exploring art and writing

Wrighty’s Manifesto (of sorts).

In Fine Arts on January 22, 2010 at 5:20 pm

I believe that my work stems from the feeling that I, personally, do not have much to say or do. I have found that this is a major problem for a contemporary art student.

I often have difficultly verbalizing the concepts that feed and form my work.

Most of the time I finish a film retaining the feeling that I still hold no grasp on what it is about, or, perhaps more accurately, why I made it. However, I trust my instincts.

I feel like I am getting closer to knowing my overall aim every time I construct a video or make a film. This counts even from my earliest videos.

Despite all this time spent on wondering about the Why of my artistic practice, a large part of me thinks that it is the search that fuels me. I don’t know what will happen if I ever do find it all out (if this is even possible).

I do not find it beneficial to plan a film or video formally; I start with a concept – almost always visual, although I refer to ‘visuals’ as a descriptive tool for whatever ‘concept’ that I wish to try and express.

I learn as I do; every film I make must teach me something that I don’t know about the lens and the process of editing, as well as of my subjects. My footage becomes fully formed as and when I am working with it, as does the footage that I capture in the first place.

Very rarely do I enjoy watching films. I am very aware of this when I make my own.

I am fascinated by those around me; in their idiosyncrasies and habits.

Despite this, I do not actually know if I have anything to say via my observations of people. I am sure, however, that I want them to be seen in the same way that I see them.

This fascination towards human beings compels me to observe them intimately, even if it means being invasive.

I have crossed the line several times with the people I have studied. I believe I will cross it many times again, despite promising myself otherwise, but the subject will always have the final say; these artworks are theirs as much as mine.

I must be able to control the behaviour of the camera.

I must be able to control the placement of myself in relation to my subjects.

I am not interested in Big Brother. It is intimate but not intimate and it does not allow a relationship to build between observer and observed.

I am also not interested in judging people or in voyeurism.

Duration is important and, if I can, I will obtain hours worth of excess footage than I will no doubt need for the final work. Relationships aren’t built in a day.

The camera is a tool for building these relationships as well as for objective observation. It allows you to get to know a person in a different way – in some ways far more intimately than if you were interacting with them in a conventional manner.

It is because of this that I enjoy studying people who are immersed in something; I am interested in the picnoleptic. This is how I find myself getting to know people better; it is also when ‘the line’ starts to emerge, waiting for me to cross it.

What I refuse to ever explain, mainly because I truly believe it is irrelevant and also because I really don’t think I can, is why I find people so fascinating. That is a moot point, both for myself and anyone who sees my work.

  1. […] from listening to and observing other people”, which is basically how I began my mock ‘manifesto‘ for myself, and she considers her use of masks as an attempt to illuminate people beyond […]

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