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Beyond Tinted Press

Beyond Tinted – Մգեցված ապակիներից այն կողմ

Beyond Tinted
Dickie Webb

A new body of work by artist Dickie Webb brings together intermedia works that investigate our current connection to the Yerevan landscape and beyond. These experimental works draw from liminal sites and objects that are used to manage space. Webbs’ process abstracts and subverts these findings, utilizing photography, sculptural elements and new media technologies; it is the anthropomorphic qualities that underscore the works. Just like liminal space these works exist in an unknown state, straddling both real and virtual, Webb does not imply directly what they mean rather he suggest they are a means to reflect on the potential of what could be. These works challenge especially that part of local people that have to reconsider their present landscape and gain some form of clarity out from behind their tinted view (tinted glasses of the big cars of nоuveau riche). The final works vary in fabrication and are part of a wide palette that enables Webb to present intimate moments, to view our present existence from an altered perspective and reflect on our own being.

Artist Statement:

Dickie Webb operates his art practice from the position of a wanderer, moving consistently over the years, dislocating himself from societal norms. With few constants Webb’s peripatetic lifestyle means he has had to adapt and rethink our connection to landscape, altering his comprehension of what is considered home and the role of society’s expectations.
Examining our existence Webb questions that which is real and what is otherwise virtual within our landscape, utilising Marc Auges’ “non-places” and Michel Foucaults’ “heterotopias” as initial starting points. Webb uses these imaginary and transient sites as a means to reveal anomalies, inaccuracies similar to those displayed within human personalities.
This connection to space through its anthropomorphic qualities prompts Webb to consider space as representational of current issues experienced within both the individual and collective. Using space as a metaphor and as a medium Webb looks past the architectural structure and explores the liminal qualities, discovering this blurred arena from an outsider’s perspective.

Processes:
Interactive installations, Arduino, photography, site-specific installation, sculpture, print, sensory based media light, sound and scents, interventions, casting, drawing, constructive and destructive processes.
Materials:
Paint, plaster, bronze, aluminium, soap, salt, concrete, sugar, ice, glass, steel, wood, resin, ink, milk and wax.
Objects:
Cardboard boxes, furniture, envelopes and car windscreens.

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Born in 1979, in Oxford, United Kingdom. Dickie Webb currently divides his time between New Zealand, USA and the UK. Webb studied for a BA Honours in Intermedia at Edinburgh College of Art; part of his degree was spent at the State University of New York, Purchase College. Prior to his degree Webb studied at Oxford Brookes University, UK. Since graduating Webb has continued travelling working in Japan, New Zealand and Chile whilst also undertaking artist residencies in Athens, Greece (SNEHTA) and currently here in Yerevan (ACSL). He has exhibited works in the UK, USA and Greece.

Recent Exhibitions:
2014 THINGS ARE DIFFERENT NOW – Art Athina, Athens, Greece
2014 Boundaries – Artscapes, Athens, Greece
2013 Unsettled Certainties – Aghias Zonis 1 Space, Athens, Greece.
2013 One Action, Ones Actions – Cultybraggan POW Camp, Perthshire, UK
2013 Newhaven Station – Edinburgh, UK

The exhibition is organized by the Art and Cultural Studies Laboratory (ACSL). This project is realized at the [Art Commune] International Artist-in-Residence Program (ACSL)

This project is funded by European Cultural Foundation

Special thanks to the Yerevan Modern Art Museum, director of the Museum Nune Avetisyan and its staff.

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Մգեցված ապակիներից այն կողմ
Դիքի Վեբբ (Անգլիա)

Արվեստագետ Դիքի Վեբբի Հայաստանում իրականցված այս նոր նախագիծը քննության է առնում Երեւանի շրջակա միջավայրի, դրանում առկա այլ քաղաքատեղերի հետ հընթացս կապերը: Բազմամեդիական եւ փորձարարական ոգով տոգորված աշխատանքները մտորումներ են քաղաքի կազմավորման շուրջ, սակայն իրերն ու դեպքերն այստեղ լիմինալ նշանակություն ունեն՝ նրանք գտնվում են իրականության նմանակումի եւ վիրտուալի, վերացականի սահմանin: Արվեստագետի մոտեցմանը բնորոշ է քաղաքային տարածքներում ամեն հայտնաբերվածի աբստրահումը, կամ տրոհումը՝ հիմքում պահելով մարդակերպական (անտրոպոմորֆական) որակները՝ դա է հոդավորում աշխատանքների շարքը. իսկ այս նախագծի իմացաբանական ըմբռնումը ամբողջությամբ թողնված է հանդիսատեսին:
Նախագծում տեղ գտած առանցքային աշխատանքներից մեկը՝ վիդեո-սլայդ-ձայնային ինստալացիան առաջին հայացքից “անշառ” քաղաքային դրվագների հերթափոխ է, որը սակայն գաղափարաբանական դասավորություն ունի՝ տեղի (տոպոսի) կարեւորությունը կապվում է “ու-տոպիական” մտածողությանը, եւ վերջինիս հետ սերտ առընչվող երկու այլ մոդուսների՝ դիս-տոպիային եւ հետեռոտոպիային: Վիդեոշարքի պատկերները, ըստ արվեստագետի, դասավորված են վերը նշված մոդուսների եւ ամեն մոդուսին ներհատուկ ձայնային կոմպոզիացիայի համաձայն: Այստեղ էլ հանդիսատեսը պիտի փորձի “ընթեռնել” ներկայացված տոպո-գրաֆիայի “փիլիսոփայությունը”:
Վեբբի պնդմամբ՝ նախագիծը մարտահրավեր է հատկապես ետ-խորհրդային տարածքներում գոյացած նոր հարուստների խավին, ում hամար շուրջ կյանքը երանգավորված եւ սահմանափակված է սեփական մեքենաների մգեցված ապակիներով՝ նրանք անհաղորդ են հանրային կարիքների նկատմամբ, եւ քանի որ նախագիծը հղում է կյանքի ավելի լայն “ներկապնակին”՝ Վեբբն իրավունք է վերապահում բռնվել հանդիստաեսի հետ մտերմիկ խոսակցության մեջ՝ ներքաշելով նրան գոյության շուրջ խորը մտորումների:

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Դիքի Վեբբի արվեստագիտական պրակտիկաներում ներկա է թափառականի հայացքը՝ երկար տարիների հետեւողական տեղարշարժերի ընթացքը մղել են նրան հասարակական նորմերից դուրս: Գտնվելով ապրելակերպի պերիպաթեթիկական (արիստոտելյան) մի քանի ձեւերի մեջ՝ նա հետազոտում է շրջակա միջավայրի հետ մարդկանց կապերը՝ ձգտելով փոխել պատկերուցումները “տուն” եւ “հասարակության սպասումներ” եզրերի մասին: Քննելով այժմյա գոյության խնդիրները, Վեբբը հարցի է դնում քաղաքային լանդշաֆթների իրական եւ դրան հակադիր վիրտուալ գոյությունը՝ հիմնվելով Մարկ Օժեի “ոչ-տեղերի” եւ Միշել ֆուկոյի “հետերոտոպիաների” տեսական պնդումների վրա: Երեւակայված, կամ
չ-անձնավորված, անցողիկ տեղերը նրա համար անոմալիաների եւ անճշտությունների բացահայտման միջոցներ են: Տարածության գաղափարը՝ օժտված մարդակերպային հատկանիշներով, դրթում է Վեբբին դիտարկել այն որպես ընթացիկ խնդիրների ներկայացման հարթակ՝ թե՛ անհատականի, թե՛ հավաքականի դիտանկյուններից: Վեբբը օգտագործում է տարածության գաղափարը “միջավայրի” ասածի տեսանկյունից՝ հաճախ ներկայացնելով այն փոխաբերական լիցքերով լի: Նա բնավ տարված չէ ճարտարապետական կառույցներով, այլ հետազոտում է տարածքների անցումային, լիմինալ որակները՝ բացահայտելով այդ մշուշոտ արենան աութսայդերի հայացքով:

Դիքի Վեբբը աշխատանքները հիմնականում վերածվում են ինտերակտիվ կամ տեղին հատուկ ինստալացիաներ, թվային աուդիո մանիպուլացիաների, լուսանկարների, քանդակի, տպագրության, սենսորային լույսի միջամտության, ձայնի, բույր, գծանկարի, կազմման եւ ապակզմման ընթացքների եւ քաղաքային տարածքներում ներխուժումների
Օգտագործվող նյութերն են՝
ներկ, բրոնզ, ալյումինիում, սապոն, բետոն, աղ, շաքար, սառույց, ապակի, մետաղ, փայտ, բլեկնախեժ, թանաք, կաթ, մոմ
Օգտագործվող օբյեկտներն են՝ ստվարաթղթե արկղեր, կահույք, ծրարներ, ավտոմեքենայի առջեւապակիներ

Դիքի Վեբբը ծնվել է 1979թ. բրիտանական Օքսֆորդ քաղաքում: Մի երկրից մյուսը հաճախակի տեղաշարժերի հետեւանքով՝ նա բնակվում է ներկայում Նոր Զելանդիայի, Միացյալ Նահանգների եւ Միացյալ Թագավորության միջեւ: Վեբբը բակալվրի կոչում է ստացել Էդինբուրգի Արվեստի քոլեջում՝ համատեղելով ուսումը Նյու-Յորքի Պետական համալսարանին կից գործող Փրչեյզ (Purchase) քոլեջում՝ մինչ այդ նա Բրիտանիայի Օքսֆորդ Բրուքս (Oxford Brooks) համալսարանի շրջանավարտներից էր: Վերը նշված ուսումնառության տարիներից հետո նա սկիզբ է դնում շարունակական ճամփորդությունների եւ աշխատանքային այցերի դեպի Ճապոնիա, Նոր Զելանդիա եւ Չիլի՝ հընթացս ներգրավվելով արվեստագետների կացարանների ծրագրերի մեջ Աթենքում (SNEHTA կացարան, Հունսատան), այժմ էլ Հայաստանում գործող “Արտ կոմունա” արվեստագետների միջազգային կացարանում (ԱՄՀԼ):

Վերջերս նա մասնակցել է մի շարք ցուցահանդեսներում ԱՄՆ-ում, Միացյալ Թագավորությունում եւ Հունաստանում, որոնց թվում են՝
(2014) ՀԻՄԱ ԲԱՆԵՐՆ ԱՅԼ ԵՆ, Արտ Աֆինա, Հունաստան
(2014) Սահմաններ-Արվեստատեղեր, Աթենք, Հունաստան
(2013)Չամրագրված փաստեր, Aghias Zonis 1 Space, Աթենք, Հունաստան
(2013) Մեկ հայտարար, միանվագ հայտարարներ, Cultybraggan POW ճամբար, Փերթշիր, Միացյալ Թագավորություն
(2013) Կանգառ Նյուհեվանում, Էդինբուրգ, Միացյալ Թագավորությւոն

Ցուցահանդեսի կազմակերպիչն է
Արվեստի եւ մշակութային հետազոտությունների լաբորատորիան (ԱՄՀԼ)
Նախագիծը իրականացվել է [Արտ Կոմունա] Արվեստագետների միջազգային կացարանի ծրագրերի շրջանակում (ԱՄՀԼ)

Նախագծի հովանավորն է Եվրոպական Մշակութային հիմնադրամը

Աջակցության համար հատուկ շնորհակալություն ենք հայտնում Երեւանի Ժամանակակից արվեստի թանգարանին, թանգարանի տնօրեն Նունե Ավետիսյանին եւ անձնակազմին



P1200281Living here in Portillo is a trip, a place full of contradictions.  The spectacular scenery, world class freeride terrain for skiers and snowboarders and fully serviced hotel in the heart of the Andes.  However this is also one of the passes between Chile and Argentina, this picturesque place is a thoroughfare for trucks transporting all kinds of goods.  Its a hostile place with the road being subject to closures frequently due to the winding switchbacks that lead up to the border.  The parked up trucks display the amount of traffic that passes through on any given day navigating the pass.

The border itself is a ramshackle warehouse of a place.  Similar to a lot of the buildings in these mountains it looks temporary, subject to movement both by mother nature and man.  This living so close to a border in a man made utopia is quite surreal, the road provides a reminder to the real, the world that operates away from here.  For those not from here the road is understandable whilst the resort is itself a heterotopia.  A yellow hotel built within a South American country for those who have the money to enjoy the finer things in life and privileged enough to be able to ski.

I am sure it will be a time in my life that I will make me question daily where I am.  The idea of only knowing what is beneath your feet and not really knowing what the next step will bring.  This borderland seems to be less certain maybe similar to the buildings the ground is less certain or not as comprehendible.




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The photography work of Sam Irons presents photographs of everyday situations and vistas but with twist.  The way the scenes are framed and composed subtract them from the world we maybe familiar with and suggest somewhere else an otherness.  These heterotopic visuals leave us to rebuild the story and context to comprehend them.  They allow us to engage with spaces that otherswise we would just digest without a second thought.  For more work please check his website here.  

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‘I am like the crawfish and advance sideways’

(Michel Foucault, 31st January 1979)

 

I read this quote on the front page of a really informative site around heterotopia.  Heterotopian Studies is a great site delving into depth the concept of Heterotopia.  This is an ongoing influence on the sites that i visit and engage with.  The site is written and updated by Peter Johnson.  Click here.

 

marfaimg

 

Heterotopia
Organized by crystal am nelson

October 5 – November 2, 2013
in Marfa, Texas

Opening Reception:
October 5: 2-4 pm
Adobe House Gallery
corner of S. Dean and E. Dallas Streets (enter on E. Dallas)

Featuring work by:
Big Bend Saddlery, C3, Allan deSouza, Justin Hoover, Anna Jaquez, Jason Kolker, Enrique Madrid, Mattie Matthaei, C.M. Mayo, Feather Radha, Andrei Renteria

A Franchise Program winning exhibition.

Marfa, a city whose allure in the art world extends far beyond those who have actually visited, stands alone, geographically and culturally. Located in the Chihuahuan Desert/Big Bend region of Texas, it is a six-hour drive from Austin and three hours from the nearest international airport, in El Paso. The town’s biggest employers are national law enforcement agencies, including the Drug Enforcement Agency and the U.S. Border Patrol, and more than twenty of the best paying jobs in Marfa are with the U.S. Air Force’s aerostat surveillance program. Marfa’s next biggest revenue stream is art tourism, which is serious business despite its remote location and scarce amenities. However, in the public imagination, Marfa is the city Donald Judd built with the backing of the Dia Foundation and a vision of anarchist minimalist utopia.

Certainly this image of the lone artist as pioneer, taming the Wild West with aesthetics is a striking and romantic one, aligned with the aura and history of Far West Texas. But, long before Donald Judd arrived in Marfa, long before the town was named Marfa, people from diverse backgrounds—Apache, Comanche, Spaniards, Mexicans, Tejanos, and Anglo-American pioneering cowboys—built communities on the surrounding arid landscape and laid the foundation for Marfa’s unique cultural enchantments. Unfortunately, in spite of his importance in bringing attention to the remote city, Judd’s legacy has obscured much of this history and what contributes to making Marfa such a compelling cultural capital. How does one begin to reconcile these seemingly disparate and diametrically opposed community elements that are simultaneously autonomous from and interdependent on each other? What happens when contact turns to conflict? Or when divergence transforms into convergence?

Heterotopia attempts to respond to these concerns by redrawing Marfa’s cultural map to illuminate its pre-Judd history and post-Judd impact, highlighting under-recognized subjectivities, and bringing to the fore contemporary cultural production happening on the periphery of the city’s blue-chip art scene. The strategy is to exhibit local traditional, vernacular, and contemporary artists alongside international artists in order to underscore their proximities. At Heterotopia’s core is art representing the Jumano-Apache Indian heritage, Chicano art, and cowboy art, a genre that celebrates the traditional arts and lifestyle in cowboy culture of the American West. The work of international artists will address issues related to the exhibition’s meta-concepts of contact zones and their ever-accumulating pasts, transcultural exchange, and hybridity. Through its installation, the exhibition hopes to decentralize the art-viewing experience by using multiple sites, primarily non-art specific venues throughout the city to introduce visitors to its less-trafficked locations. A commissioned audio file will be provided to assist them in physically and conceptually navigating the sites. Additionally we will program screenings and lectures about Marfa’s unseen scenes and the myths circulating its mainstream identity.

Image credit: crystal am nelson, Welcome to Marfa, 2013

reposted from http://apexart.org/exhibitions/nelson.php

1 20m web

1,20m,  2013

C-print On Fujifilm Archival Paper- Mounted on PVC

dry reflection web

Dry Reflection,  2013

C-print On Fujifilm Archival Paper- Mounted on PVC

Low Tide web

Low Tide,  2013

C-print On Fujifilm Archival Paper- Mounted on PVC

no floats web

No Floats,  2013

C-print On Fujifilm Archival Paper- Mounted on PVC

Paused Inflatable web

Paused Inflatable,  2013

C-print On Fujifilm Archival Paper- Mounted on PVC

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This review by Nick Warner was posted on This Is Tomorrow blog about the House 2013 Festival.  Really interesting works by several artists.  The review makes for interesting reading and especially how Warner applies the concept of Heterotopia by Michel Foucault.

HOUSE 2013
Brighton and Hove’s curated and programmed visual arts festival
4 – 26 May 2013
Review by Nick Warner

Between 1966 and 1967 Michel Foucault proposed the notion of the heterotopic space on several occasions. When defining the heterotopia as a space of otherness, a place neither here nor there, Foucault cited examples such as brothels, ships, gardens, prisons and, perhaps most famously, cemeteries. The concept of heterotopia has proliferated exponentially since the inauguration of the digital sphere and the opening up of the most spectacular heterotopic space conceivable; the internet. With access to a globe of unending communicative networks and within a vastly increased planetary proximity, the potential for spatial alterity is increasingly present, and an exhibitionary obligation to the dialogue between the familiar spaces of the domestic and the Uncanny spaces of the heterotopic is being tended to as swiftly as it is emerging.

With that in mind, HOUSE Festival, currently embarking upon it fifth annual iteration alongside the Brighton Festival, presents ‘Heterotopias and Other Domestic Landscapes’, an exhibition of new works by German artist Mariele Neudecker. As per the usual HOUSE Festival format, Neudecker’s work has been selected as the primary focus of the festival’s thematic, against which an open-call is generated. From this, peripheral regional artists are chosen to produce commissioned works which accent, or exchange with, Neudecker’s work in a multi-dimensional conversation between various domestic, commercial and public spaces across Brighton. The thematic for 2013’s HOUSE Festival was identified in Neudecker’s work by this year’s guest curator Celia Davies, Acting Director and Head of Programme at Photoworks, and general Brighton-art-scene celebrity. While Davies is responsible for the selection of Neudecker as the ‘lead artist’ from this point onwards it seems the selection of other artists is a collaborative one, and when I visited the festival Neudecker took on an interestingly curatorial role, speaking about the relevance of the other works to her own with ease, and answering questions about the other parts of the project. Alongside Neudecker, the list of artists commissioned includes Emma Critchley, David Wightman, Andrew Kotting with Anonymous Bosch and Ben Fitton with Dylan Shipton.

Neudecker’s work is installed in Brighton’s historical Regency Town House, which is exactly what its title would suggest. The work occupies rooms throughout several floors of the house, and its spread through the various interiors seems significant in the curation of a festival reflecting on the varying domesticity of contemporary art. The work, a multi-disciplinary contemplation of different landscapes, both real and imagined, is installed with a sort of metaphorical site-specificity, so that images of Arctic skies intersected by hand-drawn vapour trails occupy the uppermost portion of the building, and video works shot deep underwater in the Indian Ocean are situated in the subterranean basement spaces of the house. The house remains in a state of moderate disrepair and the elaborate hanging systems conceived to avoid any direct drilling to the building, which is in the process of becoming listed, extends the work’s heavily site-specific emphasis. On the ground floor of Regency Town House documentation of Neudecker’s trip to the Arctic is displayed; Polaroids and videos surround a large iceberg sculpture, a stunningly realistic maquette of an iceberg the artist circumnavigated with a view to making such a reproduction. The iceberg, the artist admits, is produced with an uncertain level of accuracy, amalgamated from several favourable icebergs seen on the excursion, and is scaled down to remain in proportion yet to fit through a standard door frame. The production of the work becomes less about an accurate representation of an object or event, and more about the problematics of domesticating the object and event. The memory or recital of an experience becomes in itself, heterotopic, sitting between temporal zones of past and present, and between geophysical zones of distant and proximate.

Equally, Dan Fitton and Dylan Shipton’s commission piece, ‘Monument to the Excluded Middle’, deals with the same heterotopic space of remembrance and reproduction. Situated in St Peter’s Church Gardens Fitton and Shipton’s monument resembles an air ship, collapsed and wrecked in the mid-section, and come aground. The airship was the first means by which humans saw the earth from the air, and so was a landmark technology in our expanded understanding of a multiplicity of perspectives. As the sky came to represent a new mode of exploration, so do these recurring possibilities of remembrance through the heterotopic space of the monument.

Emma Critchley’s commissioned video work, ’Aria’, is a startlingly beautiful film depicting a choreographed female figure moving serenely beneath the surface of a swimming pool. Filmed from underwater and accompanied by a specially scored female soprano singing a haunting a capella, ‘Aria’ is screened in a blacked out shipping container situated on Brighton’s seafront. The work is projected onto a stretched screen which reaches floor to ceiling inside the black box: entering only in small numbers, the environment is wholly immersive for its audience. The displacement of the body underwater, and the renewed and unfamiliar engagement with its own faculties, is mesmerising and surprisingly the alien quality of the underwater landscape reins in any overtly feminist readings of what could easily be read, due to visual associations, as a piece of feminist performance art.

Bodily displacement is made more explicit, or at least more immediately visceral, in the commissioned body of work produced by Andrew Kotting and Anonymous Bosch. The two had planned an extensive trip into the Pyrenees to make a series of new pinhole images in mountain caves. However, a motorcycle accident immediately before their departure meant that Kotting was hospitalised and the project would never come to fruition. Using pinhole images of Kotting’s own hospitalisation and recovery as a starting point, an extensive exhibition of paraphernalia has evolved including artefacts of Kotting’s crash and hospital residency, historical artefacts from the proposed region of the Pyrenees and a series of new pin hole images produced in the infinitely more accessible caves in Hastings. Directly adjacent the commercial seaside property in which Kotting and Bosch’s work is on show, a single large canvas is housed in a glass-box retail unit. David Wightman’s ‘Hero’ is, as with all of Wightman’s paintings, made up of painted wallpaper, so that his surreally simplified landscapes become textured with the memory of his own childhood and domestic past.

HOUSE Festival presents a concise and astute selection of works dealing with notions of the landscape with a heterotopic twist. The space that occurs between the artefact, object or event and its viewer expands out into a vast heterotopia that becomes manifest either in the content of the work or the environment of its presentation. These works all reflect differently upon possible ways of producing heterotopic landscapes, as bodies of research that move fluidly between science and fantasy, as immersive experiences, as publically available monumental remembrances and as detailed accounts of personal trauma.

HOUSE 2013 Website Click Here

Hétérotopie #HEFMI

Vincent J Stoker takes us on tours through photographic heterotpias.  Transporting us through our own ability to construct stories from past experiences and understandings.  His choice of locations leave us guessing as to whether we are early or just a little late for the moment.  Though sites of interaction or utopian ideals they seem off kilter and out of place from how I minds perceive them.

Heterotopias can be defined negatively, by what they are not. Here and nowhere, they are neither real, nor utopian but both at the same time. Places out of all places but still recorded on maps, they are the physical locations of utopias, utopias that have become matter. Their first principle of otherness is that they have an ambiguous relation to reality.

Vincent J Stoker

To read more or to see more photographs please click here

Hétérotopie #IEGDII Hétérotopie #IEGDII

I handed my dissertation in a couple of weeks ago and then jumped a flight to Austria to escape in the mountains for a week.  This week left me considering where I currently am.  This research has allowed me to reconsider and evaluate future process and attention.  Though as yet it is still not clear as to what or how exactly I will be stepping forth.

Areas that have be highlighted within this period of research are:

Liminal space and more importantly within this blurred area the idea of heterotopias existing or being present within liminality.

Within the abandoned spaces, the awareness that these spaces are both liminal yet relative.  It is this juxtaposition that highlights the potential being present.  

The idea of what that has gone or lost since the inactivity.  Yet what has appeared or has been gained in an abandoned space.

Understanding that within physical spaces, creativity can undermine the relativity of this dimensional space.  A once certain space can become fluid and contain more than once conceived.

The drifting between that which you understand and that which questions.  The ability to comprehend that some spaces clearly exist within the real whilst at times are operating within the virtual.

I am currently mulling these ideas over as I now look to experiment more and realise some works that have been brewing through this period of time.  I am currently collaborating with Urban Abandonment Projekt – www.uapscotland.com.  Through this site specific project I hope to respond to abandoned spaces with ambient interventions.  Drawing on the immense sensations that can occur within spaces that have been lost to society.  I am also working on studio based work that will experiment with ideas about space outlined in my dissertation as well as elements that I feel need to be brought back from these abandoned spaces.  These feelings from abandoned spaces accompanied with liminal and physical spaces intentionally become metaphors for larger themes outside of this focused paper.

overhead flume tiff 1

Current works are exploring data bending with images collected from empty spaces such as waterworld in Leith.  Creating soundscapes from the raw data image files and then in turn creating abstracted images of the once thriving swimming pool.  Another project which is in the early stages is an installation work based within an old POW camp called Cultybraggan.  This will be installed for an open weekend at the camp first weekend in June.

The research will continue as new questions arise.  Thanks for those that have been responding to posts and adding input or links to this idea of a potential being held within a disremembered space.

Dickie

 

goodfriday1-550

Michael Vogt plays with the viewer and their comprehension of human structures and the habitation of these spaces.  Formally composed yet disquieting subjects, unusual layerings take the viewer in separate directions which creates questions.  These heterotopic images capture real used spaces, though somewhat familiar, thoughtful collaged elements provoke and unsettle you the viewer.  Vogts’ opening statement on his site places his practice concisely:

“man-made structures, the passing of time, and a different ordering are the cornerstones of my practice”.

The diverse body of work is wide ranging and leaves me inspired.  Click here for his website.

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