Principles of Practice
What is practice as defined here? There are two layers of practice that are unfolded and inquired into:
1. The creative practices of visual art and writing.
2. Crafting consciousness through and as artistic practice
A curated set of principles have therefore been created in order to engage with porosity as a practice of crafting consciousness, and to make tangible and visible practices of visual art and writing. Sādhanā, the Sanskrit word for practice, is a spiritual and meditative practice, where the artist seeks to immerse herself in a state of transcendence or oneness with the universal consciousness through her creative practice. The curated set unravels the terse meaning of the word Sādhanā to activate each aspect of this word and build a more comprehensive practice.
Why does one need principles of practice?
There is both complexity and paradox in every creative act. The intuitive flashes and insights that emerge in seemingly unconnected moments help us to see certain patterns or orders that can inform and create a space in our consciousness for creative moments. Porosity is a specific state of consciousness and often elusive to reach and experience. The principles of engagement help to keep this state open, while the principles of practice allow these elusive experiences to be acknowledged, articulated, and crafted into visual or written form.
How do they work?
Principles of practice as outlined here are a curated set emerging from the cultural-philosophical framework outlined in the introduction. These seven principles are non-linear in their relationship with each other, but they do act as intricate web of ideas that work as a set and not independently. While it may appear that individual works/sketches could be through one or another principle of practice, a body of work that evolves under the framework of porosity would use the entire set in its evolution.
What are they?
My practice emerges through seven key principles: artistic reflection, ritual practice, philosophical inquiry, metaphysical embodiment, physical transience, mythological storytelling, and aesthetic play. Through movement, text, and image, through gardening, walking, pausing, and listening, I build everyday practices that become my grounds for artistic inquiry and research. ‘Movement is a continuous problem to deal with in painting. A painting is a static image, but the construction of a painting is performative,’ says artist Catrin Webster, who goes on to write about how performance painting turns into a meditative process when capturing her journeys through the Welsh landscape.(Merriman and Webster, 2009).
“We experience life through our senses, this I’d call real experience, first hand engagement with the world around us in the moment. I see my arts practice as increasing opportunity for such engagement, art as a doorway between our inner and outer worlds.” — (Keating, n.d.)
Our acts of perception emerge from simple embodied everyday actions like walking, driving, looking through a window, digging, planting, or composting. In Richard Keating’s work, he uses ‘art-walking’ practice as a way of place-making and developing landscape aesthetics (Keating, 2014). Actions and art-making are entwined in my practice, as actions themselves become line, space and form, and performative art. (Ilango & Kalyan, 2015). Webster points out how travel journeys, repeating a certain journey or circuit, also takes the form of a drawn line (Webster, 2012). My work draws on the interconnectedness between everyday actions and engagement, and the principles of practice to emerge an art of transforming consciousness.