I learnt a lot from the JUNCTURE exhibition in the reception gallery space. The process of being a part of a group show was new to me, and I really valued the opportunity to experience this.

I did intend to show new work, but it just wasn’t as ready as I wanted it to be. I used a sound piece I made before which had only been shown at Tactile Bosch, so I thought it would be interesting to see how it worked in a completely different environment.

When I was setting it up, I think I just thought I’d go with whatever was easiest, so I asked Neil and he helped me loop my track and put it on the Mac already set up in reception for the previous exhibition. So the work was on a Mac with two sets of headphones, on a plinth standing about head height.

I was really pleased – for once in my life I was organised and had set up 5 days early. Sod’s law –  no matter how organised you are, things will inevitably go wrong. Anna texted me on the weekend and said the Mac and everything I had set up was gone. Someone probably thought they were being helpful, but it really wasn’t. So on Monday morning Anna and I spent half an hour on a wild goose chase trying to find it.

Eventually we did, thankfully. A space had been left for me on the window sill, so I set up the Mac there. It was there for a few days, and then Angie said to me she thought it should be on a plinth. I asked a few other people and they also said it seemed odd being on the floor, or they didn’t notice it or want to put the headphones on because of the set up.

I think the issue wasn’t so much the height, but how far back it was – all the other works were within the border of the floor vent, whereas mine was behind. Mine wasn’t within the gallery space, and by being directly on the floor it lacked presence. I found a small box in Maker, so I painted it and set my work up on that. By being brought forward and higher, the piece now had more presence – it invited the audience to listen more than it had before, and I was much more pleased with it.

I think it still wasn’t as I would like it to be. I created the piece with the intention of it being in a dark room as an installation with reeeeally bass heavy speakers. I think having it with headphones provides a more personal experience, but it is quite exposed still – the exhibition space with the windows etc just makes you feel like you’re being watched, you can’t properly immerse yourself in the sound.



I’m still really pleased with it however – I got some great experience, and some lovely feedback from people. I think I learnt a lot about the value of exhibiting – I need to show my work more so I can get feedback and progress. I realise now as well just how crucial the curation of art is to it’s success and will definitely account for that more in my creation of work.


Sound piece – Juncture

I think I understand the piece I have in the Juncture exhibition downstairs more now than when I made it, and that’s from learning more about the mind and sound.

I created this piece with the intention of sound taking precedence over vision – I wanted it to be meditative in a way, an act of active rather than passive listening. I think the reason I’m so pleased with it is because it’s indeterminate: it isn’t clear what it is, and that’s why a) it’s intriguing, and b) you can lose yourself in it almost.

I definitely feel ‘refreshed’ now – learning and thinking about all these things has reaffirmed to me why/how I make work etc, and I feel like after the departure from my practice over subject I’m ready to get back into my work and make some interesting stuff.


Meditative Sound




I’ve been fascinated with singing bowls for a long time, and when thinking about meditation I kept thinking back to these. I find it a lot easier to meditate in the class than by myself, because I find Anna’s voice really calming. The sound and quality of her voice helps me to relax and get into a trance like state, and this got me thinking about how different sounds have different effects on us. Like when Anna said about how the breath is altered by our moods and emotions etc, can sound stimulate this as well?

I find sound to be far more powerful than music, which is why I like working with it. To me, sound has far more a physical presence than vision. Sound can envelope your whole being. And reflecting back, even though I have always struggled with meditation,  I have always had the ability to lose myself in a piece of music.

I think bells share many qualities with singing bowls. They hold a lot of cultural and religious significance, the quality of sound is similar, and they have a strange hold over people. I’ve been really interested in bells for a few years now, and what I’ve started thinking about here has brought them into new significance for me. I’m going to keep on thinking about this in the way I make sound pieces now, and continue to research bells etc.


In Theo’s lecture we looked at different ways of stimulating creativity, especially in the form of Dada and surrealist games. We played exquisite corpse and also did some blackout poetry. I’ve considered making blackout poetry before, but didn’t because I was worried it would be too tumblr-y or ‘lame’ for want of a better word. It was actually quite enjoyable though, I ended up making a futuristic ‘poem’.

‘The Future can be converted to another, whereas people of all sizes replace artificial intelligence. Voice recognition depended on Morse code that converted conversion today into a form understood by humans. The typewriter, a creation of special print storage, such as text.’

I really like how this turned out – the way the text sits is in sync with how I was using text last term. I feel like it’s indeterminate – you can understand it but it doesn’t make literal expiate sense, and that’s why it’s intriguing.

We also had a go at making our own games, and I realised I already had made my own a few years ago and still use now:

This slideshow requires JavaScript.

I would take a phrase or sentence and put it through google translate over and over until it stopped changing meaning over translation. I did it again recently and got these results:

This slideshow requires JavaScript.

Siri Hustvedt

I’m reading  a book by Siri Hustvedt at the moment (A woman looking at men looking at women) and I found an interview with her on youtube:

  • You should view art without expectation – so often now people tell us what we should think of an artwork before we access it, and this affects our perception of it. This reminded me of in Robert’s lectures when he said about visual agnosia and visual indeterminacy. Artwork is more ‘effective’ in holding our attention and providing us with an experience when we haven’t seen it before. Hustvedt compares this to the Mona Lisa, saying it has ‘lost it’s ability to be seen’ as it has so much prestige surrounding it. I saw a piece at the Venice Biennale that criticised this:
  • She also compares artworks to people – ‘traces of living consciousness remain a force in any work of art’, and that we treat works of art more as people than objects, eg a painting of a spoon will be treated by us more as a person than an actual spoon. We see it as having a story and life beyond ours.
  • Every artwork is two pieces: the artwork we encounter, and the version of it we carry with us in our memories.


James Green – Art and Aliens

I found James’ lecture followed on from Anna’s for me nicely – talking about dreams, hypnagogic and entoptic imagery helped me to understand the way I think and generate ideas better.

Entoptic imagery is strange sights caused by a biological/physical distrubance, such as a  blood clot or scar on the eye etc. Edvard Munch painted a series when he had a blood clot:

self portrait during the eye disease
Edvard Munch, ‘Self Portrait during eye disease’

I tried drawing some of the hypnagogic (visions encountered through hallucinations, sleep etc) imagery I had encountered seeing as unlike Munch, I don’t have a visual obstruction (thankfully). I realised that a lot of stuff I think about it kind of weird and I don’t know why it comes into my head, but I have learnt to accept it for that sweet artistic process.

HORIS, the pig with human hands!

Just before I fell asleep one night I had this really vivid image in my mind of a pig with human hands, so first thing in the morning I had to bring him into the real world. I don’t know what it means, but it was very striking so maybe it was important.

washing up

I also had this dream where I did the washing up, and I meticulously washed every single spoon and bit of cutlery. It was a really detailed dream, I remember it so vividly and it went on for a long time. Maybe my thoughts in waking life are so off the wall that dreams are where my mind has a bit of respite.

I also have found when meditating (in Anna’s class) I seem to have these strange, intensely vivid images and I don’t know what they mean or where they come from. I was meditating the other day and suddenly I had this really vivid image of blending sauces in my mind. And maybe it did mean something because I made a soup and blended it when I got home.

The mind is a wonderful thing indeed.

Anna Bhushan – Mindfulness

I really enjoyed this lecture – it made me think about a lot of things I hadn’t considered before, and helped me to understand my ways of working better.

We tried drawing a metaphor for the mind, and these were my ideas:


At first I did an onion, because onions have layers like the mind (and Shrek). But then I realised for me, my mind feels like lots of simultaneous spinning plates. I feel like I’m always thinking about loads of things at once, and I can’t switch off. This is why I struggle with meditation so much, but also why I think I need it. I am slowly getting better, and I’m really enjoying Anna’s class.

I abstracted the plates drawing afterwards, reducing it to lots of concentric, spiraling circles. I realised that concentric circles appear in my work unintentionally quite often – I’m drawn to them and I don’t know why.

I’m taking this further into a sound piece I’m making at the moment, trying to create a circular soundscape – so the sounds feel like they’re circular around you and the way the sounds themselves sit and move with eachother weaves and meanders.