So I did my pecha kucha quite reluctantly (because I was nervous not because I’m a sulky bitch).
It featured all my guilty pleasures like pictures of me where my jawline looks good, Eurovision and Rauschenburg. I had shown mostly features of my surroundings – colourful, dark/dreary and bland depressing things interspersed with some artists I had recently come to admire. I admit, most (not all) of these were a bit typical and probably not truly reflective of artists I think about whilst making. This did not go unnoticed, and it was pointed out at my expense (which is fine) that we probably couldn’t name 10 art gallery directors seeing as I hadn’t managed to reference more then 2 contemporary artists working today. It is true, I am lazy when it comes to this and I need to push myself to go to more private views/exhibitions and talk to people, which I did start off doing very well but have been lacking lately. I am great with finding them on the internet though!
I did stumble across this artist a while back, who I probably should have mentioned. Orkhan Huseynov made a film ‘Calentamiento Global’ that mixed footage of telenovella’s with a voice over dialogue that discusses global warming – making it all very dramatic, ‘blunderous’ and darkly humourous. His work made me think about other dramatic guilty pleasures that can be re-contextualised through edited sound or assemblage to create something serious or conflicting. His work partly inspired an assemblage I did in MAFA, using an old tv playing ‘strictly ballroom’.
However, I did cross the road recently and go visit Rachel Whiteread’s Tate exhibition. She is an artist who I have come to recognise as quite significant in relation to how a narrative can be built around the use of space or inanimate objects and the recording of it. It’s this nostalgia or capturing the essence of a story that has been going on for years that has become important to me, because it is so prevalent in how my generation lives when life starts to get tough – a composite of the present or years gone by that you yearn for again or that you are trying to hold on to. I don’t know. But her work was certainly something that I did not care for or understand when I was 18 and in art foundation.
All in all, I was told by another student I would’ve probably presented better if I had stood up. Which is probably true, but deep down I think I knew that most of my ‘artist’ references were a bit shameful and lazy and lacking in reflection to how/who I really get my inspiration from.