Author: pavszymanskiart

Current research issue - Hypnotic Repetition Pav Szymanski Painter Biography: I am a fine art painter and video artist with 30 years of experience. My current research project is based on creating visual responses to my observations of people, who are suspended in the vacuum of hypnotic repetition. I have travelled the world interviewing and recording individuals, who genuinely struggle with their existence in the context of their survival. I have gathered substantial primary sources and evidence from destinations across the globe. Perhaps, the most significant research findings were from Haiti and Myanmar and resulted in the production of the most spectacular paintings. They have inspired me to develop new and innovative ways of working and experimenting with image making, which are appropriate to the subject. They combine the best of traditional achievements and the power of contemporary thinking and deep reflection. I work full time as a programme coordinator for Art & Design at a large institution offering a broad range of FE and HE qualifications. I am also an external examiner for the UAL and AQA. Artist Statement: Through my projects I feel that I discover my inner fears, longings and re-evaluate my uncertainties. My work seems to be an attempt to explore and question by metaphorical presentation my response to the hidden truths of the world. The essence of the value of these works is in their inherent meaning and an atmosphere, which manifests itself in the dusk of the space portrayed, thus the light may appear, where the hue of colour fulfils clarity and sounds with harmonious melody. https://hypnoticrepetition.com/ https://www.youtube.com/channel/UCOq7lHQlrOnKozGz95Hq2CA?view_as=subscriber https://www.instagram.com/pavszymanski/?hl=en https://spark.adobe.com/page/fQ9VytzHNpWq9/
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Research Statement Tutorial 2

Tutor: Gareth Polymeer

Friday, 4th October 2019

UK time 11.30
Voice-call on Skype

The purpose of this tutorial was to review the overall paper and its development.  We have started by looking how I have embedded the previous suggestions into my statement.

Our discussion focussed on the idea that there is a distinct difference between the perception and understanding of the world using scientific theories and through the prism of art.  This was further extended by bringing additional elements into consideration, such as ethics, morality and the broader society.

We have started to discuss the pivotal and ground-breaking concept of anschaulich, which was developed by Heisenberg.

Gareth proposed an alternative avenue for investigation and elaborated on possibility of  very interesting questions:

‘What both, art and science, have to say about reality?’

‘How can artworks be reinterpreted in the light of anschaulich?’

Scientific instruments aim for establishing greater and greater precision and certainty, while part of the process of art is to open up new questions.

We have agreed that imprecision and uncertainty are much more exciting than a continuous scientific drive for achieving perfection.

I feel that Gareth during this 30 minutes tutorial has given me a number of potential possibilities for further refinement and consideration.  He reinforced that my research statement is developing steadily and making excellent progress in terms of answering my research question.

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Project Proposal – Final Version

Working Title:

Hypnotic Repetition.

Aims:

  1. Subjectively interpret the ritual of daily repetition in various contexts of waiting for change.
  2. Encourage collaboration with the viewer to enable them to question their own ways of dealing with daily routines.

Objectives:

  1. Gather a wealth of stimulating primary sources for generating meaningful under-paintings.
  2. Identify photographs, video and text messages for superimposing.
  3. Experiment with embedding photographic images and text into paintings.
  4. Develop and assemble a range of images and audio that explore entrapment in daily and hypnotic routines.
  5. Introduce machine intervention to degrade images.
  6. Evaluate and use relevant text messages to reinforce the communication of the overall concept.
  7. Continuously reflect “in” and “on” action in order to extend the element of critical analysis and develop deeper understanding of work in progress and the entire creative process.

Context:

My research question has evolved over the year. Initially, my work was an attempt to explore the concept of waiting for change. Following a considerable amount of research and critical analysis of my own experimentation, I have slowly started to develop a deeper understanding of my creative intentions. My focus is now firmly placed on uncertainties of tomorrow in the context of waiting for change, while being trapped in a daily routine. I am looking at how people deal with their unfulfilling lives. Time is a very important factor in the proposed intervention.

My thinking has been extended by Samuel Beckett’s ‘Waiting for Godot’, supported by considerations of several scientific and philosophical theories of being and perception of time space. I am interested in visualising a range of different approaches to organising time, while waiting for something better to happen and change.

The plan is to develop a series of painterly explorations inspired by research from my travels and observations of what people are waiting for, their cravings, dreams and desires. I plan to superimpose my visual interpretations with photographic and, perhaps record them as video pieces, before degrading the actual works through machine intervention. This additional process is intended to create a very important element of my project. I hope to evoke feelings of insignificance and transience of life. Therefore, provoke a deeper reflection on the nature of human uncertainties, their meaning and hierarchy. I propose the question, what is important and what is insignificant? I plan to reinforce things, which cannot be ignored and encourage viewers to identify with problems discussed.

Entrapment in a repetition of daily routines.

Can presence last forever?

Will anything ever change?

Will this process have a positive impact on life?

Will my perception of existence continue to deteriorate, while making reality more and more miserable and unsustainable?

Historical Context

My initial explorations focused on looking at the work of William Hogarth and his portrayals of rough sleepers in London. He carefully observed desperate tenants, who were removing their belongings at night to escape an unscrupulous landlord.

It appears that his work was a call for early social reforms in England.

He discusses all forms of human desperation, such as prostitution, poverty, abuse, violence, addiction and the continuous dream of luxury. His detailed engravings are highly detailed, illustrative and thought-provoking.

I have also learned from looking at “The Potato Eaters” painting by Vincent van Gogh. He was particularly interested in exploring and recording the life of ordinary people and their daily struggles through drawings, engravings and two large-scale paintings on canvas. He rendered the underworld in a positivistic, uncompromising manner, while questioning the common understanding of moral and social views.

The further studies of “The Beggars” and “Peasant Wedding” painted by Bruegel in 1567 have helped me to understand visual details of lives of the underprivileged.

This depiction was further extended by L S Lowry, who was a visionary painter of the edge lands in a piece called “The Cripples”, 1949. He catalogued the lives of the working classes in Salford to draw attention to their daily challenges in satirical and sympathetic interpretation.

Contemporary Context:

I have looked at a broad range of contemporary artists covering a whole spectrum of areas from neon work and large scale painterly responses to enormous installation pieces.

Miroslaw Balka and his project titled “How It Is?” deals with human isolation, loneliness and existential uncertainties in the context of mortality and the possibility of life after death.

Bruce Nauman explores the key components of life, while setting and questioning the boundaries of existence. He isolates the essence of what life is about without making references to finance or possessions. In contrary to this, Michael Landy focuses on the presence of objects in our lives and stands in front of the exhaustive catalogue of 7,227 of his belongings, which he destroys. Subsequently, all he was left with was just his blue boiler suit.

Thasnai Sethaseree experiments with recurrent themes in his practice, which include issues of memory, migration, and a philosophical questioning of the nature of having, knowing and being. Sethaseree is best known for his conceptual and relational works, usually ephemeral in nature.

Neha Choksi manipulates our perception of a constant by removing certainty from life. The image of a curtained sun contradicts our expectations of the norm in a quite dramatic performance piece. The background sunset is also torn, neglected and destroyed.

Mattia Insolera produces photographs, which juxtaposition harsh reality of existence against the imagined fantasy of prosperity that is promoted on social media. He questions the fact that illegal refugees pretend to have a great time, when in reality, they have nothing and nowhere to live. They are too ashamed to admit to their failure.

Additionally, the formulation of my ideas was inspired by learning about human desperation. I have looked at dramatic photographic portraiture by Dorothea Lang taken during the Great American Depression. My particular attention was drawn to a piece titled “Migrant Mother”.
This line of questioning was extended by studying the work of a Brazilian photographer called Sebastião Salgado. His black and white pieces are full of impact and deal with heroic and almost biblical efforts of people at work.

Theoretical Context:

The focus on time in my project is based on the consideration of two concepts in physics and quantum mechanics as follows:
• The arrow of Time (entropy).

• Heisenberg Uncertainty Principle (HUP)
I have also explored the writings of Everett, who argues that we live in a Universe of multiple space-times and each space-time is governed by Lorenz contraction of time (Barrett, 2011). Therefore time is perhaps the key factor, which forms our perception of certainty and uncertainty. Both feelings belong to parallel yet distinctly different worlds: prosperity and poverty; the arrogance of confidence and hesitant insecurity.
This was further extended by Heisenberg implying that uncertainty is often a result of a measurement (Wiseman, 2012). The act of measuring an object’s position changes its speed or vice versa. Perhaps the real origin is much deeper. The uncertainty principle exists, because everything in the Universe behaves as a particle and a wave at the same time. In quantum mechanics, the exact position and speed of an object have no meaning.
This research will be expanded and analysed to develop a deep understanding of the theoretical framework and further contextualise my practice.

 

Methodology:

• Broad-ranging contextualisation
Identification and analysis of contextual references far beyond the direct line of my inspiration.
I am looking at the work of other artists, analysing their work in relation to my own questions and practice. I am initiating a dialogue and embedding the element of learning from this process into my own visual work.
• Own practice and experimentation through painting, photography, video, discussions, interviewing and questioning via text messages and WhatsApp.
• Theoretical framework with references to psychology, philosophy and the sciences.

Painting, photography, video, discussions and questioning via text messages and WhatsApp.
The project needs to grow and cover areas beyond the borders of Haiti. I plan to gather primary sources and record them through painting, photography, experimental video and text message manipulations from different locations to triangulate data and time through questioning their predicament during my return visit to Haiti.

These reference materials will come from both deprived and developing countries. The idea is to find out what are people waiting for when entrapped in daily repetition; suspended in vacuum between hypnotic hibernation, anticipation and reality. Further data gathering visits are planned at regular intervals and itemised in the “work plan” section of this proposal.

Outcomes:

I propose to create a series of images questioning issues of daily repetitiveness, waiting, expectations and disappointment. The visual work is just a starting point to stimulate the greater understanding of this convoluted situation. Therefore, the focus is placed on the thinking and a form a psychological collaboration between the pieces, the viewers and their reflections, while challenging and questioning uncertainties of their future.
Just looking at work is simply not sufficient to gain the necessary deeper understanding, embrace reality and respond to it through the reflecting process.

Work Plan:
The immediate step will be to begin with painting experimentation from already gathered sources. I plan to work on a number of backgrounds including board and canvas using oil and encaustic media. The existing collection of initial sources will be further extended during the pre-planned research visits as follows:
•return visit to Haiti at Christmas 2018
•trip to Georgia and Azerbaijan at Easter 2019
•trip to Thailand, Cambodia and Myanmar during the summer holidays 2019

Two additional source gathering expeditions:

  • Spanish Islands at Christmas 2019
  • Return trip to Thailand at Easter 2020

 

Additionally, I will consider using audio commentaries in my work and continue with experimenting with machine intervention to degrade and erode my work. The idea is to search for appropriate visual stimulations, while exploring possibilities and discussing alternatives beyond the obvious.

My work will continuously evolve. It will be updated and adjusted in the light of new discoveries and research findings until it becomes a more evolved and refined appraisal of human uncertainties of the future in the context of waiting for change while being trapped in daily repetition.

Bibliography:

Albert, D. and Loewer, B. (1988), Interpreting the Many Worlds Interpretation, Synthese,

Alonso, M. (1980) “Antonio Machado Poeta en el Exilio”, Antroporos: Ambitios Literarios

Barrett, J. A. (2011) Everett’s Pure Wave Mechanics and the Notion of Worlds, European Journal for Philosophy of Science, 1: 277–302.

Butterfield, J. (2001) The End of Time? All Souls College: Oxford

Cassidy, D. (1992), Uncertainty: THe Life and Science of Werner Heisenberg; New York: W.H. Freeman

Choksi, N. and Cummins , A. (2016) “In Memory of the Last Sunset”; 20th Sydney Art Biennale

Conover, E. (2016) Information Is Physical, Even In Quantum Systems, Study Suggests, Science News: Vol. 189

Hutton, W. (2016) Only fundamental social change can defeat the anxiety epidemic; The Guardian: Opinion Mental Health

Insolera, M. (2015) “Surviving Greece”; La Caixa Forum, Madrid, 2015

Jha, A. (2013), What is Heisenberg’s Uncertainty Principle? The Guardian

Nauman, B. (2015) ” Life, Death, Love, Hate, Pleasure, Pain”; La Biennale di Venezia – Biennale Arte 2015

Sethaseree, T. (2017) “Heads or Tails? Uncertainties and Tensions in Contemporary Thailand”; Sundaram Tagore Gallery: New York, 547 West 27th Street, Oct 12th – Nov 4th 2017

Spiegelhalter, D. et al (2011) “Visualizing Uncertainty About the Future” Science 09 Sep 2011:
Vol. 333, Issue 6048, pp. 1393-1400 DOI: 10.1126/science.1191181

Dorment, R. (2001), A Deconstructed Life; The Daily Telegraph

Wiseman, H. (2012), Explainer: Heisenberg’s Uncertainty Principle; The Conversation

Websites:

http://justinmortimer.co.uk/2012.html

https://www.artangel.org.uk/break-down/michael-landy-in-conversation-with-julian-stallabrass/

http://www.bbc.com/culture/story/20160713-michael-landy-the-man-who-destroyed-all-his-belongings

http://www.exactlywhatistime.com/physics-of-time/the-arrow-of-time/

https://www.tate.org.uk/art/artists/bruce-nauman-1691/long-read/raw-material

https://www.volcanodiscovery.com/earthquakes/2018/10/07/00h11/magnitude6-HaitiRegion-quake.html

https://www.tate.org.uk/whats-on/tate-modern/exhibition/unilever-series/unilever-series-miroslaw-balka-how-it
https://www.tate.org.uk/whats-on/tate-britain/exhibition/turner-prize-2001/turner-prize-2001-artists-martin-creed

Blood Mirror

http://www.artnet.com/artists/roman-opalka/carte-de-voyage-detail-2875545-2878714-a-HWRwg7H5Dw7Q4qIxVhR-iw2

WILLIAM HOGARTH – A FREEMASON

https://www.theguardian.com/culture/2003/jan/11/art

https://artsandculture.google.com/asset/peasant-wedding/hgGvote2WI8P3w

https://www.louvre.fr/en/oeuvre-notices/beggars

https://www.theguardian.com/artanddesign/2013/jun/24/ls-lowry-tate-britain

 

 

 

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Burmese Captain. Painterly Process – Part 3.

I have continued with the process of overprinting the underage.  The screen composition contains a sworn of exotic flies, which surrounded the boat during a long period of waiting in the port.  Following a process of robbing and washing, the captain has started to appear in the window of dynamic insects.  These create an almost decorative motif framing the figure and the umbrella.  The heat of the red is juxtaposed with the coldness the vibrant blues and rich violets.  The violet tonation appears to be neutral in temperature, not hot nor cold, therefore making the overall piece much more ‘full colour’ and with a greater impact on the viewer. The narrative has also become more ambiguous and the image gained a new element, which helps to build curiosity.

When fully dry, I plan to the cloth with damar varnish before proceeding to machine wash it on the hottest setting.

I am hoping for at least a partial disintegration of the image and substantial bleaching of the colour layers.  Ideally, there will be nothing left – just an eroded and exhausted surface.  If the first wash is insufficient in achieving this effect, I will persevere with repeating this process while echoing the journey made by the Burmese Captain and his longboat between Ranong and Kawthoung.

IMG_3172

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Hypnotic Repetition.

The Captain appears to be oblivious to both his social predicament and his surroundings.  This is what he does every day. The same journey, non-communication with his passengers and trapped in his own world.  He not not necessarily looking for escape.  He embraces the banal repetition of his job, routine and existence.

This reflection has given me new ideas.  The focus of my investigation has slightly evolved from superficial repetition on one hand and uncertainty of existence at all on the other.  He appears to cling to that routine as it gives him a sense of certainty and security.  He believes that he knows what to expect yet works in a relatively unpredictable environment while operating an old longboat in a very uncertain territory . His real existence is very fragile and temporary. He cannot even imagine that one day, he will not be able to do it again and may not survive without an income.

I have also started to experiment by drawing into the existing image with water soluble pastels.  I have found this new to me medium flexible, refreshing and expressive.

IMG_1581

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Burmese Captain. The Painterly Process Continues.

I have started to work on a long process of glazing the already existing underpainting. Every wash of colour was subsequently cleaned of with a sponge and cloth. The objective was to make the painting more moody and dramatic. This technique has also allowed me to reveal individual areas of the glaze while allowing some of the original colour to get through the layers.

This painstaking process has already taken its toll on integrity of the surface. The chips and cracks of the underage have become more and more apparent. When the work is completely dry, I intend to reinstate the machine intervention process.

I plan to video record a long and hot machine cycle. Whatever is remaining after will constitute the beginning of the next stage of the painting process.

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Burmese Captain.

It has taken me a long time to sort out and organise a broad range of images for further development. Despite contracting Chickungunya, my research trip to Myanmar, Thailand and Cambodia, has proven to be very successful in terms of both: life-changing experiences and gathering primary sources.

I have started working on a new piece. The work portrays a Burmese captain in charge of a long boat. His job is to transport people and cargo from Ranong in Thailand to Kawthoung at the furthest southern point of Myanmar. His main clientele are poor illegal workers from Burma trying to earn a few baht in Thailand.

Following a long conversation with him, I become one of his passengers. To maximise income, he accepts as many people as possible. He even travels on the very front of the boat to save valuable space. This place is very uncomfortable and rocky. He is also fully exposed there to the power of the tropical sun. He tries to get some relief from the burning heat by hiding under a colourful umbrella.

The image is very clashing in colour – very kitsch. This is further enhanced by his crude and cramped body position.

His ankle reveals a massive tumour.

There is a gigantic growth on his leg, perhaps caused by prolonged exposure to the sun and continued contact with polluted water in the port.

My creative intention was to portray him in his usual setting, while crossing the same water many times every day.

The focus is on him. The beautiful surroundings no longer matter. He cannot see the landscape. He is trapped in his daily routine.

The colour of his shirt blends in with the orange stripes of paint on the boat.

The umbrella is feminine and looks absolutely ridiculous.

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Average Art Publications

I was exceptionally lucky! My work was chosen for three consecutive months to be published in a national art magazine titled Average Art.

A piece dedicated to a Haitian Girl of Polish descent was featured in the June’s edition.

Title: Girl with Butterflies

A1, mixed media on board.

The second piece is named: Three Haitian Girls. It was printed in July’s series. It’s size is A1, mixed media on board.

The image, which was chosen for the publication in August is titled: Beautiful Stranger. I will update my blog as soon as I receive my copy of the magazine.

Average Art publishes predominantly online. They also produce a soft back catalogue. Unfortunately, the quality of printing is mixed.

The following abstract is from an email, which I received from the editors:

“After receiving hundreds of submissions for the June (July and August) edition of Average Art we are pleased to inform you that your submission has been chosen to be featured in the magazine. The magazine is ‘industry focused’ and will be sent to a number of different art organisations in the hope that the featured artists will gain some recognition for their work. With your artwork we will include your name and contact details. If we need any more information from you we will contact you by email. The magazine will be published on the 15th June and July 2019 and can be bought online here. Pre-orders are available! Remember, we have a call for entries every month and you are more than welcome to submit new work. (check website for details).”

Cover A

Girl with butterfliesThree Haitian Girls

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Shwedagon Pagoda, Myanmar.

img_4980

Despite the pouring rain (rainy season) the visit to the Shwedagon Pagoda was a truly remarkable experience. I was stunned while exploring various parts of this enormous religious complex. It appeared to be a massive golden city dedicated to the beliefs of Buddha.

I spent most of the day photographing details of buildings, monuments and learning from the Shwedagon Museum. So little has changed over the years and the ambience of the place has remained exactly the same.

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National Museum in Yangon, Myanmar.

Lion Throne Showroom.

The main exhibit of the National Museum is the Lion Throne. It is over 150 years old, made from Yamanay wood and guided all over.

This artefact was used by the King to adjudicate on law cases. It was taken to Kolkata and finally returned to Myanmar after Independence in 1948. This is the only throne left intact as the other 8 were destroyed during World War II.

The other floors display Royal Regalia, Natural History, Prehistoric Period and Myanmar Arts and Crafts.

The overall impression was totally overwhelming. I was particularly impressed by a collection of bones, which were 50 million years old and a broad collection of sculptures and carvings.

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Research Statement Tutorial 1

Tutor: Gareth Polymeer

Thursday, 1st August 2019

UK time 11.30

Voice-call on Skype

I have presented an outline of my overall intentions for the research statement to Gareth. He was keen to find out what I was hoping to achieve and why. He also asked for the reasons behind the choice of my theoretical framework and its relationship to the dialogue between both art pieces analysed.

Following a very constructive feedback, Gareth suggested two possible avenues for further development of the existing body of writing:

1.  Art allows us to experience uncertainty and risk in a totally different capacity to the sciences and philosophy. It deals with an emotionally charged reflection rather than an empirical analysis of these phenomena. Therefore, art formulates new perspectives of embracing and understanding the world, which are far beyond the empirical and tactile experiences.

2. The nature of art encourages people to create responses, which frequently provoke and disturb, fostering the consideration of ethics. This is of significance for society and brings a deeper thinking beyond politics and religion. It is deeply rooted in our knowledge of mortality and uncertainty. Therefore, both pieces are significant in theses contexts and attract a great amount of debate about humanity and ethical considerations.

I plan to explore the above thoughts further in my research statement.