I have continued to look at the fold within my work and want to relate it to fluidity of matter and the elasticity of bodies. Each body contains a labyrinth of passages that flow fluid around our bodies. Externally we have the folds of our skin that are divided into smaller and smaller folds. This fold within a fold interests me and the internalisation of the outside. The folds of our soul is another expression and chapter in Deleuzes book The Fold.
I have begun folding old sewing patterns; experimenting with origami folds. My thoughts are moving towards using transparent paper/ acetates to experiment folding with. The transparency of the material helping to convey this overlap between inside and outside?
Last night we had a hangout lecture by the artist Jaimini Patel where she talked us through a body of her work. Her interests were in the materials she used and space. She called herself an interventionist to materials and space. Her work was very much concerned with the processes of figuring out and not knowing. Her tutor on her MA at the Slade had been Phyllida Barlow of whom she provided a quote before the lecture. This quote discussed failure and striving in practice.
Jaimini came across as an artist who was passionate about materials and responding to a space.She uses everyday easily accessible materials where she incorporates an element of risk. She spoke a lot about spending time in the space where the work would be and how important natural light was to her practice.
Using needles balanced on their tip for a group show in Oxford she wanted the audience to experience the room in a different way. She also spoke about her fascination with the floor and how the light hitting its surface is used within her work. For another piece she balanced carved pieces of chalk in the cracks of floorboards. She wanted the audience to feel the tension of her work. All these floor pieces showed great determination and someone who wanted to exert control over the outcome of the piece.
For her final PHD show Jaimini used a mass of copper wire wool, blue carbon paper and grape stalks. She used each piece brilliantly in the space she was given. It was pointed out that a lot of us will not see our space before our show in June and how this could potentially be very difficult.
Jaimini explained that she applied for residencies that were fully funded as a means of continuing her practice rather than showing in gallery spaces. She explained the importance of modes of presence within contemporary sculpture and the intimacy an artist has with the materials. She is interested in what happens when the audience is included in the work. These two questions are important ones to keep in mind when making art. I do feel I need to be more aware of these subtleties myself.
Deleuze, G. (2006) The Fold. Leibniz and the Baroque. Continuum, London.