When reviewing my research journey, I have noticed that the view from my lounge window has an astonishing resemblance to a slum outside Port-au-Prince.
It was raining quite badly and the entire valley was covered with a thick layer of condensation and trapped moisture in the air.
The image of Torquay is dark, gloomy, wet and almost monochromatic.
The photograph of Port-au-Prince is highlighted by the hot sun, which emphasises the colours of the environment.
Both were shot roughly at the same time of the day.
I find it very surprising that despite both destinations being densely populated, there is no sign of humans.
I am constantly bombarded with messages for help. This has led me to want to embed some of those into my painterly backgrounds to create a clash between the impact of colour in response to the beauty of Haiti and desperate plea for help in broken English sent via digital media.
The time taken for the message to become apparent contradicts the immediacy of the need and how instant the process of sending a message is.
It takes a long time to sink in.
The question remains the same: how do I respond? What is the impact of the message on me and my consciousness; it is definitely unsettling, disturbing and leaves a dilemma. I am unable to help them all. How do I help and select potential recipients.
This is how a sudden message can interfere and disturb the focus on painting. The shift is noticeable and reflects the change in thinking processes.
Following the guilt and frustration with not being able to respond in a constructive way, the painting regains its importance. However, this is a cyclic process; absolutely vivid and flashing at times – therefore, overwhelming all other feelings.
I finally feel that I am “getting” somewhere. The painting, the message, the flashes, the vividness, the cyclic re: occurrence.
Does witnessing poverty and deprivation make me want to change their situation on the one hand, or on the other, it merely changes my reflections on my own life, ambitions, aspirations and priorities?
Their uncertainties are an unsolvable dilemma and my reflections are simply frustrating.
Mortality is the essence in Heidegger’s proposal of authentic living. His concept of Dasein (being-there, existence) has become very current in the context of my reflections on viewing art in Valencia.
The idea that death forms the meaning to life is well-defined within the philosophical framework. Many thinkers have discussed ‘death’ and its relationships to what we do and how are. Montaigne argues that “to study philosophy is to learn how to die”. Seneca proposes that “life is nothing, but a journey to death.” This was further extended and contradicted by Nietzsche, who states that life’s purpose and meaning are defined by our goals and inspirations.
Existential writer – Camus emphasises the absurdity of life. This thought process is extended by Kierkegaard, who questions the sense of life in the context of death.
Many others also suggest that love, beauty or reason are necessary to provide existence with meaning. My reflection is that most Philosophers will not simply assert that death is sufficient to give our existence a form of meaning and reason. Is art as a language of expression perhaps that addition, which is needed? Is visual exploration trying to solve the biggest puzzle of life?
I have spent the last two days exploring a range of galleries and museums in this bustling city. Currently, there is a broad offer of exciting exhibitions available, covering both Spanish and internationally renowned; traditional and contemporary fine artists. During my viewing experiences, I tried to categorise artefacts by the essence of their subject matter or theme. After a very careful consideration, I have concluded that our common fear of transience is the origin of all of our thoughts, feelings and undertakings. We are subjected to mortality and this is where all of our worries and anxieties are stemmed from. This phenomenon can manifest itself in a variety of forms, from religion, fear of omnipotent God and the ‘Last Judgement’ to death, illness, pain and other general life’s misfortunes. I found an ever-increasing evidence of loneliness, isolation, alienation and forever present inability to establish a deeper rapport and communication with others.
The most common theme in all work was an act of inner desperation to get ‘help’ from someone out there, who can help us to embrace our uncertainties through some ‘magic’ participation in our lives.
In conclusion, I have a growing uncertainty concerned with an inclusion of ‘religion’ in my visual research and experimentation
A documentary photographic review is below:
IVAM – Institut Valencià d’Art Modern
Museu de Belles Arts de València
Annette Messager. Pudique – Publique
Tony Cragg’s work at the Palace of Arts and Science.
Ulso Elemany’s exhibition at the Boncaixa Foundacion titled
There was a range of work on display by the famous Eusebio Sempere. The other work included op art installations by local artists and paintings with references to the Spanish War.
I felt quite disappointed with the currency of work in the gallery, which is supposed to promote the contemporary arts in Spain. The building, however, was truly inspirational and provided me with some opportunities to explore ideas of optical illusions in architecture, especially corridors and staircases.
Unfortunately, I was not allowed to photograph them.
Exhibition at the Bus Station
‘Boarders and Immigration’
Surprisingly, the most inspiring exhibition of work was at the coach station. The was a range of dramatic photographs on display made from broken wire dancing material. This adds to the element of reality, while creating a more appropriate setting for the content of the photographs than a typical white and clean wall.
(Photo by telesur. com)
Uncertainties of the characters in these photographs are on a different scale to what I have ever experienced. The timing of this exhibition coincides with the March of 7000 mainly Honduran citizens through Guatemala and Mexico towards the American boarder. I have travelled vastly through all those countries and have many good friends there. Practically, every family is affected by the consequences of gang violence, “war tax”, drug smuggling and loneliness, which is caused by emigration. Perhaps, I need to include these important issues as a serious consideration in my research.
Photographs, which I took this morning, while wandering far beyond the touristic strip through rough parts of town. There is one word, which links all Latin countries around the world.
This word is ‘peligroso’ meaning dangerous, vertually, physically and in terms of a common mood in all those places.
HYPNOTIC REPETITION 