Tuesday, 10 May 2016

'Please show your working in the margin of your exam paper'


At the moment I'm doing a lot of packing and throwing away in preparation for moving house, which is giving me some distance from the work process that I've been doggedly pursuing since 2009. My main strategy has been to ignore what everyone else is doing and focus.

Along the way I wrote a blog called Exploring Creativity (exploring-creativity-tamsin.blogspot.co.uk) for about five years. Its purpose was to document myself as guinea pig for a study of how a lifelong desire to play music and make art could result in so many years of not doing, and so many blocks to doing even after I started again.

After some years I felt that the time had come to move on from thinking and talking about the nature of blocks to creativity, and decided to shift my blog focus to writing about the intentions of and influences on the actual work that I was now doing. This was part of my previous website (tamsinhaggis.blogspot.co.uk). It wasn't very systematic, and dropped away over time.

So...at this time of change and renewal, I'm currently considering starting up a more regular blog writing practice, the intention of which would be to record, in a scrappy and non-linear way, the various practices, influences, and events that feed in to the images that appear.

I've tended not to want to talk about what's behind my images, because it feels important to me that they're there, naked, as it were, for different people's imaginations to respond to and possibly feed off.

But I'm currently reading 'Show Your Work' by Austin Kleon, and he suggests that in fact people who are interested in your work are also often interested in the processes that lie behind the 'products' that appear. I don't know if this is true, but perhaps it's time to give it a go.

http://austinkleon.com/show-your-work/

Tomorrow I will watch what happens and consider a first attempt at documenting my working.


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Saturday, 12 December 2015

Monday, 9 November 2015

The power of images




Someone commented yesterday that this image was 'creative madness'. Ha! Obviously I have no control over what happens in the mind of someone looking at an image and I absolutely wouldn't want to. This is not a conduit model - there's no communication 'of something' from my mind and intentions to any viewer.  This is the very thing I love about images, especially ambiguous or symbolic ones. I think of myself as setting up conditions for a person's mind to go on a voyage inside itself.

In terms of the generation of images, or other kinds of creativity, there's often a popular idea that people who make stuff have particularly fecund imaginations, or are 'creative' in a particular way. Anyone who makes things knows, however, that they steal from and are influenced by everything around them all the time. I'm influenced by and consciously/unconsciously drawing on a tradition that's not familiar to many people in my cultural context. 

It's a tradition that portrays the human being as a cosmic diagram, mapped onto the universe...











...which uses a diagram of the cosmic man as the foundation of the temple...








...which has skeletons dancing with fleshly humans...







...and gods who are themselves part animal, messing with the entrails of humans...






I'm very interested in this part-animal, part-human thing, in a time when we're battling the legacy of Christian ideas of human 'dominion' over the natural world. I remembered it again recently in relation to the Egyptian tradition. How was the relationship between animals and humans seen at a time when the highest powers were seen to take animal, or part-animal, form (and when musical instruments had human heads)?






From my point of view, I'm dealing with the questions that these images raise for me - large questions about the universe, and the place of humans in that universe. And also, I begin to realise, about the beauty and horror of existence. That the condor will peck your eye out as soon as look at you, as well as making a beautiful silhouette in the sky; that your friend can be suddenly and inexplicably taken from you.












'Wild, sensual, raw, alive; showing me the human body in both the maddening limitation of its actuality - muscle, blood, chemicals, brain and bone - and its passionate, empowered glory as the wild and beautiful vehicle we shine through'.

Mallika McCarthy
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Just in case you were wondering.