The Gilliam & McGilp research explanations (w1)
1. What do you think of Gillham & McGilp's approach to capturing practice-integrated research? Is it useful to your practice? Explain the reason for your answer.
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2. Upload at least 2 photographs of your creative work this week to your blog for ART4002 - of a project, topic, or field of practice you are engaged in.
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3. Label each photograph carefully, using Harvard format.
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4. Describe what you were trying to achieve in your work, and how you went about it. Was it successful? Why / why not? Use Gillham & McGilp's approach to guide you in the way you describe and analyse your creative work.
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5. Identify at least one other credible academic text which will help you further your knowledge and practice in the area you are researching through practice. List the text on your independent research bibliography
My Responses:
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1. The observations and understanding of capturing the essence of practices integrated throughout the research of Gilliam and McGilp, and approaching concepts of how important it would be as an artist to underpin the narratives along uncharted by ways of thought, are imaginative and inspirational in character; they are indeed adventures of the mind. The distinction between the method of its synthesis and their own method of analyzing, which is the truth methodically discovered.
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This is two interlocking, complementary ways of knowing and understanding and ultimately presenting what is known. To demonstrate an ever more simple picture of how learning occurs and what knowledge there may be, can be articulated in a range of possible configurations. These attributes include the economy of materials, more or less linear visualization, impersonal and individualistic processes resulting in knowledge, all of which may be detached from the personal, cultural, and historical context of researcher.
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Regarding to my own practice and my research activities based on that, it can be defined in both ways: learning and knowing the new process and techniques, and understanding the material capabilities and creativity inherent. The creativity can discipline and channel the narrative; and it may be that is more appropriate because the research process in the arts is more individual in character, and this is how the research in art carried out and the discoveries are made and manifested. I believe it is more critical to an understanding and reporting of the research outcome, whether this be a product design, any visual arts or performance.
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The general research on artist's individual practices and lives, materials, and history illuminates for me a more specific and disciplined understanding of how technical challenges represented in an accessible narrative shape and/or instruct using the gained knowledge. These are the foundational elements and appreciation of the research processed on my own practice and my art work.
Fig.2:Davoudi,M(2016) "InterpenetrationSoul"[Abstract Mirror polystyrene],(Source:Mehrak's personal collection),London.
Fig.1:Davoudi,M.(2017)"Interpenetration Soul" (Source:Ply Galleries website), London.
"THE INTERPENETRATION OF DREAMS IS THE ROYAL ROAD TO A KNOWLEDGE OF THE UNCONSCIOUS ACTIVITIES OF THE MIND". (Sigmund Freud)
4. Memories and life experiences that drive and inspire my art works are based on, or from the cumulative anxieties and traumas, sexual abuse and separation from loved ones, and life in exile.
These are the themes that emotionally shape my daily living. Through my works I have sought to find a safe space from this chaotic mental situation, and achieving something to help my own psychological and philosophical well being and understand the true aspect of life. Often it is at once theoretical, painful and difficult, to be reminded with these themes. Flashbacks and nightmares is are frequent consequences.
With my art practice, I seek to encourage and involve my audiences mental and emotional faculty to understand and feel. From the movement and manipulation of the materials to their feel of the from inward out, instills emotionality - positive or negative, disturbing or overwhelming. That being said, I do not seek to do anything here to explain things concretely or provoke the audience.
What is the most fascinating and desirous of my creative thrust is to push the boundaries and challenge my own conscious and unconsciousness capabilities, using the possibilities of the trajectory of awareness and knowledge, coming to a conceptualization of self abilities in the stage of performing and practicing art, which I express with different materials, techniques, performances, materials and tools. They are help define the moment and emotions. I watch and listen to them; they carry memories, they have specific proportions, usually made for something specific which I re-define within my practice. Ready-made or domestic objects, are always of interest to me and what is the most striking to me is the process and manipulation of them into my own narratives, changing memories or adding new memories into it with different materials and techniques. When we relate to the world and realities, as when contemplating art, our relative immobility is no longer the consequences of development, but the outcome is of our deliberate decision.
Bibliography
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