I’ve decided to take a step back this term; I want to see how I can use shapes and forms (inspired by nature, environments and people) to form abstract compositions that resemble the workings of the mind and memory.
With a main focus still on the notions of memory and identity, I want to further explore the characteristics of the two:
- Deep Emotiveness
Explore how memory plays a part in the way we identify [with ourselves and the people around us] and what happens when memory (as well as the common methods of knowledge/information transition) become disrupted.
By that I mean not only the complexities of our minds, but also the complexities of our environments and cultures.
I still want to look at how being displaced from the places we identify with / grew up as part of [being raised in that culture, away from that culture/away from its source] but I’m allowing myself to be led by memory associations, rather than pressuring myself to depict specific details.
- In that way, I hope to show a disconnect from the culture, cultural memory, national identity, history and so just people in general.
- How people with contexts similar to mine end up creating false memories, or being brought up on memories that aren’t yours, and yet you find yourself identifying with them.
- They become less qualitative, and have a tendency of becoming rather emotive.
- I think that allowing myself to enter a more meditative state [which I attempted to practice last term] and then forming shapes and forms in the meantime, will:
- stimulate my memory more
- make the process and image more personal and emotional
- break down the barrier I’ve felt between the conscious and the unconscious
The disfigured and ambiguous shapes that I will end up creating in the process will be a symbol of uncertainty and displacement.
Once I have done that, I am thinking of incorporating more visible elements of portraiture [from memory].