(I have already written this summary on my field summative submission form, but did not write it on here, as I felt like it was unnecessary. Therefore, I will endeavour to try and remember what I have written and write it here)
There is something about field this year that has inspired me in ways I never thought; from a growing interest in performance (A medium of art I disregarded for years), to a burgeoning interest within science and philosophy. The two modules of field; Painting performance, and Art and the conscious mind, were two fascinating areas of artistic learning. I feel that P.P. allowed me to focus on the act of making; how paint can be manipulated through the act of movement and of gravity, as well as allowing me to experiment on a large scale with colour and expression within painting. Art and the conscious mind was more focused on the philosophies ‘behind’ the work, the mental to the physical, so to speak. It delved into areas of philosophy, science, psychology, as well as the nature of reality. these ideas and theories inspired my work in unforeseen ways; working towards ideas focusing on nothingness, a concept which I had great trouble trying to manifest corporeally. This notion of nothingness, of the void, an my inability to craft an accurate and physical representation of this almost drove me to the brink of insanity. My own inability to understand, my brain racking to come up with solutions to this problem, pushed me further into a frustrated stupor. However, I was able to remove myself from the concept eventually; allowing me time to work on other projects. Painting performance was interesting, as I have been looking at the way that eastern painters utilise fluid, expressive brushstrokes within their artwork, yet appear to be carefully considered at the same time. There was also an inspiration for the aspect of ‘making’ artwork, and how this can b perceived in a performative way; the act of watching, and of being viewed, is omnipresent in our contemporary society. We are constantly aware that we are being watched by others, or are acting in front of an audience, whether it be the government, friends, or even online. This idea of the wall between the artist and the audience breaking down inspired later works that involved the audience in some way; either through asking them to advance the artwork through their own drawing/performances, or simply, showcasing installations that can be interacted with in whichever way the audience wants. Art should sometimes be for the audience, not for the artist.