insideandoutsidebecomeone

Continuing to develop my thinking and work with 3D printing. The new series of works started off looking at a single page, capturing it as it turns. The pages are bisected, fixing a stillness within the work, although the page appears trapped in time. The transparency of the material brings an ethereal quality, enabling the interior spaces too be viewed, inside and outside become one. Onto screens – Past Lives is beautiful but so painfully sad. No Hard Feelings had a very odd tone to it. Time, the woman’s prison version was too harrowing to get past the first episode.

eatingyourwaythroughthecity

4 days in Madrid - wow - an amazingly vibrant city - a great way to eat and in general exist - gotta love the small plates and 'brunch' beer. Eating your way through the evening/night in bars with plates of extraordinary food - highlights include - squid sandwiches - fried pigs ear - and of course patatas bravas but I could just list everything I ate. Spending time with 'old art' in the big 3 galleries is mind blowing. "Oh that's where it is" becomes a common refrain' especially in the Prado. The highlights from your knowledge of art history come thick and fast - Goya and his depiction of the Royal Family, did he actually like any if his sitters? Raphael's history paintings, Bosch's interior world in the garden of earthly delights, Caravaggio's brooding world view, a room of Zurbaran's still lives containing objects you feel you could pick up, the details in the clothes that Velazquez sitters are wearing. I was transfixed by the red eyes of an onlooker in Van der Weyden's descent from the cross,  obviously previously upset but now trying to hold back tears. The luminescence of Fra Angelica's The Annunciation takes your breath away. There are a couple of strands of research to embark on - the labels in Museo National Centro de Arte Reina Sofia were extraordinary, a work in themselves, something to consider. I thought about the idea of the witness, the one person slightly outside the main focus, towards the edge of a painting or photograph sometimes looking out at the viewer. What were they doing there? How did they get there? What are they thinking? Again something that has previously occupied my thoughts - how hands are used, what are they holding? The meaning, the symbolism of the objects that would of been understood, now lost to the majority of viewers. How blood is depicted in paintings, if you were nailed would the blood look like it does in say a Durer or would it be more like the slain in Goya's The Execution's? Other notes include - Walking with bread / objects on your head after watching Louis Bunuel's L'age d'Or  Extraordinary titles of organizations - for example - the Crossbowmans guild of Louvain, The grand cross of the order of the reunion. If the rules are that there are no rules what are the rules? A need to find out about the Strappo technique of removing murals and the meaning if the sticks/staffs held by the members of the Royal Family in Velazquez paintings. To look again at the knots used to tie up Jesus. The idea of the thread of life controlled by the fates in Goya's black paintings. The list goes on - lots of breathing in, there is a need to breathe out, can't wait to get into the studio. 

lookingandreadingtheexquisite

I think that I’m starting to get the hang of this 3D printing! Onto London for a very old friends significant birthday – music, talking, wine and people I haven’t seen in a while but are always there….lovely – I even got to DJ a little – well I played records one after another…..While in London I went to see the show at Raven Row - Aye by Lutz Bacher. It is exquisite, truly moving. The work and shows at Raven Row are always amazing but I think this is one where the artwork has become part of the space and vice versa. Opening a closed door becomes the work. Enabling the sounds to drift in and out, doors banging, footsteps and people talking via with the sound pieces. #mostexcellent. I’m in the middle of reading Richard Wingate’s-  The Story of the Brain in 10½ Cells. https://www.waterstones.com/book/the-story-of-the-brain-in-101-2-cells/richard-wingate/9781788162968 It’s a joyous accessible read about some important stuff! – I started to make notes and I found myself almost transcribing the whole book – so I stopped – some key notes so far though include….A roadmap to an answer of a riddle - 2D drawing of a blurred 3D object - The idea of style in medical drawings - To draw is to know - Great speculation = the use of photographic solution in staining cells might enable us to see that the brain might contain frozen still images - Purkinje cell array converts time into space - Our construction of a perceptual world suddenly appeared to be a tremendous piece of theatre, engineered by our brains, to convince us that sensations are complete and reliable while concealing a script of hasty translations and omissions - The sound/language of brain cells. So compellingly enjoyable. onto screens – Mission Impossible was very funny with incredible stunts, well real things filmed! Equalizer 3 has another eclectic array of ways to effectively kill people speedily. I’m in the middle of season 3 of The Morning Show, the dark venal activity depicted is skin crawling, although not as much as Partygate – the program drips with undeserved privilege, the two worlds it presents are so disturbingly contrasting and yet nothing has changed – how about that.

learningthroughmaking

Learning through making, focusing on the work of Ingold

Learning through making, often referred to as "learning by doing," is an educational approach that emphasizes active engagement and hands-on experiences as a means of acquiring knowledge and skills. This approach aligns closely with the work of Tim Ingold, a prominent anthropologist and scholar in the fields of anthropology, archaeology, and environmental studies. Ingold's work has explored the intersection of human creativity, skill development, and learning through practical activities.

Here are some key concepts from Ingold's work that relate to learning through making:

Skill and Practice: Ingold argues that skills are not abstract entities but are embodied in the actions and practices of individuals. Learning a skill involves continuous practice and refinement through doing. Skills are honed through engagement with materials and the environment.

Making as a Way of Knowing: Ingold suggests that making is not merely a means to an end but a way of knowing and understanding the world. Through making, individuals engage with materials, tools, and processes, gaining insights and knowledge that may not be accessible through passive observation or abstract thinking alone.

Materials and Tools: The choice of materials and tools plays a significant role in the learning process. Ingold emphasizes the importance of a deep relationship between the maker and the materials they work with. Different materials and tools offer unique affordances and constraints that shape the learning experience.

Process-Oriented Learning: Learning through making is a process-oriented approach. It values the journey of exploration, experimentation, and problem-solving, rather than focusing solely on the end product. Mistakes and failures are seen as opportunities for learning and growth.

Embodied Knowledge: Ingold's work highlights the embodied nature of knowledge. Learning is not a purely cognitive activity but is deeply connected to the body and sensory perception. Through hands-on engagement, individuals develop a bodily knowledge that complements intellectual understanding.

Contextual Learning: Learning through making is deeply contextual. It takes into account the specific cultural, social, and environmental contexts in which making activities occur. This context shapes both the practices and the knowledge that emerge from them.

Community and Collaboration: Ingold's work also emphasizes the role of communities and social networks in learning through making. Knowledge and skills are often shared and transmitted within communities of practice where individuals collaborate, share experiences, and learn from one another.

Incorporating these ideas into educational settings can involve project-based learning, experiential learning, and hands-on activities that encourage students to actively engage with the subject matter. By embracing learning through making, educators can help students develop not only practical skills but also a deeper understanding of the world and a sense of agency in their own learning journey.

collectingthinking

I have been working with 3D printing over the past 6 months with a specific idea in mind. I’ve been attempting to create work that is on the edge of collapsing, trying to explore the ‘handmadeness’ within the process. The output of 3D printing often leads to the design route, making art with it is a challenge but when pushing its structural parameters, the work starts to reference natural structures. After a great conversation at Kings this week I realised that I have been working with ideas adjacent to the engineering concept that is "form-finding”, a design process by which the shape of structures and systems is determined. The idea is to achieve the optimal form that delivers dynamic stability, adaptability, and sustainability. It considers structural stability, functionality, and beauty.

A busy weekend - Managed to get to Dance East – I’ve missed so many dance events due to clashes - being away and friends significant parties but the double bill unknown realms was too much of a pull even on a Friday night after a busy week - not excellent but interesting. Prompted conversation about what's new in dance, focused on ideas of the modern and contemporary.  Next up Laurence Edwards and Alex Jennings at Jubilee Hall. Live sculpting while talking about creating characters. A truly mesmerizing experience, I was captivated, and the 2 hours just flew by, being totally in the room was exhausting, focusing on the experience of watching somebody make something in real time.

I reflected on the visual memory I have after experiencing all the museums and galleries I have encountered, and all the objects within. The idea of learning through making, how we experience the world through our hands as much as our eyes. Ingold argues that creativity emerges from within an ongoing, improvisational process between makers, materials, and other non-human things such as tools and the physical environment. Also, Ideas around public/private, the studio and the gallery v the rehearsal room and the stage, – something I’ve thought about with the scientists and the science spaces I have worked with and in. some words from a previous experience...........

“The glove box and the laboratory are very specific spaces. That they often protect the specimen within the experiment from us rather than us from it is an intriguing idea. These spaces created to manipulate objects are contained, clean, dry in an attempt to be 'non'.   Within this extraordinary space, specific materials and situations are monitored, ready to be recreated, actions controlled to be repeated. These spaces have their parallel in the art world: the space of the gallery, the white cube where the art is on show, an anonymous space where the art is supposedly the focus. Obviously, no space is neutral and each have their meanings, which can be read, but the aspiration to create a static continuum brings to mind the words of Heraclitus 'No man ever steps in the same river twice, for it's not the same river and he's not the same man.'  It appears that science and art are constantly trying to create a time and space where the river is still”.

 

exploringscientificgesturesthroughcardboardstructures

Exploring Scientific Gestures through Cardboard Structures

In the realm of scientific exploration, innovation often stems from the unlikeliest of sources. One such avenue of inspiration has been found in the use of cardboard structures. This intriguing collaboration between scientists and humble cardboard has led to a fascinating world of discovery, demonstrating the boundless ingenuity of the human mind.

At first glance, cardboard might seem unassuming and perhaps even inconsequential in the grand scheme of scientific progress. Yet, when coupled with creative minds, it transforms into a medium of exploration that transcends its basic form. I have embarked with scientists on a creative journey, designing intricate cardboard structures that mirror complex scientific phenomena. These structures serve as tangible, visual representations of abstract concepts, enabling researchers to communicate intricate ideas in a universally understandable manner. In the making of cardboard structures we set out to go beyond mere visual representation it extended into the realm of hands-on experimentation. Learning through observing and touching.

Whilst observing the work undertaken in the laboratory I created a specific body of work. I began by closely observing the scientists explaining their processes, drawing inspiration from the intricacies of human hand movements undertaken by demonstrators in the role of science communication. This tangible interaction with cardboard brought forth an intuitive understanding of scientific concepts that might otherwise remain confined to complex equations and theories. The cardboard structures I created were more than static models; they became dynamic representations of articulation. We introduced basic concepts of bio mechanics, considering the range of motion, and joint limitations. Geometry played a pivotal role in this endeavor. Crafting shapes that mirrored hand gestures, we engaged with angular measurements, spatial relationships, and symmetry. By manipulating these cardboard shapes, we illustrated geometric transformations, connecting the abstract world of mathematics to tangible creations.

The cardboard structures were often painted or marked to visually convey the relevant elements of the scientific concept. Color-coded sections, labels, and symbols aid in highlighting crucial features and facilitate better understanding. The visual cues enhanced the engagement of learners and made the abstract ideas more accessible. Interactive Learning is key. One of the key advantages of this method is its interactive nature. The cardboard structures act as hands-on teaching tools, encouraging participants to manipulate the structures themselves. By physically engaging with the structures, learners gain a deeper comprehension of the scientific concept, as the connection between the hand movements and the underlying principles becomes more understandable. As with any creative endeavor, refinement is an ongoing process. By sharing the work I gathered feedback from participants and peers, seeking ways to improve the clarity and effectiveness of the cardboard structures. This iterative approach ensures that the final product is not only scientifically accurate but also optimally engaging.

The experiment also delved into the realm of materials science. Selecting the right cardboard thickness and flexibility alongside the materials used to create the joints. This allowed us to understand how structural integrity and flexibility are essential for proper movement. This practical application of materials science deepened our appreciation for the balance between strength and flexibility in biological structures. We explored the principles of feedback and control systems. By introducing simple mechanisms to alter the cardboard structures motion, we tackled the intricacies of closed-loop control systems, mirroring the body's ability to adjust movements based on sensory feedback. We were able to feel scientific concepts.

The combination of scientific curiosity and cardboard ingenuity has given rise to a world of exploration that transcends the boundaries of traditional methodologies. Using cardboard structures, we unveiled the hidden and revealed the elegance of complex theories with simple gestures. These tangible representations foster a deeper understanding of intricate scientific concepts, engaging scientists, researchers, and students. Cardboard can be used to simulate and study phenomena that are otherwise inaccessible due to scale, danger, or complexity. Cardboard offers a safe, cheap, and interactive platform for scientists to test hypotheses, refine theories, and educate aspiring minds. As we continue to push the boundaries of knowledge, it’s important not to forget that even the most unassuming materials can serve as powerful catalysts for discovery.

futurepossibilities

After a great meeting at Kings discussing future possibilities – we looked at pivoting towards group working and mapping out some new focuses for Synthetic Anatomy. After we explored new strands of research which could involve a new direction whilst reflecting on previous work.  Then some breathing in – White Cube has Julie Mehretu’s work – the hang is stunning. Bond Street windows have some extraordinary clothes using intriguing materials in fascinating ways. Round the corner Spueth Mangers has Sylvie Fleury whose work fits perfectly referencing shopping, high fashion, and fast cars! – loved the Gucci shoe collection. Also the show at Art station by Abigale Lane had some beautiful crafted embroidered birds. onto screens - Big Night was sweet. High Flying Birds was a little 2 dimensional. Reptile – police corruption, who knew. Corner Office – disturbing meditation on an ‘office job’. Before I go to sleep was dark, dark dark.