This piece of work developed over a number of weeks during which the artist was exploring the memories she had of her mother who died when Dishington was only 7 years old. She made a large number of painted interventions during this time but the traces are all that remain. The process of removal employed here by the artist is very interesting.. the absence of the subject is beautifully expressed.
Everything about this project has been about the process of removal, subtraction and ‘taking away’, imprinting, stencilling, lino cuts, negative cine film, etc.. Continuing the process of removal I have been scrubbing and cleaning up my studio wall, and repainting it again, leaving the last washed out fragment still showing.. a window on what was there before:
Back to playing with these three little words.. and how notions of existence, presence, absence, and time can be explored just through the varying the emphasis, order etc.
Am i here
Early experiments upon my studio wall:
Of course I am not here.. I am off to work again instead.
I spent this weekend hunting for snow, and eventually found it right up high on Ben Lawers. It was stunning . Took some photos and did some work on my project. I have been thinking about how humans have always left marks to show they were there.. from cave man to kids with spray cans.
Both days I have had huge problems with my cine camera, a Bell and Howell 624 Standard 8, shooting Kodak 7302 black and white reversal film. The film was not running through the camera correctly, but I cannot tell whether it is my rubbish loading, the fact it is a thinner film, or whether the mechanism is sticking.. any way MUCHO FRUSTRATION as the whole point of the trips was to film from writing AM first, then I, and finally HERE, which I failed to achieve because of the loading problems. However the plan to develop the film as a negative did work from Day 1, Day 2 is still in the camera.. and I am very nervous about what will appear.
Here is film, the real thing is good and beautifully sharp, this version below has been recorded with a cheepo camcorder and then scrunched by You Tube.
I saw this work in the Saatchi Gallery in London yesterday which has an exhibition on called The Empire Strikes Back: Indian Art Today.
The robots were all different and that gave them a humanoid aspect and I was immediately ascribing individuals personality, even though they were just a series of metal rods and lightbulbs. The piece was full of a sense of movement, even though the only activity occurring was the burning of electricity. Interesting how we want to ascribe human qualities of individuality to machines that clearly have neither a brain nor a heart.
From the gallery blurb: Tushar Joag is an interventionist and inventor of mock corporate identities. He takes a satirical look at the urban classes and suggests that art is responsible for maintaining cultural continuity. This rhetoric leads him to conceive of unicell, a corporate body of one, that mimics many of the absurdities of government bureaucracy in a continent reliant upon social and political solutions.