DIY 9 - Being At The Edge

In particular  “being at the edge” means a lot to me. Despite now living and working in Cornwall I arrived in Britain from a very different type of culture that has always made me feel as though I am inhabiting a different space. It excites me to discover new landscapes and spaces that allow me to differentiate myself from the very different place that I left behind. I am therefore conscious of being an ‘outsider’ – being ‘on the edge’.  The way you describe this similar quality of Cornwall makes me yearn to discover how I might find different ways to connect with the Cornish landscape and it’s history.

The overtly masculine and authoritarian place that I left forbids some private feelings, which is perhaps why my practice leads me towards trying to find my personal boundaries and permissible social edges.

Mining also has a particular resonance for me as many times I have considered how mining poses a metaphor for my process, which tries to dig deeply into the hard and difficult subjects I encounter.

I am particularly interested in sexual histories and sexual energies within a place or particular context. The exclusively male environment of the mines implies a potent masculine sexuality that I would like to explore in this instance.

http://www.zierlecarterliveart.com

http://liveartdiy.tumblr.com

http://www.thisisliveart.co.uk/pdf_docs/diy_9_report_20_12_12.pdf

Vital Somatic Functions

Vital Somatic functions shows a figure sitting in stillness, surrounded by external and inner thoughts of movement. It illustrates those moments of  relaxation or meditation when objects and subjects collapse on each other in our body and mind.

This short film was inspired S.Freud’s frequent use of the word somatic in describing sexuality and issues of the body.

The Night-lights, which appear, are framed with a zoom. Shot from a distance the lights no longer look like night-lights but take on a different quality, suggesting to the viewer that they could be vital embryos or somatic cells. The Night-lights show how our lives combine with external elements to give an inner sense of somatic. By appearing and disappearing in the dark background, the lights create a space that can symbolize different functions from both history and the present.

After a few seconds the transitions continue with a scene that layers together boiling eggs and a forest of trees. These two elements provide a metaphor for the coming together of mind and body and private and public space. The woodland also suggests how within these spaces we can both search and discover.

Eggs are a natural food and are used in all cultures of cooking. I use them specifically because they are the symbol of continuity for future creatures, both human and animal. They are the best product for human life.

The film also shows the body in the shower. This scene provokes questions as to whether it is the cleansing of the body from memories of the past or everyday pollution or the mind from guilt or even getting ready for pleasures.

Vital somatic functions are a multi-layered film with scenes that I hope provoke many various readings.

I recorded these images over the period of a year in different places and at different times during my daily life. I played with a variety of footage to create this film. They are; night-lights in Istanbul, Walking through a woodland, Boiling eggs, a man (figure) having a shower and a film taken of the artist during a session of hypnosis and meditation.

All the scenes are brought together with a soundtrack recorded on the London underground.

Paper People

This was a performance that reflected the ethos of the Diamond Jubilee of celebrating and connecting people both regionally and nationally. A two hour durational performance that took place in Chapel Gallery, Gulval, Penzance during the Private View on Thursday 31st May 2012.

Ann Haycock and Ilker Cinarel, along with the audience worked with paper cut outs of templates shaped in the form of person's made from The Cornishman and National newspapers. The Template chains were attached to helium balloons and allowed to float up to the ceiling.

Research based on liminality and the wish of making a performance that celebrated the national celebration was fundamental to production of this Live Event.

New Visions

NEW VISIONS

Contemporary Painting in Cornwall

This exhibition showcases the work of artists who use paint to present realities and

perceptions in new and developed ways.

These works do not conform to traditional ideas of painting in Cornwall, which are rooted in

the histories of Newlyn, the modernism of St. Ives, and illusory romanticism.

In the 21st century, what is the role of the artist who uses paint and pigment? What is the

continuing significance of painting in an apparently restless and uncertain world?

Modernism cast it's utopian wisdom worldwide, but has become the haunting ghost of

regularity and formula. In the wake of conceptual art and the postmodernist death and

rebirth of painting, terms such as 'abstract', 'figurative' and 'landscape' have become

irrelevant categories. These works draw from the multiple visual languages of painterly

possibility and show the diversity and engagement that artists have with modern life. They

acknowledge the histories of art and the influences of media, and invoke a subtle

subversion.

The use of pigment is a millennia old method of communication and play. These artists use

the essential qualities of drawing and mark-making with materials to ascertain that there is

more to be drawn out and unleashed through the hand than has already been shown.

Using observation, interpretation, symbolism or sense the artists show painting as a mode

of questioning and analysis, healing, hope and humour.

The works explore alternative visions and deeply-grounded realities. They illustrate the

ways we connect to place, consciousness, ourselves or each other. The potential

algorithms of image and form within restless complex states, are revealed and defined

through the hands and bodies of the makers.

Clear Cut

Link to : Clear Cut

Liminal Bodies Exhibition at the Exchange Gallery Penzance - 2012

Ilker Cinarel
Ann Haycock

Weld - The Only Way Is Up

CP VOL:1

This project proposes to explore two kinds of dialog; firstly the relationship between the studio/making space and the gallery, and secondly the conversation between two collaborating artists, Sara Aziz and Ilker Cinarel. The piece concerns a performative act of painting executed in a private space within the gallery with the event relayed to the audience via live video relay. A large scale painting will be made over a period of five days with the two artists working independently in different shifts only being able to communicate with each other through the painting itself.

For both artists this event would provide the opportunity to examine the duality, commonality and conflict between issues of; the masculine and the feminine, abstraction and figuration, and the private and intimate act of making and the public act of performance. Whilst the artists would be working collaboratively without any verbal contact the audience would be invited to witness both the work and the conversation unfold.

 Supported by      

http://www.cazart.org.uk/content/autonomous-zone-weld-feb-2012

Weld

   Caz Autonomus Zone project  

   Sara Aziz
   Ilker Cinarel
   Paul Farmer
   Ann Haycock
   Veronica Vickery
   Kirsty Smith