Research Catalogue

“This project is an artistic/philosophical exploration of Ornamenting as an over-spilling, over-abundance and over-vocalization; it begins modestly, with a desire to investigate the relation between two simple notes and a space-in-between. This simple beginning is the base from which to study the 'between-worlds' of what is known and unknown, sensed and non-sensed, between reason and imagination, between self and other. It’s a bold initiative for its materialist-mysticism of the alchemists, or a 'spirituality' based in the rawest forms of empiricism. In one absolutely necessary sense, we do not know what we are doing, but we are taking the most serious risks in our attempts to 'recover' and 're-value' our personal experiences of exile and trauma.”

This exposition serves as an archive for the project "Meetings with Remarkable and Unremarkable Trees", where Annette Arlander spends time with specific trees and poses for camera together with them. The exposition is under construction

This is an open-ended project or research process around extremely slow growth, and the contact between glass and biological material. It aims to implement a model of un-synchronisation, perhaps through the form of a modular installation. The “narrative” and linear scale of materials is reworked to transplant them into a spatial setting where individual nodes embody and reinterpret parts of these materials, creating a field of sonic or visual encounters.

A three-minute video, including title and credits, concerns a second re-working, in effect layer three, of a drawing that references incidental observation of the inside of a glass jar and additional materiality, such as an action camera worn in front of the eyes and how the jar is attached to the drawing’s surface to enable the process’s video recording. The audio concerns the counting of seconds while drawing and the prolonged intonation of the word RAUM, German for space. Each of these vocal elements directs and impacts on the drawing procedures, the latter of which are implemented with pencils designed for marking on non-porous surfaces such as plastic and glass, and erasure of such pencils on laminated white cardboard. The video fades in and out of the drawing at each of its three stages, two of which were from times prior to making the video, the last of the stages of which was up to the time of beginning the video. The video is also interspersed with scrolling typed indication of the various correspondences between the counting of time and phrases of spoken monologue, the latter of which has been divided into two audio layers through having been recorded onto both the camera’s microphone and an external voice recorder. At 1: 47mins of the video the content fades to a muted simple scroll-through animation of the completed drawing of the previous video content played back a number of times, which had been responded to through the layering of the drawing the same number of times across nine pieces of handmade paper, 51 x 36cm, in plastic-based pencils and acrylic paint. The video encapsulates the above-mentioned individual facets as a single entity that provides some comment on the diverse nature of time in the context of its experience in and as drawing. Keywords: drawing; time; monologue; language; intonation

This exposition explores the question of creative justice in creative processes and pedagogy. Through an evolving conversation on a chat app, a mentor shares her creative process of a painting that she is emerging with her students at the Masters level. And interwoven through these, they evolve a pedagogy of artistic research, decolonization, reflective inquiry into self, aesthetic encounters with their own cultures, Indian aesthetics and philosophies, meandering and pondering together. The exposition is constructed in four parts. Part 1:Utopia and the politics of creative justice. Part 2: The Conversations through chats. Part 3 - Student responses and reflections. Part 4: Part 4: Teaching as philosophy of a way of being. The mentor journeys through over twenty five years of her practice, inviting her students to participate, question, reflect and ponder with her, offering a creative pedagogy for artistic research that is also bound in the politics of creative justice.

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