processandproductionbethmitchell

[processandproductionbethmitchell]

10 Images - Final Outcome

Artist Statement

Within this project, I sought to affirm and articulate the concept of universal love, represented by the motif of the Female form. This is elevated from my previous work into connections and the concept of universal experiences, I progressed to specify inspiration from the Venus figure, and the acceptance and love embodied by Her.

The internal need for affirmation and affection runs through us, and I believe inherently binds us. I sought to personify this desire, through performances I aimed to embody and represent the comfort and love that is out there for us. If we accept, seek out and exemplify it. The tenderness and familial comfort that can be provided by the world surrounding us is articulated through the figure.

She is representative of both Self and Other, the comforter and comforted, they can be one and the same. We are family. The universal connection we share, and the need to awaken it, is precious.

[processandproductionbethmitchell]

Evaluation

Within this project, I chose to continue with my concept from the ‘Process and Inquiry’ module. I had previously outlined my concept as regarding universal experiences and intangible connections, how we are all tied to one another through imperceptible means. I sought to elaborate on this idea, and initially specified representations of maternal love and universal connection through figural representation. The relationship between universal belonging and the female body is intimate and ancient, with depictions of goddesses and Venus figures being some of the earliest surviving forms of art in recorded history. This suggests there is a common regard for the female form, and the way it innately connects us, across timeframes and cultures. I initially created work within this vein as a representation of and a homage to the Venus.

As my work developed, I found myself choosing more expressive means of illustrating these feelings of comfort, universal love, and a maternal belonging. My performances were ways of seeking comfort and expressing a desire for deeper connection, while visually continuing to use the female form (in these cases, my own) to denote previous work into the figure. Using blood as a visual indicator of the tangible nature of self and the commonality we share in our mortality, concepts I also touched on in the previous module. At this time, I also began to abstract the figure, the representational nature started to feel like it may be perceived as reductive. I briefly explored methods to present these ideas differently and consciously tried to prevent repetitive work involving the form. However, I felt my conscious avoidance of methods that come naturally may be detrimental to my practice, to deny a natural progression would be antithetical.

I returned to figural work after creating abstracted pieces, overall I felt it had encapsulated my concept more wholly. The creation of my final sculpture was conceived as a performance piece, the wrapping and constricting of the body to create a closeness and indicate a type of universal embrace. The trial and error of initially wrapping my own body then doing so with my sister, ended up creating some of my most interesting outcomes. The performance aspect indicated these connections and affection, two people with a present trust. A constricting embrace surrounding the figure bearing the sculptural outcome of the female body. A depiction of this Venus from my initial research, my Venus. A source of personal connection and a representation of the universal connection we all share in the wider sense, I am glad my outcome was not only a form of self-portrait but included others. To use myself as a muse exclusively may have given unwanted connotations of vanity or isolation when the core of my work was connection.  The softness of the sculpture could have led to interaction possibilities if installing publicly was possible at this time. I presented my sculpture in tandem with my performance stills as initially indicated in my installation proposal, the combination helps illustrate the deeper conceptual exploration. Overall, I am pleased with the level of resolution I managed to achieve within this module, especially considering restrictions. I feel the concepts explored could be carried through to future work, I gathered a deeper understanding but there is more inspiration within this topic of interpersonal connection for me.

[processandproductionbethmitchell]

My final outcomes.

There were obvious limitations to what I could do with installation due to the size of my sculptural outcome and the space I am allowed to occupy due to public health restrictions during the making and finalising.

I am quite satisfied given the choices I had, and the combination of 2-d and 3-d outcomes help illustrate the different methods I have explored while continuing with my concept. Both the sculpture and prints have deep roots in performance, which tie them together. As well as inclusion of the female form in direct and indirect ways, this variety between them while both still having similarities is what makes me feel content in their exhibition together as a joint outcome.

To see the sculpture is to know the process behind it, the mind is drawn to the embrace and physical proximity needed. The care and love shown, and the coddling which is metaphorical of the universal love we seek. The creation of a new form, a new being, and a proxy for the Venus, the female figure representing all we want. The aesthetics of the piece are something I would love to work on in future with further budget and time, however I think there is something charming about the clearly handmade finish. The white is a nice neutral choice for the figure to prevent an imposing look or to stop it dominating the space.

The performance images are documentation of an act, but also photographs worth viewing in their own right. The figure is safe and secure, exhibiting an aura. A gentle and tender embrace within her own world and what was quite literally my own world (my drawings+past performances).

As mentioned above, I feel they work together for a multitude of reasons. Their similarities (both rooted in performance, both exhibiting the female form) and their diversions (a 3-d and 2-d outcome, an indirect view of the female form which is obscured and the most direct reproduction of the female form) play off of each other to ultimately articulate the same concept and feeling.

[processandproductionbethmitchell]

[processandproductionbethmitchell]

Further photographs of my sculpture. I took her outdoors to see the relationship she would have... I’m not too sure about it. I feel that a clean indoors install will work well.

I will need to think about where I am going to install, due to limitations of public health restrictions and the size of the sculpture. I will likely need to install within the confines of my own home.

I like how calm this looks, the physical form itself is secondary to the act required to produce it. An embrace and an act of intimacy, a sacrifice of time. It is directly indicative of love, trust and connection. Which I am trying to articulate and indicate all throughout this body of work.

[processandproductionbethmitchell]

my performance stills printed on acetate. I chose acetate as opposed to plain or gloss paper, I like the transparency created by it. The visible texture of the wall underneath.

The aura around the figure, caressing and embracing. An otherworldly and infinite love symbolised within the context of the female form, a need for comfort which ties us together.

I love the tenderness and subtlety of this performance, gentle and delicate as opposed to blatant like previous pieces. A calm indication of our deeper need for love and acceptance using my common motif of the body.

[processandproductionbethmitchell]

Screenshots of my previous performance. I feel there is a gentleness and subtlety to these that I struggled to attain with some earlier performances. I am cocooned and safe, relaxed and loved. There is a brightness to the sheet in the grass creating an aura, a bigger bright representation of this love I seek to interpret. The use of the figure is indirect, something I picked up from my artist research, and thus less likely to be objectified in a way. It is less reductive.

The length of the performance shows this safety and comfort, enveloped in a sheet covered in my own paintings and remnants from past performances. A safe space of my own making with talismans in the form of female bodies painted and blood stains left. This motif of the body explored in an indirect way.

I really love the images resulting from this performance, and I would look to use these in my final install as opposed to the ones from my previous performance. I feel these interpret the concept in a softer more subtle way, and indicate the gentle enveloping nature of the universal love I seek to articulate.

[processandproductionbethmitchell]

I feel my painting is completed at this stage. I wanted a more emotive look to it, rather than purely representative of the figure. I used motifs with connotations of love, and outlining the shapes of the body. Highlighting the form through sketch.

Overall, I am quite unsatisfied with this if I evaluate with complete honesty. In another context, I may wish to redo a painting of this size and style, however I am not quite sure I do not want to include this as a final outcome. I think it distracts from my concept slightly as it has become more of an exercise in self expression rather than tied tightly to my other work.

I feel if I include it in my final installation, it will overwhelm or distract, and become too busy. It will cause my concept to seem less succinct, so while I am glad I attempted this I am confident in my decision to redact it from my potential install.

[processandproductionbethmitchell]

[processandproductionbethmitchell]

As previously mentioned, i would love to use more than one piece in collaboration as a final install/outcome. I am still mostly following the installation proposal written further back in the module, I will be including performance stills in any iteration, and I feel it is now integral to include my sculpture as a final outcome as it embodies most aspects I sought to articulate through this work.

[processandproductionbethmitchell]

On Performance and Interdisciplinary Practice

As this module has progressed, I have realised that while I am drawn to certain processes and methods, I may be more inclined to use several different pieces in collaboration as a final outcome. Each aspect I have explored so far in this module, painting, drawing, sculpture, video and performance, has added something beneficial to the overall concept. I feel like I want to use some of these ideas in tandem as a final install, particularly depending on the outcome of my painting, along with my sculpture. I will experiment further with potential layouts

[processandproductionbethmitchell]

I meant to link earlier in the project, but a very useful resource and overview of the use of the body and figure in art from a neutral perspective. including connotations and denotations.

[processandproductionbethmitchell]

[processandproductionbethmitchell]

completes duct tape sculptural outcome from repeated performance

[processandproductionbethmitchell]

further work on my Venus painting, I am leaning towards a final outcome including this? If I had the possibility to install in an exhibition space as opposed to improvising, I may wish to choose the painting and the outcome of the duct tape performances as a group.

I will update my thoughts on this soon. I feel the different mediums work well together to convey the overall concept of love and surrounding, universal connections tying it and us together. As well as the strong reinforcement of maternal love and female form.

[processandproductionbethmitchell]

i had conceived a performance influenced by the work of Hayley Newman, this inclusion of the figure in indirect ways.

I used a sheet I had already soiled through previous performance and drawn on, my additions and my comfort.

This was a catharsis. I play the part of someone seeking comfort, searching for the universal love and deeper connection I am trying to exemplify through my work.

I am protected in a cocoon of my own making quite literally. Much like the duct tape cocoon I am creating simultaneously through my sculpture. Adding to my body of work centring around the intertwined ideas of female form, and universal love being sought and provided.

The complete performance is around 37 minutes. Consisting of myself lying in the grass, cocooned and safe within the boundaries of my own work, loved by the world around me and the soft grass. Seeking a connection to this deeper universal love.