“What do you want the affect of your work to be?”__Jane Marsching

      Often times, a long-durational performance ends up not being what was originally intended. After spending hours in the Black Room in MassArt’s Tower Building working on the piece, the experience itself altered my perception about it. Rather than explaining what the performance video was supposed to be about, for my major studio critique I decided to simply asked for input on the editing style of the excerpts taken from the whole. Perhaps I played it safe by not explaining about it to my colleagues.  Honestly, though, at that time I had no idea of what it was about anymore.  A good place to myself in developing my direction, so I have been told.  There were only hints remaining of what I had wanted  the performance to become.  Perhaps that is alright.  I was faced with looking at the work in a new light, and with the task of adding in more elements. WIth so much footage, even the simplest editing could be used as an expressive tool with the power to alter content in myriad ways. Our most recent visiting artist suggested that not everything we do as graduate students needs to be important.  Working hard to take that statement to heart and mind.  I have made many, many mistakes on the path toward gaining understanding.  Still in-process at the time in consideration to the unexpected shift that significantly altered intention, I prepared to re-visit the work with the following notes:

Class Comments

  • Ritual/pattern/loop/leaving trails with subtle interruptions in a patterned behavior were mentioned
  • Consider camera angle changes or darker paint to show footprint path at any camera angle
  • Further break up repetition
  • In post, edit with muted color plus black and white, not one or the other
  • The pace and quick cuts show a passage of time
  • Some were eager to see what would happen next
  • The smallest event that altered the routine added to the passage of time
  • Leave in the accidents
  • Is it a performance video or a video documenting a performance?
  • Looks like I Jumped right in; maybe show less paint on the clothes at the start and let it build
  • Most everyone liked the accidental pixelation caused by faulty rendering; think about pushing that
  • No one mentioned “Input”, volume, or the old TV

Visiting Artist Comments:

  • The macrocosm is interesting enough, but the microcosm is even more interesting
  • Why are her hands white to begin with? Toward the end they are thickly coated, I would like to see this closer
  • Who is she…what is she…why is she?
  • A discussion about Christ and the ritualistic washing of feet came up in our conversation. It is fascinating to hear from others about what an artwork uniquely connotes.  It is just as fascinating to know that some of those perceptions were never intended in the making. What can I learn from that?
  • She reminds me of Whistler’s Mother. (We laughed.)
  • Be careful that my work does not emulate too closely the work of other artists. Good to note, but never my intention in the artifact from the performance.

Major Studio 1__Summer In-Residence 2013

Turning Point

Image

      Interested in memory and affect theory, I decided to explore the notions of covering and uncovering, forgetting and recollecting. I am most interested in what Brian Massumi calls “the charge of affect”. He describes an emotion as a partial expression of affect that draws on a limited selection of memories, and that only activates certain reflexes or tendencies. All the rest is still there, but as potential. The charge of effect most often occurs somewhere in-between the banal and the cathartic. A self-assigned very tall order. I am working to learn how to see and create inside of and about this ‘space’ in my existence. In this video sketch, I explored these notions with a spontaneous site installation I had created for our Installation class.