looking backwards to progress forwards?

tonight it has dawned on me that i have been panicking about the perception i am not evaluating my work enough and it has occured to me that whilst this may in part be true, that the blogging does not exclusively show my process of review and elimination nor all the work undertaken- to date i have 6 A5ish size moleskin notebooks full of notes, sketches, analysis, piles of photograms, folders of photos unpublished on here from across the duration of the course. also, a lot of my evaluation of my work or notes taken from events i go to, or are done on the go, on the bus or tube. i think that the blog is a snapshot, all be it a good one of my development but its not exclusive. should i be submitting these books for assessment? what's the relationship between these and my blog?

i have been thinking back to the 3 performances- doug has said to evaluate and edit my body of experimentation- be reductive. the nunnery was my starting place for my own work this year and i have shown on here how the work developed as photo stories, videos, critical studies references, participant feedback from rehearsals and the notes form various post performance meetings with participants, including jordan mc are in my moleskins and on here.

Am ransacking my moleskins and blog:

Of prime importance from the nunnery (in) visible exchange were these areas;

• story was strong, friendly, funny at times, people related to this loss of innocence

• self was calm, well presented. at times exhaustion was evident though.

• strong sense of intimacy in proximity, tone of voice, being put at ease

• separation of closet from outside world good through use of radio

• ensure my work is a performance and not a mere illustration of barthes work- leave space for the viewer to mull things over, digest, don't overly spell things out

• ensure attention is directed on where you want it at the right time- don't let things compete

• too many endings

• very upbeat and strong sense of togetherness



the EEC (in)visible performance then was pitched as the same, but adapting to site of a post room/kitchen.

I wanted to;

• be more playful in the contrasts- calm, silent, and then telling a story with funny anecdotes

• push the precision, attention to detail, slow down my actions when working non-verbally

• use some stand up comedy ideas about extreme contrasts in mood to draw the viewer in, and dark humour to maybe oppose this- shredder.

• Pace and structure the event better- use of usher

• Get feedback from a range of experienced live artists which I did apart form in the feedback session I managed to direct the talk to documentation- and not the work- doh!

• Shift the active and passive roles between self and participant to encourage co-authorship

• Reconsider the endings in response to site- yes and well received

One person came to both shows and said they felt the new version was tighter, the structure clearer and story less obviously or verbally connected to traces, moments.

Issues arising

• experience starts from the moment arriving outside the door- was too informal on occasions

• usher very efficient- she’s a teacher don’t you know ;) and perhaps over zealous on checking and approving peoples pocket objects- lost the element of surprise- I could have been clearer on this

• black out of space using felt- kept falling down- need to reconsider this technicality

• how much do I work and the participant work?

• Whats in it for the participant- why bother?

• Why do I use photography? Why photograms in particular

• Is it just the darkness of the room which generates the intimacy? Or how am I creating this- becoming more self aware

These last few points I am examining in the cross-MA post grad forum tomorrow, trying out different ways in creating intimacy (daylight, body language more apparent, proximity in bigger space, how I need to re-work my structure etc) and different photo methods. I envisage these experiments will either reinforce for me why I use my previous techniques, or establish new ones and reasons why to emply them; most importantly I hope I will gain an understanding of why I do what I do.

I am putting the space-in-between after this, as although it was between the nunnery and EEC, it was a significantly different performance- working with laura bean, a VLPer from a theatre background, we were experimenting with combining our fine art/theatre backgrounds and, for me, seeing what happens when there is a more theatrical development of the photogram process- away from the non-matrixed ideals- and exploring of persona, narrative, use of 2 performers.

For more on this project see the space-in-between on the left hand side of the blog.

Some notes I made;

• This was a brilliant experience to finish what laura and I started in November- surrendering an item- and now with the hindsight of a greater understanding of performance.

• The exchanges went well after we warmed up on our poor specimens lena and stevie- note- don’t try to run something when the participants don’t come equipped :(

• I found I really enjoyed working with someone else who’s really inspiring- brainstorming together, pushing the work further, questioning its every detail form all angles. Performing together and assigning roles each felt comfortable with

• Time in the space was crucial- we ran out of time to properly run everything before the Saturday event due to seemingly endless props, hanging things, technical stuff- did we need it all? And cost! No one heard the clock ticking sound I spent a long time sorting out.

• We really responded to site exploring real and fictive histories- centering on the meaning of the site as a redundant factory and soon to be contemporary apartments and the actions with the photograms signified this- deconstructing exchanged items rather than constructing them and letting their photogrammed trace disappear, and exchanging the items for a unique, one-off photogram framed in an ikea frame and neatly bubble wrapped

• I loved the shredder- the juxtaposition of very carefully folding each carbon copied proforma and whipping onto the table the shredder, making eye contact before shredding, playing with the non verbal, also use of eye contact when swiping onto the floor the remnant of the deconstructed items to create tension.

• Not sure who we actually were being in the end? People said we could have been more bored, robotic, factory like in form filling? And consider outfits more? Am i interested in being anyone other than myself- not really as my work is anecdotal.

All in all I learnt a lot from the space-in-between project and feel my cat wreath work to be presented tomorrow, and outlined in my posts on it is a playful mix of (in)visible exchange and space in between. I hope to consolidate my knowledge further by discussing the reactions of the viewers to it and learning more about the WHY and RECEPTION of the work I am making.

(in)visible exchange EEC performance 24 may 08- reflections, thoughts and comments

hello

thanks to everyone that came into the little room behind reception, and shared their stories.

i would like to invite people to comment on here, and to open the work up for discussion to help inform the future development of my work. if you would rather email me, please email me at harrietpoole@gmail.com.

here are comments left in the book on the day (thanks very much);

"really well thought out concept-very powerful-esp with the developing of the photograph, sending it on is a nice touch also-v intimate, natural style which was good. not sure about the girl guide story and shred the compliment slip- that made me feel sad. v good though."

"it reminded me that the barriers of intimacy and the personal can easily fall away. our 'stories' and what is personal to us is quite similar. ('us' meaning human beings.) wasn't prepared for having an address though or something that meant something to me. the piece is heavily reliant on the 'audience' member."

"yes you're right! sometimes you just have to let go and not hold onto things. the 'moment' eh?! thank you!"

"thank you that was lovely! very personal and heartfelt. made me remember my childhood and its awkward and wonderful moments!"

"why d'you shred the compliments slip? i am looking forward to finding out what [the young recipient of the photo] thinks- might be freaked out. i liked the new additions- just query the shredder bit-but the dislocatedness quite nice."

"I enjoyed sharing bits of stories. the whole process was intimate....i was temporarily shocked when my image got shredded, i had written it with so much love. but the package and envelope looked very nice, and made up for the previous disapointment."

"the shredding was nasty, almost how bad she felt when the girls laughed at her on the bench."

"what an emotive, intriguing piece.the shredding somehow made me feel like there is a unity in us (humans) regardless of backgrounds."

EEC initial thoughts on revisions to (in)visible exchange in response to site

summary of key thoughts arising form photos/ experiences at the site;

the site-kitchen/post room

• the room has different functions and uses- on the door it says kitchen but it is used as a place to make basic drinks- tea or coffee, some remnants of food seemingly past its best (pushes mortality aspect!) , wine in fridge, items serving foyer, post room
  
• on the door it says keep closed but during the day it is open and it closes at night. its a tight squeeze in the room with the door closed- very intimate- creating a den of conversation, possibly suggesting office type gossip- an exposed room now becoming private
  
• only light source in room once light switch off is form the window in the door- minimum blackout required
  
• post room pigeon holes- temporary storage of external and internal post- ideas about using memos/ envelopes/post it notes, sending the photos onwards? label one pigeon hole external post? when i ask participant what they want to do with the photograph- offer them an envelope and who they would like it addressed to. enclose SAE or put sender details on the back?? how to avoid people writing anything about it- possibly asking them to complete a with compliments slip OR a memo, which i then shred?
• room layout- microwave takes up a lot of room-move to one side?
• maneuverability round room, where to stand with participant- by sink? use table? i like standing- reinforces the temporary nature of being there- not getting comfortable
  
• like the cupboards- reinforces the internal becoming external like the pockets- opening the doors to find the apparatus?
• secret biscuit tin- reinforce the secrecy at work- stealing biscuits from colleagues - make it look like this and offer participant a biscuit? or simply offer and open the lid as found- responding to contents- is this going too far/losing focus?
  
• pushing images under door- wouldn't work as can't be seen here and could interfer with the security person's job- give participant the photo and ask them to dispose of it saying there's a bin outside
• putting image on wall of gallery in the nunnery- this space is a foyer- a fluid space- like the case opposite of recommended books and the leaflet and book stands...possibility of usher/receptionist mounting the image in a photo album, very carefully, and putting on a stand on reception?
• hang drying cloths on the drawer handles?
• use signage on reception to give information about the show being in low light/crampt space- A5 stand?

the actual performance sequence- avoid things competing for attention- one thing at a time to hold focus on right element at right time?

here's the original description of (in)visible exchange at nunnery

A storeroom closet full of mops, tools, and ladders, within an art gallery had been modified slightly to accommodate becoming a temporary photographic darkroom in low light. The small closet was chosen as a place of intimacy or privacy, like a child’s den or an inventor’s secret workroom. People individually entered through knocking on the door, and were invited inside. Personal stories were shared through objects from the artist’s own pocket, and if the participants wanted to discuss, their own pockets. The objects were laid onto photographic paper and exposed and developed in a keepsake box which was opened with a key; they surfaced fleetingly through a photogrammed trace of the object,but the images were not then fixed, as is usual photographic practice. This was intended as a dual narrative with the stories momentarily shared. This performance culminated in marking this fact through the ultimate ‘death’ of the photographs created; there were options including for the image being either displayed, still seen as photographic prints on the gallery wall, or to emerge pushed out under the door as a relic of the performance. Two strangers, the artist and the participant, then leave one another taking away with them only their memories of the exchange as the images, attacked by light, continue to dematerialise and become entirely invisible in their final location.

potential modification?- first thoughts - in red;

A kitchen/postroom, full of postage items, crockery, kettle, cups, mop, etc behind reception of the foyer of the university arts building will be modified slightly to accommodate becoming a temporary photographic darkroom in low light. The small kitchen/postroom was chosen as a place of being a temporal stopping place- people passing through- a quick convenient cup of tea, grab your post, storing foyer used items, like a space to have a quick tea break, private moment away from the hubub of the external foyer, gather your thoughts- the security guards outside however are stationed permanently there. People are to individually arrive for their appointment at their alloted time, reporting to the usher on the reception desk, signing in on a sheet. The artist will be inside and knock to let the usher know they are ready. The participant is then asked to knock on the door, and to be invited inside. Personal stories are to be shared through objects from the artist’s own pocket, and if the participants wanted to discuss, their own pockets, this is through being laid out onto the work surface first and then sharing stories. The objects are then laid onto photographic paper and exposed and developed in a cash box which will be opened with a key; they surface fleetingly through a photogrammed trace of the object,but the images are not then fixed, as is usual photographic practice. This was intended as a dual narrative with the stories momentarily shared. This performance culminated in marking this fact through the ultimate ‘death’ of the photographs created. Two strangers, the artist and the participant, then leave one another taking away with them only their memories of the exchange as the images, attacked by light, continue to dematerialise and become entirely invisible in their final onward location. There are options of throwing the image away in the bin under reception, forwarding it on in the post pigeon holes, or displaying in a photo album on display on the desk in reception, assisted by the usher/receptionist. The participant signs out and leaves.

hmm, needs considering further.... plus how this work supports my MA show development...

EEC Site visit photos- PART FIVE- provisional choice of site for (in)visible exchange

storing items for use in the foyer- health and safety apparatus

locked section behind the tiles...


storing signs used in the foyer, dustbin under the desk

switches and such

biscuit tin in cupboard, labelled 'magic me biscuits!'

pile of saucers

empty glasses


fridge contents- some doesn't look too fresh...




coffee jar, salt packet, cups and saucers, very sparse


nothing matches- functional


drawer parts don't open. place to store cloths to dry the photos?

EEC Site visit photos- PART FOUR- provisional choice of site for (in)visible exchange

radio there- fits in with nunnery version. like the domestic kettle- have a cup of tea with gossip, conversation

things put where fit- high up out of way

looking out from the room

room is officially a kitchen. door wedged open


also a post room- fits with temporality- a temporary store for post awaiting collection

layout/manoeuvering round space


all the keys!


space for usher posed as receptionist

torn out A4 ruled paper giving info to security guards if asked for this information



pigeon holes for all the departments in the arts building- external and internal post.


policies and procedures written and laminated on the door

EEC Site visit photos- PART THREE- provisional choice of site for (in)visible exchange

reception through to room behind. leaflets on display in stand on desk

phone, sign in/out sheet for visitors, newspaper



health and safety alert stickers

notice board- empty

EEC Site visit photos- PART TWO- provisional choice of site for (in)visible exchange

the reception area- a place where people (visitors, employees, students) need information such as changes to rooming for lectures, directions to a room, show staff/student security passes


reception desk- a common curved shape coming out from a room beyond


lots of health and safety signage, fire and security alarms- bold graphic imagery, flashing lights

seated area behind a curved wall


opposite reception- art work framed, toilets

display cabinet of recommended course books


curved white wall opposite recepetion- display opportunity?

information on freestanding display unit right as you walk into entrance

EEC Site visit photos- PART ONE- provisional choice of site for (in)visible exchange

ok, so was looking for a site to respond to in modifying my (in)visible exchange piece from the nunnery show, february 2008. wanted a closet/ office type space within the real working environment- was shown other spaces by lois weaver, (toilets, shower room, labrinth type corridoor) but have included my favourite (permission pending ) the kitchen/post room behind reception


entrance to arts building, QMUL



looking at ways information is displayed and the kinds of things on display- events, health and safety, course notices for ideas about display of the photographs


foyer area looking outwards

the reception area, manned by security guards