Andrew Farley MA Fine Art Camberwell Research paper FINAL 2017_10_24
Practically I needed to understand how to investigate liminality because the scope of this subject is potentially so broad. Initially I started looking at how liminality might impact on my media practice which synergised with the theme of the research paper.
I realised that my studio practice was becoming limiting and I devised the idea of liminal studio…
….as a kind of mobile studio on a threshold. I had the Dead House studio in mind, a liminal building (ex mortuary) in a liminal place, Chesil beach, a shingle spit separating the waters of the channel from the brackish water of the fleet lagoon.
I developed the idea of the liminal image…
…which is a combination of positive and negative images, either formed directly by projection on a screen, by chemical printing or digitally (blend modes in photography and video). I was interested in the way images can be made to emerge or disappear using these kinds of combinations which are taken for granted in motion graphics. This also linked with my reading around the negative in Unit 1.
I also conceived of structuring my moving image work around opposites in general and then thinking about the liminal zone in between;
positive-negative, macro-micro, motion-stillness, montage-blend, grey-colour, silence-sound.
Looking back I see this approach feeding through into all aspects of the final show.
My encounter with the exhibition The Boat is leaking. The Captain lied…
..inspired me to consider how radical intermedial combinations (in this case involving artists filmmakers and scenographers) extended the conception of intermediality far beyond the boundaries I had initially imagined.
Meanwhile William Forsyths idea of the choreographic object directed me to the idea of the animated object in a performative space
To compliment the media research I also undertook broader research on liminality that led me to research beaches (location of the liminal studio) and ruins in more detail.
and finally to focus on ruins but extend this to include the performative role of the ragpicker…
and also the fragment..
The role of the ragpicker returned me to two artists who I had engaged with briefly, earlier in Unit 1 – Mark Bradford and Theaster Gates.
Their use of recycled materials and objects (readymades) renergised my interest in this way of working, as did their socially engaged practice.
Finally I returned to the intermedial gesture. My research into puppetry (especially the work of Wael Shawky) and also von Kleist writing on marionettes
This is a linking up of various apparently fragmentary themes of the reflective journal, starting with Calvino and Odradek, moving through Kleist to Agamben.
Finally, closely associated with Notes on Gesture, I discovered a chapter of Agamben in Nudities
This has served as my guiding text for artistic research later on Unit 2 and I suspect in the future – artistic research as a kind of dance between knowledge and non-knowledge.