This post contains the requested elements for my first assignment submission of BoW, Territory. I have found the instructions of the outline proposal somewhat confusing, and initially worked off the instructions for the personal statement alone. I have since amended the proposal and yet, it feels as if it repeats the same things in different forms/lengths, so, my apologies if something is still missing.
The guideline I worked to and have included is p.22 of the coursebook:
Send to your tutor an initial project proposal, to include:
- your reflective commentary
- a clear indication of how you’ll integrate your two creative practices into your body of work
- an outline of your theme of significant topical importance, linked to the Research course (150 words)
- a work plan setting out your timescales for completing work (300 words)
- your initial personal statement (300 words)
- a reference to your mind/concept map – this can be photographic or physical.
The reflective commentary is contained in this post here.
The first concept map for the overall course is written about in another post and include for reference here
All other elements are included in the attached PDF with the shorter Personal statement which also covers all the elements (bar work plan) is included for reference below.
Personal Statement: Drawing / Contact (modality, site, practice)
This body of work seeks to build on and consolidate an artistic practice that I begun to explore throughout Drawing 2. The final projects (m(e)use|use me; the Hornet Tree, the Critical Review on an expanded field of drawing) as well as the realisation of the module-spanning, Parallel Praxis, all begun to articulate a notion and practice of drawing in an expanded, interdisciplinary field. Here, drawing emerges as a set of enquiries, methods and processes in which performance, photography, writing, installation, moving image formats and more traditional drawing processes interact and mutually inform each other.
As theme for this work I would like to set out initially with methodological concern. My interest centres around ordinary objects, processes and procedures to explore the body as tool and site. Doing so, it situates within and builds upon feminist concerns of the ordinary, the unspectacular, the everyday to investigate the fabric that contributes to our articulations of corporeal selfhood. Furthermore, it is interest in contact. At once, immediate, sensorial, tactile it also asks wider questions concerning relationship and presence. These concerns around agency, voice, autonomy are at once informed by older materialisms (notably: a critical materialism of social praxis) and are curious about new materialisms and the constitution of the human body, also in its potential hybridity, one cyborg form or another).
Through a series of enquiries and investigations this body of work sets out with functional/instrumental objects/ processes and explores their boundary/ edges: when do they become something different; taking in a range of media and established working practices. What are the influences and interactions with a human body? What senses are engaged? What control, interaction or dialogue takes place? If these enquiries are located in specific sites – institutional sites: what happens to objects, processes that are designed to perform for certain purposes and are however otherwise employed. Do they yield? become different? resist?
These enquiries intend to encompass research presentations; possibly elements of conflict facilitation; a series of experimentations/ performances which also provide the research for Research as well as expanded drawing as documentation and tool to activate/ open out: become hybrid, performative, sensorial while engaging with mundane objects/ processes. Doing so, this body of work is at once the body of work while remaining curious about its own coming into practice.
The initial range of creative practitioners that inform this process is wide: ranging from interdisciplinary artists such as Joan Jonas and Susan Hiller to contemporary photographers Noemie Goudal and Ed Clarke to writers and poets such as Katrina Palmer and Juliana Spahr. Gordon Matta Clark’s architectural practice around intersects also seeks a place within this.