Movement Maps

I see my practice as an analytical approach to art making – the work is always investigative. Instead of an act of pure creation, I aim to discover a new way of representing something. My most recent concerns are to do with movement and how movement can relate to language, and hence to ideas. Ultimately, movement is abstract – it is best described as a journey from point A to point B. It is a line. The movement that occurs in the face is most commonly associated with emotion and so it is given that movement can communicate vague things such as feelings. What is infinitely more intriguing is how a face moves when it speaks. Here it is able to communicate more concrete ideas – be those expressed in a poem, in literature, or in conversation. So as opposed to an abstract entity (movement) relating to an abstract concept (emotion), movement can also relate to something much more detailed and tangible. Movement is the direct physical manifestation of an idea – in many ways it is the most immediate, being necessary for speech but also other forms of communication, such as ringing home or writing a letter. Despite this, or perhaps because of this, it goes unnoticed – instead attention is paid to what is being communicated (rather than how) or who is communicating. 

With this in mind, my work seeks to shift the focus toward the movement that occurs. A re-imagining or a visualization of language takes place that shows; not only how incapable we are of interpreting something we encounter every day, but how language/communication is in fact a set of instructions. As stated before attention is mostly paid to what is being said, however, if you were to recite a poem, the text would in fact become a set of instructions - telling you how to move your lips, your tongue and your vocal chords – in a similar way to how a sheet of music informs the movement of a pianists fingers. A final layer to the work is added through the use of different performers, again using the music analogy, putting the same set of instructions in front of different musicians would not yield the same result – there is always room the individuals own expression to enter. The works then contain lots of information about the performer; the dimensions of their head, the way their face contorts to express things and, seeing as it is their choice what they recite or talk about, an idea of their interests/character can be formed. The works are portraits.

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