Tutorial (4)

Jonathan Kearney - Oct 16th - 8:00am - Skype

Through conversation, Jonathan raised some interesting curiosities, a few;

In what other ways can tattoos be documented; outside of a studio-lit photograph? 

Collaborating further when the tattoo is healed ~ to document the final ‘settled’ work. 

  • Video

  • “Natural habitat”

Does the presence of identity, through the revelation of a face, pose a concern to those who may be willing to contribute? 

If so, how should I maintain anonymity whilst still documenting the “hybrid identity” of the tattoo?

Tutorial (3)


Jonathan Kearney - June 18th - 9:30am - Skype

I’m anxious to post on the blog, there’s so much I want to say, but i’m finding it strange to formally put things into words. Jonathan & I contemplated the blog as a time capsule ~ speaking to myself in the future. 

My work currently jumps from medium to medium, tool to tool, but the same narrative wants to get told. Jonathan suggested thinking about how these mediums could visually come together ~ embracing the fragmentation?

Some things in progress; 

family interview questions, further research into the the theoretical mathematics of spheres (use C4D sphere object properties to experiment/simulate/tweak? the theories). 

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Jonathan Kearney - January 14th - 10:15am - Skype

Jonathan and I discussed how my scope and direction has narrowed down - A strong focus on ‘empathy’ as a concept. Reoccurring symbols, such as spheres and hands, appear to have become a language - a methodology in comprehending further discoveries about empathy. We further examined the role of family/culture and familiarity in my creative process, and future documentations i’d like to capture in Beirut over the summer - intergenerational, trilingual, history, home.  It seems as though most recent works have become a reflection of ‘empathy’, an attempt to grasp the concept as a whole as a still life (through 3D renderings). I see this process becoming part of a larger ‘circulatory’ narrative - displayed on screen. Various mediums, contexts, languages - all attempting to define/imagine/distribute empathy. 

We discussed the blog as a platform, a mirror - meant as a time capsule, to re-examine the evolution of my creative endeavours and processes. I struggled with the language, but Jonathan encouraged the fragmentation of language, as long as it could be accurately re-examined and comprehended in the future. 

My next steps are to document and upload the works I’ve generated over the break, examine the relationships between them, and carry forward with a more evolved visual language - even using different mediums such as film, paint, photography, glass/chrome?

Tutorial (1)

Jonathan Kearney - October 29th - 10:15am - Skype

Our discussion started off with a brief description of what I intended to discover throughout the MA; a few questions that I had proposed at the start of the course. ‘Empathy’ surfaced numerous times throughout the conversation, and how it might eventually be a term that i’ll become quite familiar with throughout the course. Jonathan noted a piece of mine in particular,  rouge, which was basically a way of exposing myself to a PTSD trigger (a specific shade of red) through archival family footage. He speculated around whether the art happened during the making of the piece or the outcome, or both - I thought deeply about this and still do. This got me thinking about one of my initial questions - “Can art be used as a tool to facilitate the reconciliation of trauma and the understanding of the self; can the making or witnessing of art play a role in healing wounds within ourselves or wounds within others?”. I let Jonathan know that i was going to be conducting a few interviews with artists who have experienced trauma; either as a result of mental illness, or an external situation, or both. I described this method as ‘data collection’, amongst other more ‘scientific’ research I will be collecting within fields such as neurobiology and cognitive behavioural psychology. I intended to use this qualitative and quantitative data as a way to further examine the mind and what is currently discovered - keeping up to date. As for the interviews, I intend to use them as inspiration - to tap into the perception of art from other minds. Jonathan posed a question - how will I begin to mediate between being an objective observer and a subjective artist? Is there a challenge in collecting such data, and how will it inform my practice or further it? The tutorial helped me think more critically about the approach I am taking and to be aware of the challenges I might eventually face (perhaps that’s where a lot of the art will happen).