It has taken a long time to let go of this idea, especially as I have been pushing it for such a long time, and in some ways wanted to prove to everybody that i can do it, but I think it has completely drained me, and has proven to be so problematic that in the end I need to move away from it and sculpt my degree show in a new way...
I am now going to really focus on the core concept of this piece, which is human resonance. I have already been talking with different tutors of the possibilities and choices that I can now take in order to create a new direction for this project. I still want to keep some key elements, like the soil and perhaps still work with some sort of sculptural element but on a much smaller scale, and perhaps work with found or recycled objects. I want to think of a way to sculpt this concept and make it much more simple and ephemeral, and almost invisible. I started to think yesterday of what people expect to see at a degree show, and I guess they are looking for a spectacle, some sort of show, and something that they can witness...
So I decided to look up the definition of 'Spectacle':
Here is a continuation of the definition:
3. Something that can be seen or viewed, especially something of a remarkable or impressive nature.
4. A ceremonial.
5. A visual representation of something.
6. Sight, anything that is seen.
Looking at the definition of 'spectacle' made me realise that I actually want to create something beyond the visionary. In many ways my practice has always tried to move away from the 'image' and tried to create art that is much more about sensory experiences. This is one of the major reasons I have worked with sound as a medium, as it is much more intuitive and allows the public to experience something much more intimate and physical. If there is one aspect of the spectacle that I do connect with, it is this idea of 'ceremony', as all the sites I have visited have existed as sited for ceremonial rituals in themselves. I think it is here that I must focus my piece and work around this concept. I want to work through a much more intuitive sense, something which cannot tell us what you are looking at, something that is felt through the person who exists in the time and space of the piece...
As part of this reflective process, this week I had a tutorial with Nilla and realised that what lies at the core of this project is : 'THE VOICE'. And especially my own relationship to space through using my voice. I think that in some ways I have been too focused on constructing this space and dismissing the very core of the piece which is the human voice projected inside it. I am now going to focus on how I can create a space to project my voice into, creating a 'sonic spectacle' in which the public can feel human resonance, projected through my invisible voice.
I have now been thinking of working with my recordings to create a surround sound sonic experience. I have been thinking of ways in which I can still incorporate the sculptural elements into my piece, especially working with metal and earth, which were two of the main materials that resonated my experiences in the sites I visited. Metal for its resonating properties and earth for its symbolism to the cycle of life & death. I don't want to loose all my research and process, yet I want to now bend it in a new direction, focusing more on the voice, rather than the space. I now envision the piece as a room-sized installation, still immersive, still personal and private, yet with invisible architecture, an open space. It will be he sound itself that illustrates the space for the viewer, allowing you to be transported through the sonic presence of these places. It will be a journey through the human voice.
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