Journal

Lost & Found: Memory . . .

(All images and intellectual property are subject to copyright law)

A proposed exhibition of Interactive art; A visual journey of the senses, through a time before this time. Instinct through sight, sound, and touch. A dance of the mind and of the hidden self.

My works are derived through memory (or loss of memory), acting upon impulse, desire & instinct. As an artist I am drawn to the elemental properties surrounding the creative space at time of activity. Processes and mediums of use in practice revolve around the documentation of: Photography, Painting, and Verse.

I would like to document and exhibit both photographically and expressively, the generational changes through time from the early 16th century to the present: The lives that we have come to live, by reconnecting back to early childhood memories through the use and reference of varied childhood aesthetics – stories, toys, and educational devices that have separately and combined shaped those generations and their individual personality groups and structures, in each appropriate society and colony.

Childhood is one of the few life experiences that we all share. The importance of childhood and it’s crucial role in our development as human beings. Explored in all its facets. To celebrate and explore the many themes of childhood, by exploring the architecture and changing purpose of the mind of a child and how much is maintained and what is often lost in adulthood. I hope to example clear divisions and connections between the individual and the relevant and controlled equivalent social structures that they evolve within.

The difference between experiencing a wealthy childhood to a poor and underprivileged one, by observing the differences via reaction to viewing and being surrounded by different childhood stimuli. Collections of art and science, selected for ‘Adaptive Response’. Visual processing, to create and store memories, those which leave neural traces in the cerebellum, and neural cortex, designing and adding to the inner child, or the first brain.

Through childhood you can enter a world of fantasy and magic, transported to mysterious places far beyond our own familiar shores, the elusive fountain of youth, you can consider the unknown, a magical power that extends to the four corners of the Earth.

In July 2017 I completed a five-week summer school program at Kingston University in London. I studied Museology and Art & Architecture, travelling through London and the greater area, visiting Paris and Ireland. I photo-documented the travels and locations as well as taking rubbings of tombs, monuments and old masonry objects. With interest in the history of the people and their behaviours,culture and humanities. By considering early childhood, the stories, myths, rhymes and education that shaped each generation and effectively has influenced our own

Future generations react differently to life of alternative time, what has changed and how, is this for the better or worse of the following generations. Intended as a status symbol for the wealthy, often reflecting a family’s position or occupation.

Doll’s houses were originally made by specialist craftsmen for the amusement of adults. The oldest surviving doll houses dating from 1673. The art movement at the proposed time of the first known version of the doll house would have been, Mannerism (1520-1600), a court style, driven by the need to compete and to please autocratic patrons who wished to use art to flaunt their magnificence.

houses were also used as moralising supports to help teach girls their expected domestic duties and household management skills. Using dolls’ houses as teaching aids proved easier than teaching the girls to read, proving a popular alternative. It was only from the 19th century that dolls’ houses became specifically a child’s plaything.

During my time in London there were two museums that took my imagination and inspired the thoughts of holding my own exhibition based around childhood memories and the documentation of the thoughts and feelings that the exhibition may inspire among the gallery visitors.

The two galleries were the ‘V&A Museum of Childhood’, in particular the various doll houses that the museum displayed, and the ‘Denis Severs House’, a house filled with collected antiquities over many years of Denis Severs time in London. He created a family and in response to the family of Silk Merchants their home, in which each room was filled with his collection and made to seem as if the family still lived there. One museum is public gallery while the other is privately run.

I took a selection of captured images at each of these museum spaces with the intent of using the images in a type of exhibition experience, with material gathered from the audience to be made into a story or created myth.

All of the photos acquired were captured on my iPhone camera. The compact design and high quality images as well as the ability to edit directly from the phone through experience has made the device my choice of camera for travelling and documentation.

The only thing I used Photoshop for was the resizing of the images and in some cases sharpening.

I contacted both the ‘Denis Severs House’ and the ‘V&A Museum of Childhood’ Press Team to get the required access and correct copyright approvals for the use of the selected images for an upcoming exhibition. The exhibition will be my 3rd solo photographic exhibition. Both of the museums replied and have given me permissions and correct information to be included in the exhibition.

I have included photos taken that amongst them the chosen few that will be included in the proposed exhibition; Lost & Found: Memory . . .

After the individual gallery visitors have spent time walking around and interacting with the exhibition and its space upon the exit there will be a room carefully signed where, if the persons wish, they con go into the room sit down and write down the memories or thoughts that the exhibition may have triggered or inspired. If the persons wish to draw and image or create an artwork instead or as well as a written piece then that too will be encouraged. There will be a wooden box to put the works into upon conclusion. It will be made clear that at the end of the exhibition the works submitted in response may be used in and upcoming published short story or fable . . . the audience will have the option to leave their names on the works if they desire to be acknowledged in the work. This will also be what my next exhibition will be centred on.

The idea is to have a continuity between exhibitions and that at the culmination of each there will be a short story, myth/fable that will be the basis of the following exhibition, also to be an interactive experience with a common theme of memory and time.

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