Research (part 1)
One of the observations in my feedback from the Surfaces and Strategies module from my tutor was to ask whether the direction for myself will be the pursuit of a 2-dimensional or 3-dimensional art form? Whether to stay strictly within the frame of the photographic or to explore my work in a more into performance art or installation event?
Towards the end of the previous module, I saw both my ideas of an FMP merging into one, the play of a man waiting in a room and the remembrance of childhood memories. I began to become more fascinated by the publication of a single monograph to illuminate this journey into self-identity and imagined reality.
Research has always been a vital part of my process as a theatre director in understanding the vision of the playwright: through textual and historic analysis, character motivation and story, the history and politics of when the play is set, through to a super-objective or spine of the play and towards defining its current place in the “world”; and then to bring this alive with the creative team of actors and designers in order to create an experience founded in the truth of reality or concept for the audience.
The theatre director Katie Mitchell, when directing her first Henrik Ibsen play at the national theatre, travelled with her lighting designer to Norway (where Ibsen is from and based his plays) to observe and experience the daylight.
Research is not only about understanding your craft, textual reading and the practice of techniques, but I feel is also about placing yourself in the position and imagination of the world that you are creating and attempting to experience what you are presenting.
I feel at this point my emerging process will be about using information and craft that I know, to propel my forward action and intentions. I will look back over the artists and art that I know but also seek to develop and define a future methodology. I guess I am hinting that at times I have been too reflective in my practice and am now seeking to drive my work into new areas and experiences.
Sophie Calle is described as a “French writer, photographer, installation artist, and conceptual artist” (Wikipedia) who uses a set of defined constraints when embarking on a specific project. Her process is very much tied within her own experiences, such as The Hotel when she was hired as a chambermaid and she explored the writings and clothes of the hotel guests.
Phillip Toledano is a photographer who “works across mediums from photography to installation” and “His conceptual themes are primarily socio-political.” His personal work is often rooted in the examination of his current surroundings or a perceived future. In “The Many Sad Fates of Mr Toledano” he explores different possible realities of his own future: “obesity, desolation, stroke, isolation, suicide and violent death” (Lensculture).