During the most recent skype session, we discussed the work of William Kentridge. I was absolutely intrigued and fascinated by his process of repeatedly erasing and reworking charcoal drawings to create stop-frame animations. The supporting commentary explored different ways, in which we perceive and understand the Universe. His methodology reinforces the importance of experimentation and risk-taking; redirecting the already existing and premeditated modes of working in order to develop and refine ideas in a much more unpredictable and uncertain work.
Jonathan Kearney interpreted his work and formulated the following powerful statement:
‘Certainty can be dogmatic and arrogant, but often the perceived certainty is not very solid and the reality is much more uncertain – the value of art can be argued is in that it actively engages with uncertainty in order to discover new possibilities, ideas, surprises, etc.’
It is almost like Kentridge celebrates the value and preciousness of subjective interpretations of the world.
In response to my reflections, I have decided to experiment with my current ideas and develop them in a new, perhaps unplanned direction.
I have explored possibilities of imprinting marks and textures onto a photograph. Following careful ethical consideration, I have decided to delete all visual work involved in this activity. I found my work to be morally unsound. I was faced with a very important issue in portrait making, an important dilemma.
Has the artist got the right to manipulate images depicting people and their mundane lives? My creative intentions were to provoke reflections and not to reveal dramatic existence of individual persons.
HYPNOTIC REPETITION 