POWERPOINT PRES

1st page- 

EMOTION, TIME, TRUTH, REPRESENTATION'      Alisha/Claudia/Hayley

2nd page- (Introduction)

Revisited our 'ten words'. This resulted in emphasizing our differences aswell as our similarities. Therefore we found it necessary to each pick 3 words, rather than ten, that acts as the foundation of our thoughts, processes and responses to both creating and viewing art. 

The conclusion we came to, through discussion, lead us to the importance of 'emotion' 'communication' and 'time' (in very different ways), and what we could only explain as a lost communication. 

From there we decided to attempt to use these words and phrases, either writing a short paragraph on each, or just incorporating them into our small piece of writing, then reading one anothers to find links. 

3rd page- (Talking about the words and what they mean to us)

Communication

Claudia- 'The lost communication comes in the form for things that we take for advantage, once again relating to the passing of time. Words, feelings, the now, slipping like grains of sand between our fingers, being forgotten and unappreciated along the way. Words that are said in communication that go unwritten, those moments that go unphotographed, undocumented. Words and stories that have no other path other than to eventually be lost to our own mortality'

Alisha-  'My relationship with communication is complicated- it's never been a strong point of mine, regardless of the way I'm doing it. Within my work I think my desire to communicate wavers. Sometimes, I am clear about my message, such as here, where I'm confrontational, but most often I know I'm not clear. Whilst I'm expressing an emotion or experience, it's shrouded in mystery of various sorts- hidden in fantasy based narratives. Often, my work is somewhat selfish in that respect'

Hayley-  'I want my work to communicate to everyone. Not just people who have a high understanding of the arts. I want my work to be universal and for it to affect people in some way. Whether it just simply makes them think about the here and now, whether they think about the bigger picture a few weeks later or maybe they would revisit a scene from their own past whilst confronted with the work. I'd like to think Id engage an audience through creating conversation by the topics I present to them and also through an interesting aesthetic.'

Can we ever truly communicate what we want to anyway? How important is this?
Aware that viewers will reflect their own personal experiences onto the work therefore will all take something different.

(Maybe a list of linking words at bottom of page)

4th page- (Still talking about the words...)

Emotion/Personal Experiences

Claudia- 'The way in which I use emotion is more a mixture of personal experiences and time. I will begin by reading something, and finding something I connect with from literature, and then extract it out in a universal sense.

Alisha- Pretty much all of my work has a personal element to it, it literally documents my experience of living. Sometimes it is about my emotions, whereby I tend to apply an emotion to a new situation, or find a way to demonstrate it visually. Most of my work has an entanglement with my mental state, because it;s where my idea's predominately come from. A lot of it involves my physical health, for similar reasons. Sometimes it;s my memories and I bring past experiences and elements of nostalgia into things, including life events and interests.

Hayley- Looking at myself, women and issues within society( especially women of a similar age and also in my position as an art student). This is in regards to representation, what having a voice really entails, feminism, gender, sexuality, stereotypes, language and communication with myself and others

Hayley- Interactions with other people.
Alisha- Interactions with the 'self'.
Claudia- Interactions with literature.
We all take the emotion that is surrounding us, whether it be direct or indirect, and create of the basis of feeling something. We share the aim to create work that allows a viewer to stop and take notice, to feel something, rather than simply question, or inform. We appear to want to tell a story through our work to allow the viewer to feel, whether it be good or bad. Alisha through her own story (combined with another interest), Hayley through opinions and interactions, and myself through literature and the universal idea that we are all 'beings' that feel.

5th page(talking about words still...)

Time

Claudia- 'Lost to the moment, the then, the past. 

A struggle I was seeming to have was to be able to connect this writing in a clear way. To try and capture the essence of a lost thing, something lacking a voice. Words act as a vessel to time gone by.

Other words I am interested in include memory, time, change and quiet'

Alisha- 'Generally my main links revolves around when and how I make work, such as it being an idea or feeling from a certain time. Sometimes that's not all the case is- sometimes I deal with death and decay, which is probably the most pivotal events time plays a part in. I'm always looking back to the past with my work, never the present or future, and jumping in and out of time.'

Hayley- 'Time is usually an unconscious decision which is relevant in my work. Time in relation to the views and ways of living in the past in difference to the modern day. My most recent paintings both contain this idea of indulging into a timeless dreamlike world which is created from personal experience and ideas on todays living, especially as a woman.'

6th page- (sartre)

(image of book or sartre himself)

Jean Paul Sartre

'Being and Nothingness'

Text I initially was told to read from Bernice over summer, thought the others might enjoy it as I realised we had shared interests in psychology and people in general when it came to art work.  

The book challenges the reader to confront the fundamental dilemmas of human freedom, responsibility and action. It's approach challenged all previous assumptions about the individuals relationship with the world. 

Sartre talks of 3 kinds of entity in existence; 'beings-in-themselves', 'beings-for-themselves' and 'beings-for-others'

BIT.-meaning a non-conscious thing, an essence which exists on its own from any observer

BFT.- meaning a conscious being, their consciousness renders them entirely different from other things- in relation both to themselves, to one another and to other things.

BFO.- an eavesdropper, entirely absorbed by getting his ear to the keyhole he barely distinguishes himself from his surroundings, suddenly hears a footstep in the hall and becomes aware he in under observation. He suddenly begins to exist in a different way- he begins 

The descriptions he creates are not merely to illustrate a concept. But they are written for us as readers to understand the nature of the phenomenon by accepting the truthfulness of the story. In a similar way that we may be convinced by the truth of a representation e.g. life in a film or a novel.

I'd say in relation to us all and philosophical ways of thinking;

What influences us? Why do we do certain things or see things in a particular way?

Is it better to try understand it all from a mental health perspective?

This idea of constantly analysing the way i live and think and why we do the things we do I felt initially would help me solve some of my own personal issues, which is where my work usually rises from, but from being this outside viewer constantly looking in and evaluating things, creates this  strange distance and relationship with myself that can be quite tiring and isolating.

7th page-(engaging an audience)

After discussion we all seemed to be interested in ideas around the viewers experience of our own art work, some wanting a specific audience and some more unsure. Regarding the viewers experience we all agree that a big part of our work is creating to trigger some kind of emotion in our audience. We believe this type of art work is the most rewarding to create in the sense that we're not just communicating our work with our own interests and perspectives in mind but looking at a wider picture.

The idea of galleries today. We agree that most exhibitions we go to at the moment don't seem inspiring. This idea of having to know lots of context before even entering a gallery and needing a higher understanding of the arts is projected in most exhibitions. We think it limits arts audience as a whole. People feel like they don't have enough knowledge or don't think in the 'right way' therefore feel they don't 'get' the work and automatically dismiss it. We want to focus more on where I exhibit because it is important.