Critical Reflection (Sensory Cocoon)

I had at first conceived this project with the goal of allowing a participant to experience some kind of either mindful healing or meditative thinking. Being paired with a group meant the process of theorisation and implementation of the idea could be taken in more varied directions at once.

Having the experience and eagerness for constructing installation works I had volunteered to build the housing and contribute research on theories and artists to inspire and provoke ideas for my group (we all took part in this process at first, although due to personal occurrences, Keely wasn’t able to work to her full potential). Deniz took great time and care into perfecting the Processing code and Courtney became an invaluable resource, in the weeks leading up to the final presentation, lending whole days to creating the imagery for and the installing of the final Sensory Cocoon work.

George Khut’s Heart Library and Brian Enos ’77 Million Paintings for Montefiore’ hospital project among the artists cited for these particular sensory works with practical aplications. Whilst the group had been making progress in discussing a heart monitor (Biosensor) I had begun drafting designs for the space to put their sensor in, With the focus on architect artists, Frank Lloyd Wright, Frei Otto and Antony Gormley . Lloyd Wright’s chapel, Otto’s Metalocus, and Gormley’s Giant Crouching Man Patiently Awaits Global Warming. These works present clear connections (literal connections of bars of metal or timber) sympathetic of the relationships of lovers (sexuality) or bonds formed in relationships, friendships and family. When thinking of the way we see those literal connections in structure, the connections between geometric and organic shapes (Gormley, Otto), these connections are dependent on each other to fortify the structure as are personal/social connections essential to the well-being of humans.

After many iterations of designs and prototypes I have decided definitely to focus on the juxtaposition of geometric-esque of structure and the organic nature of fabric, I have decided, firstly that this installation must be enclosed but not like a claustrophobic womb, secondly the installation must be an effective surface to project onto.

Mat Wall-Smith (University of Wollongong experimental theorist) demonstrated a possible sound element during class using Pure Data and Abelton Live which we could incorporate into this project. using the sound information received by a laptop’s internal microphone the program (Pure Data) converts the information into oscillating midi data and sent to Abelton Live (or any program that can take midi and an input, like Garage band) and played back through a synthesizer.  This could be installed in the center of the structure and play sounds from outside in to the participants inside the structure. The sound was decidedly important but must be connected to the imagery. Sensory Cocoon is a combination of ‘mind’seen as art in service of the mind (Duchamp), and structured thoughtfully (Frost), ‘body’ seen as architecture of a functional physical body (the organic and geometric juxtaposition) all viewed through the lens of sexuality, ‘spirituality’ (chakras), power (Foucault).

To participate is to perform a discursive act
We demand that sex speak the truth … and we demand that it tell us our truth, or rather, the deeply buried truth of that truth about ourselves which we think we possess in our immediate consciousness. –Michel Foucault, The History of Sexuality

Recognizing functions and limitations of the body is one thing but for the scope of research required i must grasp the reasoning used in the intellectual mind with regards to art, I travel to the National Art School (NAS) in Sydney to discuss with drawing lecturer Joseph Frost.This was a key explained to me for when attempting to deconstruct the  image (Cezanne’s ‘Madame Cezanne in the red armchair’). This meticulous planning and thought put into the way in which humans see would bring me to insinuations put forward by theorist Michel Foucault on the inception of sexuality. As sexuality is a conscious process only, relatively to mammals, recently introduced. 

“Rhythm and repetition helps to lead the eye through the work in a structured manner”
-Joseph Frost (Lecturer NAS).

Learning to sew was one of the bigger struggles i had face, having firstly spent over a hundred dollars on materials, I would then have the issues of sewing this expensive material as a first time introduction to the craft. However the biggest struggle for me was to take a back seat and listen to my group, I had to open up to changing an idea that I had originally been personally attached to.

 

 

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Critical Reflection (Sensory Cocoon)

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