2. ThoughtSpace
The Function of the Studio – Daniel Buren
” The studio is the unique space of production and the museum the unique space of exposition.” (Buren, 1979, p. 51.)
In the production of artwork, creative space is of utmost importance, but where is this space and how much is a work defined by where it is made or where it is seen? The description of art studio and loft spaces in this article seems outmoded and of no reference to the present day.
By the end of the article, we realise that the question is the same, but the format drastically changed, With the onset of digital platforms, instead of the art dealer being invited to the studio we can invite the greater public to view our work, the viral ‘like’ of power becomes the filter of selection.
To harness this creativity, a ‘space’ to make is still necessary. Perhaps we carry our ‘studio’ around with us? As each artwork is unique, the process of exclusive creativity, be it conscious or subconscious, is thought. The place where we make is just the ‘check in’ location. As David Blamey mentioned when asked about his inspiration – his creative consciousness is constantly listening for the next sound to be carried on the wave of ingenuity. (Blamey, 2022)
Having knowledge gained from previous learning and experience as a post-graduate student, it is now time to master our craft. It is becoming evident that the thought processes are the ‘place’ where work is invented. To show this mental acuity of creation we now have the facilities of instant digital access to document the richness of the physical investigative processes involved. Uploading our ‘creative brain’ with blog content, photographic documentation, manipulating the reality into a visual fiction. Content often being set to its own emotive soundscape of atmosphere, drawing parallels to the works of David Blamey – sound carries with it a feeling.
The ‘Workflow’ Brightspace presentation by Simon Poulter, shows content created by MA students in the form of video documentation and motion graphics, a form of visual communication of the process without the need for a scripted language. This embeds a richness of understanding to the research. Yet a significant factor in how we felt about the semiotic expression was the addition of the aural language. With an atmospheric soundtrack, the video takes on a different meaning, if we mentally subtract the sound, the image has less emotive impact.
Combined with my love of art and fashion, is my love of digital and analogue (non-digital) music, so the lecture by David Blamey was thought provoking. Contemplating how and where to show my work, I have previously thought of adding a soundscape, to sample the scratch of drawing with a pencil, slicing of scissor, over-layed with the hypnotic sound waves, deep resonating bass and intermittent crackle of treble beats, found on tracks on my ‘Art Sounds’ playlist (McCartan, 2022). This may be a possibility with the timely launch of the open source sampling software of ‘SampleBrain’ by Aphex Twin.
Using the read aloud function whilst reading the Buren article, the image of the Brancusi studio was orated in its binary code – a series of ones and twos, varying in repetition with the light and shade of the image. Could this function be used to ‘read aloud’ my drawing using it as part of a sound scape? A simple sampled soundscape could be made to accompany the video documentation of the work, but the focus of this study remains to manifest an indelible working style of drawing through pattern cutting.
So many ideas need extra thought, space, and time for production, as Blamey states, he has collated sounds, objects, and ideas over many years only coming to fruition when the time is right (Blamey, 2022). Wouldn’t it be nice to split ourselves into several versions of existence to process all this creativity?
Perhaps a holistic practice could be found in the cerebral studio of a PHD??
Images
- Blamey, D. (2022). Kitchen Composition [Soundpiece]. Band Camp. https://continuous-tone.bandcamp.com/track/kitchen-composition
- Sivinska Mccartan, C (2022). Artsounds [Playlist]. Spotify. https://open.spotify.com/track/4vvFklYoPTicMqbYUo7qyG?si=ki2HloKWQvyPdHQfY_Wozg&utm_source=native-share-menu
- Sunkel, C. (2022). APHEX TWIN LAUNCHES FREE “SAMPLE MASHING” APP, AN IDEA DECADES IN THE MAKING [Online Article]. edm. dm.com. https://edm.com/gear-tech/aphex-twin-free-samplebrain-app
Ones and twos image
References
Buren, D., & Repensek, T. (1979). The Function of the Studio. The MIT Press, 10, 51-58.
Poulter, S. University of Huddersfield. (2020). Workflow [Recorded PowerPoint Presentaation Teams]. Arts and Humanities. Uni%20Creative%20Studio/Reading%20List/Simon_Poulter_Workflow.pdf