Degree Project: Digital Sketchbook

I throughly enjoyed Catinca’s talk of her performance work exploring technology and “how our vision has become scanning machines like CCTV cameras”, this reminded me of Macleans Make Me Up and her use of 24/7 surveillance. “Tunnel vision and polluted eyes” is explored through how we see due to technology. The panopticon effect was mentioned where we are surrounded all the time by supervision and eyes. These were all ideals I spoke of within my dissertation and was really helpful to listen and talk to someone who is interested in the same area as me. Catinca made this interesting point of photography being a technological tool where you can be both behind and in front of the camera. It’s an aggressive medium that acts almost like a gun, in someway you are still a victim of your own gaze and viewers will feel the same.

I had a 1-1 with Catinca and it was amazing to speak to someone who is confident with the male/female gaze and technology and who is also a student. I ask Catinca to view To Consume, Just a Nibble or Two and To Bite to get her opinion. See initial notes from 1-1 below.

Reflection 30/04/21: After my 1-1 with Gary 29/04/21 it’s interesting to see different perspectives, one a man and one a women, on To Bite B&W Repeat projected. Even though the worked are at different stages, they both expressed different ideas, Catrina the way to the work I have – the male gaze, control, consumption of women etc, where as Gary has seen it as male violence and destruction. It’s all about the audiences view – I aim to revise this.

Catinca described To Consume as “uncanny but beautiful” and suggests the issues that come with women and their body through the beauty/modelling industry. “The sculptural element of the icing breasts are taken away when the act of eating comes to play”, in someways does the eating of the icing breast glamourise it, the moisture from the mouth makes the breasts shiny and wet. Like how women are glamorised by the media to appear seductive and beautified for the gaze of the male as well as the gaze of other women and their inner comparing self gaze. Margaret Wood – Edible was given as a book suggestion.

The female gaze is hard to approach as often the camera is quite a male dominated object in response to how we look. For example, within the cinema male film makers use the camera to sexually view a women, slow motion, zoom, panning etc. It’s interesting to see how Charlotte Jansen suggests photography is a female dominated area as it hasn’t been discovered as much by men, but I agree with Catinca, the camera is like an eye as Mulvey refers to, of which we look from. It feels as though it is a gendered technology/material. But it’s interesting with how I respond to that – the camera allows you access to how and what you see and this made me think, as I am the one filming, am I being problematic? Or am I highlighting and forcing the viewers to look at the problematic? – Yes!

Reflection 22/03/21: When creating Sweet Tooth, I used mirrors to help divert the eye of the camera (which becomes the audience) to see what I want them to see, it becomes a very direct approach to the art, creates a clear focus/structure.

Reflection 16/05/21: I am using the camera to go around/between the projection, as though the audience are viewing themselves. I want them to view all aspects of the work, as much as they can digitally.

We discussed the use of materials within the film, clay = feminine as we use our hands as tools, whereas men use actual tools with materials such as marble. Since the material in To Bite is icing it made me think of the relation to domestic household roles for women and the process of making them. The close up of the mouth, skin, beard and breast suggests this intimate skin on skin visual which is disrupted when the male begins to eat, bite and chew the breast. Because of the close up the screen becomes the skin and it “speaks to something within us internally” as though it is present with us. – Touch/feel its presences? It screams ideas of women being ‘binged’ especially in A Nibble Or Two, the repetition of eating the breast over and 0ver – almost too much?

Reflection 17/03/21: Reflecting on this 1-1 and thoughts with my 1-1 with Jane on the 19/03/21, its made me realise how intense/uncomfortable my work is visually getting. This was a goal I had at the end of L5 as I grew to realise uncomfortable work is much more interesting and attracting.

Catinca questioned my thoughts on the representation of women in the cinema/film. I immediately thought of the newest Baywatch 2017. This was a chance to change the sexualisation that was put on women in the famous series, but instead, it felt like they intensified the attention and objectification on women in bikinis etc, only using slim models, slow motion, attention on their body and breasts etc. Feeding the male gaze/sexualisation on women further, this could’ve been avoided and arguably changed. We also discussed film maker Joanna Hogg – female gaze director who uses mirror to break up and divert the gazes of the viewer as a tool. “There is a wall length mirror that occupies Julie’s apartment and it acts as a device that reflects the characters back to themselves unflinchingly and when the mirror is broken it distorts them and splinters their reflections.” (Cate Crafter, 2020).

This lead to the use of the camera/control I have with it and how being a female adds to the control and authority of diverting the gaze directly at the the mouth of the male consuming the breast. The male/model being my boyfriend suggests this level of comfort and added relationship to the use of the camera. – Fighting back the gaze with the use of the camera/threatening the audience.

Reflection 19/03/21: Conveys this intruding aspect to the work? 

Reflection 21/04/21: Where as now I have welcomed this direct gaze, projecting films directly in front of the viewer/camera, forcing those to watch and observe what I am trying to explore.

Catinca asked for my thoughts on the female gaze, its use and is it effective. From the research of my dissertation and my own argument, has taught me that the female gaze is arguably more damaging than the male gaze and is somewhat more like the gaze itself. There’s this level of uncertainty/paranoia and nervousness that comes with the gaze itself, that has developed into a form of the female gaze, which has intensified with technology/social media. This is where comparison has also intensified and become much more damaging to the female gaze/perception. It is effective but we have to provide visual of sexual objectification etc in order to get our point across. We also discussed my thoughts on how the male gaze only just impacts the women, not the man viewing, where as the female gaze, impacts women themselves as well as other women they view as it is a two way impact.

As Catinca uses mirrors and diversion within her work, it was interesting to see this relation in mine again too. I have used mirrors in L5 and was something that was very successful and exciting to work with – distortion/diversion/reflection.We discussed the use of them when photographing the actual work itself, through the mirror. Suggests the lack of direct gazing, seeing the visual on a screen through a mirror that has been distorted/flipped.

!!! Reflection 21/04/21: I have taken it back and am excited after this 1-1. I threw all ideas at my work – zoning in on the mouth/breast more, mirrors, peep holes etc. Instead I am simply projecting the film in different spaces, I stripped the colour away which helped focus/work with elements (the gaze/observation) in a more subtle way which don’t distract from the actual film (Sweet Tooth B&W projections) as I felt they started too.

Reflection 16/05/21: Recently in In studio watching viewer watch To Bite B&W Repeat with small mirrors I have reintroduced this reflection element, using mirrors to divert the gaze of the viewer onto the work and those watching, being able to watch the viewer watch from another angle. The circular mirrors encourage voyeurism and a view you wouldn’t normally see of the audience.

Perspective with peep holes was mentioned as well – I felt like I had explored so much of this last year and it all worked so well, it was time to return and revisit this use of changing the environment and appearance of the work. Catinca uses peep holes in I Am The System Master (No Signal), see below, the holes to look through made the viewers realise it’s unsafe/uncomfortable to look when you are caught looking. We discussed it may be interesting to create a a space with similar holes while my films/images play so people have to place their eye to the hole to witness. It would intensify the simple act of looking.

Reflection 19/03/21: Recently I have projected To Bite and adapting the space/environment, using cellophane draped across the wall, with a large mirror below and small circular mirrors to photograph into based off of Catinca’s 1-1. It created some interesting and confusing images, almost abstract yet able to see what it is. The circular mirrors suggest peep holes and an interest to look. Sweet Tooth explores the female as consumption while exploiting the glamorisation society portrays it with.

Catinca Malaimare, I Am The System Master (No Signal), 2018.

Reflection 29/04/21: After my 1-1 with Gary today we discussed the way To Bite B&W Repeat projected feels very violent and becomes more about the after effects of the male gaze e.e. male dominance/violence. We discussed the current debate around it today and this reminded me of  Sarah Everard. Is this where I want my work to possibly head? Or could it just be an element to consider?

Hearing the news of Sarah Everard, I felt sick and sad. Sarah’s killer used his police status and hierarchy to abduct her and kill, a policeman is someone you are taught to trust. This was a freak accident but it has sparked something in everyone in the UK and social media which has now reached the whole world. She was found a week later inside a body bag. I felt women were slowly beginning to move forward and out of male dominance, but after this case, women from across the world have spoken out about their experiences and “among women aged 18-24, 97% said they had been sexually harassed, while 80% of women of all ages said they had experienced sexual harassment in public spaces.” (Topping, 2021) but not all speak out as they feel it would be pointless. I myself have experiences and its with stories and figures like these that pushes forward my reason to create the artwork I do. See below.

Women created a vigil to support/mourn Sarah peacefully, policemen brutally attacked women down to the ground for arrest. Face down, on their stomaches. But when the Rangers’ Scottish won the title lat year, the policemen stood by and allowed the men to chant and cheer in massive groups during high COVID restrictions. “Fans were seen lighting flares, marching through the streets and leaving rubbish in several areas” (Perrie, 2021) so, how does that feel right?

Sexual harassment is being shown within programmes and series more commonly now, for example Sex Education, in the third episode they show a situation where a women on a bus with a man touching himself behind her, throughout the episode they highlight the reasons why you should talk to someone/be listened too because its sexual harassment.

“Her death has sparked a wave of fury across the UK, with many women saying they are sick of feeling unsafe. They’re also sick of being told how to avoid being a target and insist the blame rests on the perpetrators of these crimes” (Perrie, 2021) women are sick of being blamed for being raped, killed sexual assaulted/harassment etc or, not being taken seriously, due to what we wear, how we look or how we act. For Sarah, she was wearing brightly coloured normal clothes and flat running shoes. She had no ear phones in and was on the phone to her boyfriend. None of which suggest ‘she was asking for it’ like how everyone labels women. “younger women are constantly modifying their behaviour in an attempt to avoid being objectified or attacked” (Topping, 2021).

With regards to how I feel, it’s sad and scary. I feel this will spark a whole movement for women. This does highlight those cases where men use their hierarchy and patriarchy status for power and control, like the panopticon effect by Foucault. This made me reflect on my current work, Chomp Chomp feels aggressive and the laugh mid way reflects the current situation of men using and abusing women freely because they have control.

Reflection 21/04/21: And Sweet Tooth B&W. It feels destructive and very male dominated regarding the beard and the aggressive bite, which is the aim to exploit this through female experience.

We started a new module: print workshop on Wednesday 10/03/21 with Srin. This sounds so exciting and will be a really good new way to boost my work in different directions. See initial notes below – I had so may ideas flying around my head to play with for this module.

IDEAS: images to use Are You Watching?, To Bite, Just a Nibble or Two – could create a series of works from the Riso e.g. stills from different films I have created. Line drawings from Level 5 would make interesting layers!

Reflection 21/04/21: As I have began to create, I now know to use clear imagery – I used Sweet Tooth B&W photo which was very dark (printed almost all pink). I feel too many layers would loose the identity/imagery and currently working with text from Andrea Dworkin’s Pornography: Men Possessing Women and don’t want too much confusion of text/imagery.

The Riso print machine is a printer that prints like screen print except it only prints in pink, blue, yellow and black – the pink and black would create striking images in relation to my work!! Srin suggests to work from light to dark e.g. yellow, pink to black. There are no rules to layering images or patterns, as busy or as simple as I like. Placement of the image of the paper can change the appearance/outcome, I wish to work with miss-placement/out of line images when layering. Coloured paper comes into play with how vibrant the colours will be.

Firstly you edit the colours out and into black and white, the same way you would for screen printing, see below. I began to prepare my own images for next Wednesday’s session. From my notes above, I followed the step by steps given by Srin in order to prepare for the Riso. It was fairly straight forward, firstly you choose your image/s you would like to use and put them into photoshop. I trialed the image I used to project for Are You Watching? first because there’s some great shadows there that would work brilliantly when bitmapping. Edited it to grayscale and then adjust the levels of intensity, I went fairly intense so it creates block like colours from the Riso.

Then you select image – mode – bitmap and edit the intensity/how many dots you wish to have. This effects the detail of the image – either being abstract or in-depth. This was hard to know how intense or soft to go until I place the image through the Riso. I trialed another image from Are You Watching? which I set less intense levels/dots. I can’t wait to trial printing and experiment with paper and colours!

I then wanted to try some different images e.g. 3 stills from Just a Nibble or Two, I followed the same process but played with different intensity of frequency of dots. The aim is for 2 to come out more dark/intense than 1 and 3. Could make an interesting graduation of images if I wish to layer them off set them from each other. I chose not to create them as a Bitmaps, I am interested to see how they will come as black and white images.

Reflection 21/04/21: Bitmap works well as one layer for example, but not all 3, the images becomes very textures and you lose the detail. I prefer the outcome of original images.

1

2

3

I chose to also trial a bitmap from this series to see how different will it appear when it is printed through the Riso and if bitmap does have an impact on just B&W images. See screenshots of process below. It would be really good to play with black on top of pink for this image to really bring out the shadow and darkness in the picture – may make it feel almost grotesque?

Final outcome:

These images will be great to trial with printing for Wednesday’s session. I also attempted some shapes/background patterns in the same process as the images above! See below, I wish to use these among the images above to experiment with layering & see what works! I used different brushes on Photoshop as well and techniques when creating these. – Could create a line drawing on there & import to bitmap?

As Laura Mulvey created her term of the male gaze, she exploits this through the female gaze; a female POV. She introduced this way of looking through her essay “Visual Pleasures and Narrative Cinema”. Mulvey didn’t address the female gaze terminology but “she did speak out against what she called the “male gaze” in Hitchcock’s Rear Mirror: a pervy, objectifying lens that turns women into sex objects to be dominated and consumed.” (Lopatko, 2019). It becomes about the way women are depicted to be seen/viewed, especially “with the magic of  Hollywood style” (Mulvey, 1973, p 58). Mulvey writes, how the screen is “subjecting them to a controlling and curious gaze” (Mulvey, 1973, p 59), enrooting a fixation upon women and the way they are presented as though that is how they should be continually treated outside of the cinema. Mulvey’s essay allowed all genders to be fronted with the issues of sexual objectification of women.

This quotation from TheArtGorgeous made me reevaluate my work and see that through the female gaze is the way I work. It’s giving viewers the insight to how we as women perceive things that happen to us. As Mulvey also wrote “she is isolated, glamorous, on display, sexualised” (Mulvey, 1973, p 64) – this brought up thoughts within my practice, again relating to Consuming and Consuming 2 which was recently mentioned in my 1-1. I aim to continue projection and installation with interesting films below to exploit this ‘display’.

I want to play with this idea that we as women are still effected by the male gaze and patriarchy and may always will be. As I said previously my 1-1 with Jane it made me reflect on my L6 work, it’s continually related back to Consuming and I wanted to address this and revisit it by creating a new one. Last year I had in mind to create life like breasts (with food colouring) that would be eaten instead of white icing and to try different angles, but due to lockdown 2020 I was unable to do this with the model my boyfriend. So now I have decided to recreate these ideas in preparation for some projection and installation experimentation. See the documentation of making icing breasts below: (it was a challenge to get the correct range of tones with colouring instead of paint!)

Reflection 21/04/21: After my 1-1 with Catinca, we discussed the impact the film has once you know the relationship to artists/model, the male in the films below is my boyfriend and then with this comes this comfortable element that seems to be lost as soon as the film becomes black and white in Sweet Tooth B&W, aggressive/destructive, looses its familiarity.

Reflection 26/05/21: Following my 1-1 with Jane today we discussed the fact I have directed the male to put and bite down on the breast in his mouth. If this was a males instruction/direction the outcome/appearance/feel of the film would be completely different. With this idea in mind the work feels female dominant in the sense of myself having control over the male in the film and essentially the breast. With this take, it feel female empowering by then exploiting the consumption of a female (breast) by a male, showing the issues withal control. But then I have to question, does it also encourage sexual objectification? Based off of feedback from 1-1s and group crits with my peers/tutors, the men said they felt disgusted – so, does the imagery/act of male control/sexual objectification disgust the men? Or is it just the film, and that is all?

Within this film above, I really wanted to focus in on the teeth biting into the icing breast, colouring the icing to represent a realistic breast to add depth of disturbance.

The small bite directly down into the breast and nipple plays with the title and the imagery – this was my favourite part, it feels tense. This emotion is then continued through the whole film as you then watch the male chew continually and you can slightly hear this in the background. Adds disgust to the uncomfortable setting already there. The still image from this film is very aggressive.

I edited Just a Nibble further, focusing on the action of biting, zooming in slowly – this is only a 10 second clip but will be a continual looped projection. I focused on the close up frame of the eating mouth, see below in Just a Nibble or Two, the forced visual of a repeating bite into the icing breast. There is the play off of the material too, icing = desirable material/food, a treat/topper that is added to desserts, it plays with the display of women being desirables objects for men to consume. I aimed to represent this by working with the space. I aim edit these films to play off the uncomfortable element, to force this visual through the female gaze to all viewers.

Reflection 19/04/21: Currently I am projecting Sweet Tooth B&W as a loop, reflecting from previous group cries, they have said there’s this captivating quality where you become unsure if the film will change, if you leave you might miss something.

See my initial notes/ideas below while I was creating the films and reflecting:

With To Bite below, I wanted to zone into the biting down of the breast. Placed it in between the teeth to visualise the slow destruction of the breast. “she is isolated, glamorised, on display, sexualised” (Mulvey, 1973, p64) resembles with the one breast is sat between the males teeth, alone, on display and sexualised in its position with moisture. As the breast is being bitten into, the lips almost swallow the breast as though it is trapped. Suggests ideas of women being trapped under the male gaze/patriarchy? Like Mulvey explores the “traditional exhibitionist role women are simultaneously looked at and displayed” (Mulvey, 1973, p 62). The mouth of the man almost swallowing the breasts suggests… Will women always trapped and tied to sexual objectification? And only seen for the intimate areas of the body?

Reflection 21/04/21: To Bite has become a very successful piece, it’s face on, more daunting/personal, as though you shouldn’t be looking directly at the mouth. I have used To Bite within Sweet Tooth B&W projections using cellophane to glorify this image of women being consumed by men as a desirable, like the cinema exploits. 

Reflection 15/03/21: I am using To Bite within the print workshop – the pink and yellow inks project this glamorisation of female consumption in a new way to the use of cellophane.

To take this film further I edited it similarly to how Just a Nibble or Two was done. In To Bite Again and Again zones into the chomps and the lips encapsulating the breasts to see what effect it has. Mouths are unique and personal, similar to how I explored hands in Only Touch With CLEAN Hands, everyones mouth has its way of moving. See below in To Bite Again and Again:

Reflection 21/04/21: Following my 1-1 with Gary 15/04/21 of Sweet Tooth B&W, from To Bite, there’s this weird feeling of watching someone eat – Freudian approach which feels visceral as mouths are sexualised and fetishised. The film becomes compact with questions and theories.

I slowed this piece down – you notice the mouth movements as well as the skin and the face trying to capture the breast, followed by the wet from the mouth covering the breast creating a peculiar glisten. It adds to the effort of biting into it and also suggests a glamourised visual of the act and breast? – I think this film would make a successful installation as a projection. Immersive/filling the space for the viewer, especially with two surrounding projectors and a large size of this film – slightly off centre these films will create this repetition and peculiar infinity like feel. Make the viewer feel small, that they have to watch. As repetition is a strong theme present, suggests ideas as Yayoi Kasuma Infinity Mirror series.

• Fabrics/paper (Kieran experimented with this during the Congruous exhibition and I’d like to try)/board in the space use to distort the projection of the film, could make it even more unsettling?

In Biting I took To Bite Again and Again further to work with different ways to capture the act of biting e.g. zooming within the film, key burns, slow motion to intrigue the viewer, to see what is really happening, like Are You Watching?. I liked the exploration of different angles within the film frame, get to see more of the face, mouth and angle of how the icing breasts are eaten.

Reflection 26/05/21: Last year in level 5 I explored the natural female forms representation and the empowerment it has. I celebrated different body shapes/breast shapes in reflection to how we both see ourselves as well as each other using mirrors, coloured light in regards to the natural elements of the body. With this it slowly developed into the ‘grotesque’ and the side of the form we don’t often see/celebrate. Growing into level 6, I aimed to take this grotesque element further by accentuating it and especially recently within my b&w film, it has explored the flip side/dark side to the female form that naturally follows = sexual objectification when it comes to the male gaze/cinema/control. 

I wanted to include the act ‘To Squeeze’ (December reflection of To Squeeze), reminded me of my Richard Serra research. I wanted to capture the squeeze and the chomping for an extra impact on the viewers and the icing breast. I left this breasts colour slightly unmixed, you can see in Chomp Chomp below, that when its squeezed it helps add to the realism and skin like texture. It almost changes material – what is it? There’s something quite aggressive about this film that isn’t as such in the others. The hand grip and the tension in the jaw, it all feels very male dominated which is the male gaze and patriarchy which are of course important themes. Sexual connotations present life like breast being bitten into. Very clear visual of women being food for consumption/desirables – larger icing breast makes it less sweet like in To Bite.

Reflection 12/03/21: From my 1-1 with Jane, we discussed how the laughing in-between Chomp Chomp is off putting, too weird/too much? The act of biting and squeezing is enough.

Reflection 17/03/21: However, this also has a peculiar impact rewatching after hearing the news of Sarah Everard, it feels even darker, sad and scary all at the same time. Imagery of men happily indulging into women. Does it become offensive? Yes, I don’t like it now. I agree with Jane, the biting and squeezing is enough.

Exploring the male control that is over women and their bodies? Feels strange when there is a lot of edited slowed/repetition/reversed pieces in the film, you’re forced to look and observe similar to the way Kruger’s Your Gaze Hits the Side of My Face attracts viewers to consider the gazes’ impact.

• Intensifying the sound when I project to hear the chewing
• Edit the colouration – more intense/in the viewers face?
• Think about the space – fabric, objects in the way, sculptures of breasts in place?

Reflection 30/03/21: I am currently working with no sound, no distraction and it’s feels more impactful, the focus in on the mouth/the act of chewing.

Reflection 15/04/21: My 1-1 with Gary 15/04/21 explored how you imagine the sound of chewing, even though it’s silent, becomes a phycological impact as though you should be hearing the noise.

Reflection 30/04/21: This 1-1 has been a turning point for my projection in response to the space/installation. The double projections have been received well by my peers, 1-1’s with Matt and Gary. Especially 29/04/21 1-1 with matt we discussed the use of reception and mirrored reflection with these projections. I am exercising all aspects of projection within the studios and soon the installation room.

I had a 1-1 with Jane 05/03/21 and discussed where to go next for my end of year project as I felt slightly stuck after Congruous. See notes below – discussing ideas and how to achieve them with COVID. We have also all been given a studio space at uni to work in to create our installations.

Reflection 18/04/21: Daisy chaining the projection has transformed Sweet Tooth B&W to involve the space and the corners of the room/walls, more than the projection just being there. – Appears even more aggressive.

Upon reflection of my L6 work, I have reflected on this in my previous blogs but, the pieces that weren’t so successful this year were, The Haze of Social Media – even though I really enjoyed this work, what I was trying to get across wasn’t working. Baking – I am torn with this piece, it was fun to do but visually doesn’t appear how I wanted it too. There are strong references to Rosler as well as the documentation of the process but I felt something wasn’t right. Cookin’ Up Beauty – this piece and the piece above were moments where I wasn’t sure what I was doing/wanting to do and it shows within these works. Up Close – I felt the message was lacking. This was the experimentation with projection prior to Congruous which in respects helped me explore projection in a confined space.

But the main pieces that have been successful this year are Are You Watching? the installation for the Congruous exhibition. My performative film Only Touch With CLEAN Hands – the need to be clean e.g. current times with COVID and this idea that women are delicate objects that cannot be dirtied. To Squeeze – more performance. CUBED exhibition. Bath projections. From this I have realised projection has been very successful for me and installation spaces. For the rest of my L6 I want to focus in on projection and work with how far I change adapt the environment and create a strange immersive installation in preparation for the end of year show. E.g. Yayoi Kasuma, Pipilotti Risk.

• Consuming – this piece was created in L5 and has always seemed to pop up in my reflection. It seems to share a relation to whatever I am doing within my practice. I don’t want to ignore this as I created this film towards the end of L5 and I didn’t get a chance to work further with it – project/adapt it for L6.

Reflection 21/04/21: I am so glad I had this 1-1 with Jane, it’s transformed my practice and I feel the exploration is endless. I have surprised myself and turned to a monochrome pallette for Sweet Tooth B&W (a spin off of Consuming) which has been just as successful – I have learnt colour can intensify or glorify the visual message too as well as the feel for the space/work.

With my 1-1 Jane it also helped me visualise different ways to adapt old works like Consuming – retake it. Create relatable edible icing breasts, change the way they’re eaten quickly/slowly/aggressively/seductive. The male image works well with the relation to the female representation of the breast and adds this level of discomfort. Once the films are taken, think more about the way I edit it in Premier Pro e.g. snappy/slowed down/speeded up/looped. These will all work well in relation to projection and adapting that space.

Artists that will help with this work/research are:

• Susan Hiller
• Jane and Louise Wilson
• Bruce Nauman
• Revisit – Pipilotti Risk and Yayoi Kasuma

Reflection 29/03/21: Bruce Nauman was a very useful focus point, he works with disturbance. From this research, I used the approach – as a child you’re told to close your mouth when you eat yet, in Sweet Tooth B&W, the male munches aggressively with the mouth open wide. It is actions like this we’re not used to seeing and suggests disgust and un comfort. Nauman’s research really helped me work with more of a direct focus on the mouth and this uncomfortable element.