Inspiration from month-long intensive workshops: Surrealism, dream landscape, light, sound, movement
*Stream of consciousness
Techne: embodiment of "craftsmanship, craft, art"
*How to use this idea in modifying a collection
*Approaching a collection in a methodical, scientific way: archive
Techne: In collaboration with Barnard Smit*, I will attempt to illustrate the collective consciousness of a city represented by its waste as it moves forward. The goal is to create a comprehensive archive of forgotten objects during which time I hope to gain an understanding of Utrecht through the history of its objects, and to attempt to shed a new light on the city for its inhabitants.
Part One: collect materials from the city of Utrecht from as many sources as possible:
-Albert Heijn e-waste collection basket
- Outdoor market
-Artifacts taken from the street
I will collect anything and everything: E-waste, design objects relating specifically to Utrecht, aesthetic objects, infrastructure related objects (even bricks and canal water), cultural momentos.
I will be following a methodology in order to classify these objects. These are essential questions in order to determine the place and importance of each found object:
What role does the object play in developing the personality of Utrecht? Or what role does it play in developing the personality of its inhabitants?
Is it integral to creating a modern city and or was it integral to developing the city as it stands today?
What is the object's potential of becoming repurposed, and what would that communicate?
The ongoing process of reorganization and classification could look like this:
Objective Layer: What is the object’s color, shape, size, frequency of use…
Implications: Which category does the object fall into? Some example categories are: Infrastructure (components of the city, bricks, metal, wood, water), Decorative or Art Objects (de Stijl artifacts, design specific to Utrecht, textiles, performative objects such as music or video), Artifacts of the city (objects specific to Utrecht that aren’t design objects, souvenirs, government objects, flags, memorabilia, objects from universities), and Utilitarian (everyday objects, tools).
In order to show this classification, I will devise a system. It could be linear, with more important objects placed closer to the front; it could be by height, or by order of importance in daily use. The purpose of this will be to create an almost absurd environment where every aspect of life in Utrecht is analyzed and examined.
At this point, the emulation of a once unfamiliar city has started to take form with its many objects inhabiting the individual plinths. However, an element is missing from the equation. It is at the third stage of the process where this element will be explored.
*Potentially through working as a collective, a series of e-waste and repurposing projects will take place. The catalogued items will be used in order to create something entirely new and interactive. This will be the final stage of the installation, and will create an abstract representation of the city using the objects that have been collected, archived, and reimagined.
In the end, we strive for the construction of a city landscape, with its continuous growth and shifting dynamic. We will hear the sound of the city, imagine the stories behind forgotten objects, create new narratives, and nurture an environment that encourages the inhabitants of Utrecht to rediscover their city.
Dream Study No. 2
Installation: "Disembodiment in Virtual Spaces"
Dream Study No. 1
Sketches & First Experiment
As you fall asleep you find yourself low to the ground: you’re not a person, you can’t see your body or what you are, and you’re in a space filled with rudimentary objects. Even though you don’t have a physical body you have a sense of self, as though the lack of a physical being has made you hyper-aware of every emotion. There’s a path that you need to follow. You don’t know what’s off the edge of the space but you know not to find out. As you get closer you are hit with an uneasy feeling.
You feel like you are on a track... the speed and direction and the distance between you and the object are the only things present.
Different cultures and religions have studied and interpreted dreams for centuries, and as a species, we are prone to trying to make sense of our subconscious. Typically, western cultures see dreams as representations of real life. Freud and Carl Jung both look at the interpretation of dreams as symbolic and explanatory of something larger that is occurring in the real world. In common culture, however, dreaming is seen as an integral part of life; the are experienced but not necessarily analyzed. Because psychoanalysts look at dreams from a scientific perspective; we now recognize that dreams can be important in learning more about the inner-self, and in learning to read our subconscious.
Dreams/Subconscious/Collective Conscious/Creating a universe
Carl Jung’s Red Book contains over two hundred illustrations that attempt to explain the subconscious; he believed that symbols are innate. When looking at the Red Book, it is important to bear in mind that dream analysis was not, in Jung's mind, the most goal of this work. Part journal, part mythology, the Red Book was intended to shows how Jung linked the psychology and science of his time with tradition.
Collage has been a medium of choice in Surrealism since the movement started.
It’s a form of image creation that is almost like stream of consciousness writing, which is why it’s fitting to this concept.
What are dreams that everyone has? Falling, flying running.
How can I portray these symbolically? As feelings? What is the aesthetic or imagery of dreaming?
Dream Space No. 1: Waterlillies
How can I challenge the spectator? How can I play with the freedom of movement or field of vision?
Proportion/ distortion, etc.
Create a place where the story happens instead of only representing the story, and combining many different media.
Make scenes that are recognizable for several fundamental elements (mountain, sky, bird, nothing else)
Use symbolic objects
I would show these scenes in indoor and outdoor spaces, and continue to experiment with perspective and the spectator's POV by moving these experiments into real life and increasing their scale and scope