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Robin Hawes’ recent art practice has revolved around the ways in which evolution and the human brain have shaped the nature of our internal experience; our understanding of the external world and the influence this has in determining a common notion of ‘reality’.
This project aimed to look at a particular element of the human visual system, that of saccades – the staccato eye movements we each make whilst scanning and exploring the visual scene before us. In examining the processes undertaken by the eye in providing sensory data to the brain, the project highlights the internally constructive and idiosyncratic aspect of visual perception.
In collaboration with Dr. Tim Hodgson, senior lecturer at the School of Psychology, University of Exeter, the project has combined knowledge and technology from the visual sciences with a series of photographic images produced as part of Robin’s art practice. Each time someone contemplates a work of art, the work of art is re-created internally. In essence, this project will attempt to make visible this hitherto internal and unshared neurological event.
My work is concerned with the dramatisation of space, the constructions and illusions of peepshows, stage magic and scenery. I am curious about the role of the imagination and the complicity of the audience in suspending disbelief. In the 19th Century many devices of popular and home entertainment like toy theatres and peepshows used printed illustrations to create representations of actual stage shows, exotic places and famous events. In these now antiquated enclosed spaces of entertainment, with their fixed viewpoints, I have found a mixture of enchantment, mystery and voyeurism. Looking through an aperture or lens emphasises the act of looking, but are we always conscious of our crucial role in creating the vision before us?
Diaries Book Volume2 is a celebration of daily life, women’s achievements, fictional biography and areas of knowledge where empiricism is as important as experimentalism.
Diaries Book Volume2 is a work of personal fictional narrative which explores areas of knowledge where empiricism is as important as experimentalism. Through this work, fiction and setted up rules are used in the construction of the author’s daily life reality within a certain period of time. A made up story, for instance, will become reality by living it, drawing on ideas and raise questions about truth(s). Self-hypnosis and numerology, as selected areas of knowledge, will be used as ways of knowing, understanding and possibly changing reality.
Diaries Book Volume2 seeks active participation during the process of making work as well as in its finished format at the exhibition.
The rules are not fixed, the work changes itself as it unfolds and the outcomes are left open as much as possible.
See http://diaries-book-vol2.blogspot.com/
see artist’s bio here
Sarah Matthews is currently studying for a BA in Fine Art at University College Falmouth. The content of her work relates to social constructs such as nationality and performed culture, and often takes the form of participatory works, such as games, with the logical marrying of social content with social forms.
• June 2007: Organised a semi-curated, collaborative sculpture project at Leaf Gallery, involving 9 fellow artists using only cardboard, and a children’s collaborative workshop.
• June 2007: Worked within a team of curators to organise the first Live Art Falmouth event, a two day programme of live art in all its diversity
• February 2007: Exhibited work in the Fine Art BA Interim Exhibition at Falmouth Arts Centre
• September 2006: Took on the running of Flannel Short Films, a short film night featuring work made by students of University College Falmouth.
• April 2005: Organised an open, participatory Think-In event in the new atrium of South East Essex College, in which a large space was re-assigned for the act of reflection.
Ana Carvalho is a visual artist born in Porto, Portugal and living at the moment in Falmouth, UK.
Major themes in the work of Ana Carvalho are emotional celebrations in daily life, women’s achievements, fictional biography and ways of knowing. Experiencing different cultures and languages is a way of living.
She develops work that describes processes of interaction with other people while telling stories that are nor entirely fiction or reality.
The work is presented as live visual performance, installation/videos and on the Internet. By using images and colors she explores multiplicities in herself, gender and relationships.
Ana’s web design work can be seen at Visual Agency (www.visual-agency.net). She is co-editor of the project VJ Theory (www.vjtheory.net) and one of four members of Art in Hidden Places of Falmouth.
Could we get all the artists to write what their project is going to be about?
Jem Mackay is currently studying for a PhD at the University of the Arts, London. His Art is an enquiry into the political structures of creative collaboration, particularly looking at the open source model from the field of computer programming and seeing how relevant it is to the practice of filmmaking.
• Mar 2006: Commissioned by Lambeth Arts Council to document a local carnival and the preparation leading up to it.
• Aug 2005: Collaborated with installation artist Kelly Chorpening at the House Art Gallery, London
• Mar 2005: Commissioned by CABE to collaborate with five other artists to consult a community about the future of their built environment.
• Feb 2005: Commissioned by DyFES to collaborate with three teenagers to make a film about the future of their built environment.
• Jan 2004: 200 people took open source CD-ROMs of ‘Genetic Genesis’, which randomly edits video footage live, at the London Art Fair.
• Nov 2002: Set up a discussion online as a solo show, fully editable by visitors for just 7 days, called ‘Should we attack Iraq?’
• Jun 2001: Had a solo installation at the House Art Gallery, London called ‘Genetic Genesis’
• Feb 2000 – Mar 2004: Jem, and his partner initiated the House Art Gallery in London as an artist collective run gallery. Over four years, the gallery exhibited work from over 200 different artists, including Sir Terry Frost and Anthony Gormley.
Jem obtained a Distinction for his MA in Digital Arts from the University of the Arts, London last year and previously studied a BA Hons in Graphic Design (grade 2.1) at St Martins School of Art, specialising in Film & Video.
In an age of reproduction, most people are familiar with the idea of ‘the completed story’. People buy stories. They buy books or watch a film. They all have fixed beginnings, middles and endings. Before the age of print however, stories were much more fluid. They largely existed in an environment of oral folklore where the story changed as often as the story was told and retold. With this piece, I am exploring the openness of a legend and how it can be applied to stories within our new technologies.
- Jem
interact – to act on one another
interactive – allowing, or capable of, mutual action; allowing continuous two-way communication between a computer and its user
participate – to have a share, or take part in; to have some of the qualities of.
participant – participating; sharing – a person, group etc. taking part.
These are some of the definitions I found when I looked up the words interact, interactive, participate, and participant. I looked them up in Chmabers Concise English Dicitonary, not having an art dicitonary to hand, and I’m not sure how much they contribute towards explaining the work we are making. I was wondering about the difference between participatory art works, and interactive art works. Is there a difference between the two terms? Is one of them more ‘correct’ than the other? To me, ‘interactive’ suggests a work that can be interacted with after it has been made by someone, and participatory suggest work that many people can take part in the making of. What does anybody else think about that? Maybe the two terms just mean the same thing? Or maybe work can be both participatory (in its making) and interactive (in its experience).
Any thoughts on that would be really great. Let me know what you think or know, thanks, Sarah
Magdalena Tyżlik-Carver is the curator of the Participation exhibition. Her research explores the subjects such as collaboration, the common, community and networks and new models of curating, which are conditioned by “social architecture” technologies available on Internet (wikis, blogs, skype, etc.)
She is interested in those subjects in the context of network theory which is being developed by Geert Lovink and Ned Rossiter and also Alexander Galloway’s theory of protocols. She is influenced by theories of Jacque Rancière and especially excited by his ideas discussing the connections between aesthetics, politics and ethics and possibilities which arise when applying the theory of partition of the sensible in the context of network cultures.
She works as a research assistant in iRes at University College Falmouth and this year she graduated from MA course in 20th Century Art & Design: Histories and Theories course at University College Falmouth with the thesis titled Subtle Resistance. Aesthetics of Collaboration in the Network Society.
You can read curator’s statement here.
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