Although in beginning foundation my practice attempted at the pursuit of some universal truth, inquiring into the changing needs and desires of a humanity trying to forge identity from a space constantly in motion, more recently my work concerns itself less so with the preservation of intimacy in a post-truth world and more-so with the preservation of personal truth(s), in a post-intimacy world. The mission of deciding what you believe in, and further, determining whether we could, or rather should seek its immortalisation.
Reading Foucault's Heterotopia prompted in me an interest in notions of space and time being contested, in a diary-referenced performance drawing the comparison of describing my parents childhood home in Australia as existing in a time capsule- the joint experience of ”a slice of time” into the temporal realities of non-places that counteract our former lives. The idea of interfering with change and the longing to protect these spaces in flux in the effort of trapping our infinities, has been something I’ve tackled in my work more recently, exploring how we tether our own truths in order to preserve personal experience, where a cultural climate of increasingly vapid immediacy can render such endeavours futile.
Developing narrative, and continuing to utilise my own writing and practice in juxtaposing the preservation of both traditional (tactile) and modern day (digital) time-capsules- such as online identities and platforms, where matter itself exists only as a collection of corrugated pixels, my FMP will focus on the metamorphosis of both real and imaginary places related in particular to notions of home and family. Aiming to consider the nature of documentation as a means of trying to evade change and ‘conquer death’. I would like to play with moving image, and intend to further experiment with different, more tangible mediums such as 3D, photography, perhaps in combination with text.
Inverting space and time and immortalizing the realities of now, we create a formless moment lost between fact and fiction- the product of commodifying our consciousness’s to the point of abstractism. Likewise I may perpetuate a literal blurring or metaphorical obstruction of the truth in my work, where it is difficult to separate the real from the surreal. Since reading Hito Steyerl’s Spam of the Earth the idea of optical and verbal junk interest me- as well as the possibility of toying with and manipulating digital media, leaving the audience having to make up their own mind about the artist’s intended meaning or intention. In a similar sense, Gregg Araki’s nowhere ends with the main character exploding into a beetle and crawling out of frame, while Spike Jonze (Her) conjures an unusual romance between a man and his operating system. I have begun researching post modernist cinema and one option might be to create a short, or some kind of sensory environment involving a cohesive narrative as well as image.
Throughout the FMP, and in the nature of documentation I will keep a diary of everything I am doing, and document the project by writing notes in a journal, as well as creating online moodboards and maintaining a sketchbook throughout phases. I have considered creating a digital blog, which I feel could be an interesting additional means of chronicling the process.
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