The aim of this research is to approach the concept of staging friction through fiction as a strategy and starting point for artistic critical reflection. In this an artistic practice is something that finds disagreement, discomfort and multiple viewpoints reflexive components of the work and discourse around it. This notion will be examined through fictions and objects previously executed by others, embedding them within present social and political changes. It explores possibilities of creating space in which social frictions and interactions are both rehearsed and performed and are used as productive sources.
The research investigates from a visual arts perspective, the apparent intricate need to counter political and economic turmoil with fictional visions. All this dispense with the fiction that an image( or an object or an event) can ever be see all at once or seen objectively. It proposes that perhaps fictions can be used to perceive the contours of what we describe as reality, to re-articulate the frame through which we perceive the terrain of fact.
More particularly, the research explores the extent to which a socially and politically oriented art practice can make positive use of the practice’s inevitable implication within the structures (frame) that it would critically address. In this my artistic work undertakes a reflexive investigation into the limits of practice. Using a strategy and technique of Mise en abyme, a formal technique in which an image contains a smaller copy of itself, in a sequence appearing to recur infinitely. As a result this kind of technique of image within image or world within world aims to function as a self-reflexive component within the works and research.