or genetic diagrams, amongst others. Commencing with what she terms ‘a decisive act’ – a particular phrase or image – these elements develop organically, winding through the work like a street or river...” Quote from White Cube Gallery’s website.
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(via https://www.youtube.com/watch?v=2SvdWk8zRrI)
The Situationists and the Dérive
In my research to find other ways of exploring movement, passage and trace I began looking at the work of the Situationists, an artistic and political movement that was active in the mid 20th Century. In simple terms, this group formed as a reaction to the perceived effects of capitalism. Re-articulating Marxist principles, they felt that capitalism had resulted in social alienation and apathy in urban life. To counteract this, they suggested practices that would assist in people re-engaging with their surroundings. One of these practices they titled the ‘Dérive’, or ‘drift’.
The Dérive is the act of wandering through an urban, or rural, space with no aim in mind, allowing yourself to be attracted to, or repelled by, the surroundings, and letting this response direct your movement. As movement of the body through space is one of the core themes of my practice, I decided to adopt this technique as a catalyst for a studio project. I discovered that, in fact, this technique is still being practised today, and that an App. has been invented as a guide for those interested in this way of exploring their surroundings! (See Tumblr link below.)
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Artist - William Kentridge
William Kentridge, like others I have researched, is another artist who has expanded their drawing practice in response to the concepts that are driving the work. Kentridge’s drawing has progressed from works on paper to animation of his drawings by a process of drawing and erasure, captured by a stop-motion camera technique. He also works with sculpture and, more recently with theatrical techniques, including puppetry.
He has dealt with political themes, informed by his life in Johannesburg and his experience of apartheid South Africa. More recent work has expanded to encompass more universal themes, such as ageing and loss.
Although my work has a very different conceptual basis to Kentridge’s, I am interested in his ability to suggest movement and space in his drawings. He uses a limited palette of colours in his drawing, as do I, but the effect is still fresh and lively. Even before they are animated, there is a feeling of movement in his drawing, due to his gestural mark making. There is also a strong narrative aspect to his work, something I would like to develop further in my own practice.
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Video
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Performance 13: On Line/Anne Teresa De Keersmaeker Jan 12-16, 2011
In this choreographed piece by Anne Teresa De Keersmaeker, her repetitive movement across the sand results in a ‘drawing’ - the trace left by her movement.
Coming from a dance background myself, I would like to bring this aspect of movement somehow in to my own work. De Keersmaeker gives a great example of how a drawn line can result from performative movement of the artist’s body.
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