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FMP 1:1 no 5 meeting

  • HildeMaassen
  • Oct 11, 2020
  • 5 min read

I had quite a long talk with Wendy. She asked me about the reviews I had with Brian Griffin and Nina Venus. Brian liked my work and thought it to be immersive. I created a new world, a believable universe. Nina thought that I had to choose for one of the subprojects. She told me that she was very interested in the "morphed" series. I was talking about transition, the in between. The transition from the one cloud to the other. That can't be seen, the unseen that I captured.


Wendy understood both visions but in the end I want to go for an immersive exhibition and we decided that I will make a maquettes of it, so that we have a kind of 3-D experience. Also because this gives the opportunity to research scale, surface, texture and fabrics.


What I also experienced is that both reviewers were very excited about the personal story. The part that I have my meniscus torn, that made me help to decide to take images from the window. Something, problem solving, that I do all the time make adjustments to be able to carry on. For me it was a kind of eye-opening because I normally don't bother telling that kind of details but both the reviewers loved it. For Brian it was also important that the images were therefor made in the same place.


During the second review I used the tips Tom Seymour gave us to be clear what I wanted to get out of the meeting, to set goals. So that I got answers that I was looking for. it worked and I was really excited about it.


I also told Wendy that Nina warned me to not make it too much about science she told me you are an artist. Go with the mystical part of the clouds, the old readings from the 18th and 19th century (Ninas cloud work is about that) and Wendy laughed about it. She told me that's was typically something that the MA would bring me , I had to work out that part for the studies. Of course I realise that. I know for sure is that it is very important to me that the work itself attracts the people. It can be that the story makes it more interesting but it shouldn't be the other way around. I'm not interested in making work that has to exist by the grace of the story but isn't visually appealing.


For the science we talked about clouds. What attracts me to photography the most is the medium itself. What is photography. The semi-automatic process. Having control but also not having control. That is what makes it interesting to me; the not having control, let go. What is being captured taking the image what is inside of the image is there something caught with it that I can get out. The realisation how important it was that I was introduced to the work of Jan Dibbets being a teener (same high school) and how that unconsciously influenced me from then.


For the Delfts blue vaces Wendy saw them for the first time. I don't think she realised how she was part of the idea being born. It was in one of the meetings with her that the idea was born because we were talking about a blue and white exhibition, culture and tradition. Since clouds are a typical tradition in Dutch paintings around 400 years ago and Delfts blue is from the same period I made the link that it would be great to see if I could generate Delft Blue vases. Up to now all the 3D object I made were flat but it is possible to make ik a cilinder.


I sent my work for a couple of open calls. This really is a good practice because I had to compress the text to sometimes to just 600 characters. I really had to get to the point.




Couple of names to have a look at for inspiration



Peter Galison

The interest in the medium, the way to look at it. I saw this lecture on Einstein never realising that it was the way Einstein approached the subject differently that made his work so very different although thinking about it it makes sense. I read the book "whatever you think, think the opposite" by Paul Arden and it is an approached that I teach my students a lot and also use in editing images.

Galison tells that Einstein figured out what the principals and the fundamental problems were. The principles were behind those apparatus.

The goal is mapping the world, centralise and organise the world; nature of times, how long it took from place to go A from B. (The reason being making clocks and making the time the same). What made Einstein different was not only thinking in an other way but tolerate contradiction. Simplify the world, unify. Make it as simple as possible but know that it is not always possible and know that we don't have the answers, for now. Acceptance.


Some of the sentences that stayed with me: poetry

- A peculiar consequence

- Museum of failed objects

- There is no absolute space

- The river of absolute time


Joan Jonas


Artist who used video and performance art but started as a sculptor. She made installations. She performs in nature. The theme is myth and question: "how does myth arise?"

She subscribes sitting, looking at the ocean and hearing the weaves to be a meditative experience. I experience moving clouds also to be meditative.


Alix Marie


Alix Marie uses fabric and light a lot making the exhibitions. The texture, materiality, warmth and flexibility, the way it folds, curves, curls, shapes, moves adds to the experience and is something to explore for my work.



Eva Stenram


Eva Stenram uses found footage that she then manipulates. Fabric is often a component in the image.


This series "drapes" from 2011 is about hiding and giving a suggestion, setting a fantasy. The manipulation of the photographer makes the viewer a voyeur. I also see an integration of the fabric with the environment. (In the image the persons were originally visually but are now placed behind curtains).


Per Pulverem Ad Astra.AP1

For this series analogue negatives were made from digitale images and of Mars. The collected dust before printing. They become a kind of surrealistic close but also distance.

Harlequinade

In a found image we see a curtain that is also visual in the background the shape that the print is cut in and the way presented, theatricality, play and performance.






Thomas Albdorf

The paper where this is printed on Rice paper is beautiful and fragile.

Wendy can imagine my vases photographed and printed again.

Nae Naemen pigment print on folded Hahnemuehle Rice paper, size 159 x 110 cm



References:


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© 2019 by Hilde Maassen 

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