About the drawing without the drawing. Reversing the view of the finished drawing, presented without all of the decisions, feelings, thoughts that led to that finished piece. How could this be presented within a performance? What role does this video have in that performance?
This formative piece was made on one of Long’s journeys to St Martin’s from his home in Bristol. Between hitchhiking lifts, he stopped in a field in Wiltshire where he walked backwards and forwards until the flattened turf caught the sunlight and became visible as a line. He photographed this work, and recorded his physical interventions within the landscape.
Although this artwork underplays the artist’s corporeal presence, it anticipates a widespread interest in performative art practice. This piece demonstrates how Long had already found a visual language for his lifelong concerns with impermanence, motion and relativity. (source: Tate.org.uk)
How can I dissect a drawing? Display everything around the drawing, the somatic experience. Present this visually without showing the drawing? Typically we see the end result without an awareness of all the movements, sensations and decisions that led to this point.
An overlay of the movements, sensations and decisions that typically happen all at once. How could that be presented?
I presented at https://artisticdoctorateireland.com/ as part of their online seminar series. The seminars investigated the current landscape of the PhD in Performing Arts and Film within an Irish context.
I have the ability to make this visible through my movements and gestures. As I engage with the material it reciprocates by holding the idea for me. Employing the generosity of the camera’s singular vision I exist between the two. I am held between the material and the shutter. I am thrilled and irritated by the timer of the camera urging on my response. I am aware that it reveals itself depending on my position in this present moment.I see it appear and disappear and I pay it some attention. I witness an initial unreasoning form of the material and now I scorn because the words are so self conscious. The visual language of the image holds all the proof of this instinctual act. Thinking through the material somatically allows me to dissect it and draw out what similarities exist. The image holds all types of information and provides evidence of this process. The knowledge exists between the interactive nature of the observer and the observed. I am both absorbing and being absorbed.The outcome becomes evidence of my focus and a merging of the feeling and the felt.
The motion between embodied and disembodied materials within this haptic perspective encourages a new understanding.This knowledge informs my comprehension of the physical world. There is a fusion between observation and engagement that dispels any residual confines of the internal and the external which I identify as assimilation. I can feel the bones of an image with its extended ligaments as it ropes through me. I feel the intertwined fibers of the present moment and the soft muscle fat substance of the gelatinous oily paint.
The sensation of material in a process of becoming through my movements and actions. The immediacy of direct contact on my skin outlines the gestural traces of my body. Flesh is cold but skin is warm and getting warmer. I understand you more and you reflect our understanding in this moment of presence as we engage with an imaginative experience. We are the same now and it becomes harder to separate because of the aesthetic stain on my memory skin. Your rhythm melds to my rhythm and it is felt by way of vision. Through our mutual understanding you become subject to change as you react to my slow slower movements. I journey back and forth, inside and outside and I scrutinize how you hold the language of my body and the abundant knowledge in this fluidity. Engaging with the temporal rhythms of making work ,slow sequence, slow slower heavier I malleable you malleable me.