Themes occur in several sets subdivided. First, are the now consistent outputs of the work, and second, the themes of visual narrative explored and third the set of the subject matter placed before the camera.
In turn, we have:
Out of abstraction, the theme set subdivided into
- place as landscape/seascape/mountains of heritage and theatre of war;
- ghosts ever more recurring;
- depictions of inner/outer space.
Out of the physical and psychoanalytical, the theme sets are around language/communication and intent:
- science mitochondrial DNA,
- the phenomenological – the weird/eerie/uncanny
Examples of the above can be found in this portfolio:
There is the theme set of the subject and photography:
- healing wounds,
- museum (military and medicine),
- family archive,
- video (gaming and broadcast)
- Generative art.
Examples of some of the above are also in this portfolio.
In retrospect, this presents the analytical. To think in deconstructivist terms as in Derrida, it would make sense to home in on that which conveys the main feelings. There again Art Science (Artsci) as described by Arthur Millar brings scientific method back into scope. The latter demands more resolution by the artist. Millar points to the history of the avant-garde. The art world and gallery system had rejected impressionism and the likes of Picasso as surrealist. Artists then built alliances later their work being more established it became more widely accepted. Millar might argue the case for art-science as the new avant-garde.
In the case of accepting Millar, then the project proceeds as
Family Constellations have allowed freedom from entanglement with ancestors and their narratives of loss in a war.
View the following as experimental imagery that is work in progress. This is not the end product of publishable standard at this early point.
Position and Intent
The work is intended to be positioned within Modernism PHO705: Modernism. As abstract it may fit into the Art-Science avant-garde as a branch of Modernism.
The implementation is still open at an early stage. Developments in one direction are towards overlapping archive ancestry images of motherline and mtDNA glow images.
This is in the direction of Susan Hiller Aura and Falmouth painter Jake Wood Evans. PHO705: Artist Jake Wood Evans
To go ahead, work needs to be resolved. As these firm, vestiges are present in other approaches.
War imagery, either from Museum exhibits or from video archives footage. There is the style of Natalia Goncherova with angels and flying machines compressed into the frame in a very claustrophobic way (as in her lithographs).
Science, as molecular biology, animation and Generative Art.
Further influences begin with Albert Steiglitz and images similar to cloud formations. This is closest to my type of work of any of the above approaches.
There persists influence from Picasso, in breaking bounds then Rachel Howard in terms of the hidden brush of gravity abstract style.
Thoughts about Resolution
More wayward approaches need to be set aside where project intent risks being diluted i.e avoid any negative impact.
The strong influence going into the Final Major Project FMP has been to resolve the visual language to make the abstract accessible to the viewer. This was achieved in a summer exhibition although the martial narrative need not be enforced was a consideration.
Having just stated that though, the war theme is necessary otherwise we lose the linkage and orphan the themes of place foreign and theme of ghosts recurrent.