Research: Object Ecologies.

Artist Koosil-Ja Hwang, Uses the philosophy of Gilles Deleuze to explore the representationalism within the movements of the body.

Koosil-Ja responds to the everydayness of existence through "process-based ontology of the body," [1] as well as using dance and the body to investigate movement as "the essence of being rather than a fixed material." [2]

Excerpt from koosil-ja, “Memoryscan” (1999) at The Kitchen, February 1999 from The Kitchen on Vimeo.

Discovering artists like Hwang, allows one to signpost their own process of questioning. Parallels between Hwangs questionings and my own practice of emergent developmental narrative to the question of being, articulated through a network of signs and symbols, bolsters my approach to making in a way that nurtures and invigorates how I perceive the practice of making.

In the above film, I discovered a soundtrack that I had myself been trying to achieve in the films titled ‘Cityscape’.

I’m intrigued as to whether materials can perform as a response to questioning or viewership. The comeliness of that which appears, presents itself can be found even in silence. (see Fig. 2.)

As well as objects taking on forms, we can perceive and understand forms as, and this is where my work resides, an ‘Apieron’ of potential. [3] The limitless, boundlessness of form acts as a potential, not only for my practice, but actively as a response to the ever evolving and changing environments of socio-political, bio-political and necro-political. I want to see from these ways of thinking if this will help my developmental approach to taking what is seen as “given “ and making it into to something more questioning.

Fig. 2, John Cage presented us with how we can hear silence. What are the qualities of silence? What do we hear in the void of silence?

So we can grasp from Koosil-ja and Cage a questioning of spatio-temporal settings where the object relations are inextricably evident in a way that makes any considerations to exclude their importance risky. There are many parallels drawn yet what makes me most happy is I am discovering these indicators to underpinning my own practice as “harmonious.”

I feel I am in discovery of my own purpose as well as gauging from works such as these as a way to enhance my thinking within my practice.

If within the film below the sounds are supplied by the viewer, using only visual indicators that evoke cognitive remembrances, then I will be extremely happy with that.

Using my current two videos below which are a continuation of an idea that explores existence within systems and environments, I want to either immerse or have absence engage the viewer into a dialogue of questioning. The idea is not to make the viewer comfortable. I want to take the everyday, the recognizable, the familiar an dmake it threatening, insidious, uncanny.

Stuart Lee

CityScape III

5:32s

Ratio 16 : 9

With Audio

Stuart Lee

CityScape V

8:14s

Ratio 16 : 9

Without audio

Bibliography:

[1] Koosil-Ja Hwang, Experimental Television Centre, online resource, <http://www.experimentaltvcenter.org/koosil-ja-hwang> [accessed 08/03/2021]

[2] Ibid.

[3] Graham Harman, Prince of Networks, Bruno Latour and Metaphysics, (Melbourne: De-Press, 2009), p. 95