Development: The Discourse Map

Fig. a, Experimental film made using filters from an app called Photofox.

Stuart Lee

Orbital Resonance

Film, 01:00secs

1920 x 1080

Within a tenth of a second,,

deciding..

l ooking..

Data

data Data...

evaluate.

Watch see Look watch.

Over

Disk... digital profiling Foulcault x 3

Above are some random words picked out of any ongoing questioning of what I am doing as I start to wonder how to

a. Move on from painting

b. Continue on from the experimental work of my L4 year.

These considerations aren’t critical, but I feel that if I stay within painting there will not be any obvious occurrences that bring about a different approach to making.

Since we are now allowed back in the building , it’s a great opportunity to explore the process of making again. There is something about stopping a random thought in your head and then wondering if it can be worked into a piece of sculpture or some other installation based art. This is something that happened today, whilst breaking apart a pallet that I found outside the university. Immediately I noticed what works well was the way that the wood took on different potentials when I was in the process of stripping down the pallet.

There was a moment that revealed itself to me, (fig. a) in where I saw what it means for gravity and balance to be working in tandem, allowing or should I say producing and effect. What ever qualities this object took on due to the aforementioned properties of force, led to myself becoming complicit, almost responsible, to facilitate the ‘being’ of this object.

Fig. a, Photograph from the Annex studio basement. This pallet element was about to be broken down, when I realised that this was potentially a work in its own right.

This lead me to wonder what would work in the space between the wood uprights.

Opposite is a gallery of photos that include the casting process and some photos where the result of this moment stand as a thing in itself in a space amongst other works up in the Annex studios.

1. Casting with a mould.

An arbitrary decision led to the making of this work. This display of spontaneity led to certain decisions having to be made in real time.

2. The mould as an art work.

What intrigues and informs my process, are the little happenings and things that I notice, like how the concrete sticks to the wood, each conducting and directing the final qualities, regardless and in spite of me as a maker. I had to consider how I was going to introduce gaps, spaces, between the wood and the concrete. What tensions would reveal themselves?

3. The plinth is dead, long live the plinth.

Photos demonstrating the display element. Giving the work space to breath and demonstrate its autonomy.

4. Fissures

Moments of interest are in the “accidental properties”.

5. Assemblage

Curatorially, these works would not need to be so ‘clustered’. This kind of proximal correlation stifles the individuality of each sculpture. So this kind of arrangement doesn’t work for me.