i’ve woken up today thinking about stirling moss, in a professional capacity of course. his motor racing career was possible because of his subconscious thoughts over his interaction with the world around him, ie his car and the track.
his subconscious actions resulting in the positioning of the car.
with less than a week to go of future focus, i’m being reflective today about what my racing car is. am i in a vehicle that i can interact subconsciously? i can test that later today with the artist talk in the gallery. i’m happy to report that of all the tasks involving talking to other people on this project, this one i am feeling most calm about(there are a few butterflys in my stomach as i write this!)
i look back on the first year out of the degree. the first six months were unpleasant, i think because i didn’t know what to ask for and what i wanted to do. the second six months have been slightly better, well they’ve been a whole lot better as i am more connected to what i want in the next six months.
i still need someone to give me a tenable statement about what being critical means, so i have something to work with or reject and thus work with. this need for a tenable statement i can source back to the dsylexic condition. there are some things that i just need absolutely spelling out so i can begin to understand them. the continuing search for what being critical means is like looking through a gallery of paintings that leave me full of differing interpretations. in the painting case, i would be left with an impression, not an actuality of what the painter was thinking about.
that aside, i know at a personal level that i need to ask for what i want more. possibly the greatest challenge i have ever faced in my life.
changing the subject, i am beginning to get how important audience is to art. i am beginning to get how what ever an artist makes, as long as there is a way in to the work for the audience, it’s ok that the work is somewhere out there. i am beginning to get how if a drawing is about process, there needs to be mediation with the audience about process. i think for me i have lots to learn about mediation with audience, as in mediating with audience, how does the work maintain it’s ambiguity and it’s connection with the audience. in reflecting about that last statement, i am making some big assumptions about audience. i am also aware that if the work is engaging enough, the words on the wall almost become irrelevant. what if with a piece of work in a gallery there was a reference to where the context of the work was contained? is that a radical new idea or a simple rehash of an idea i don’t know that i don’t know?
