The artist as researcher’s primary problematic: Why is it so difficult to legitimise visual research outside of the specificity and practice of the written word?
Rabbit Skin and Gesso will deliver studio based artist talks, interviews and other visual and auditory art experiences to take the practitioner through HOW I, as a practitioner and visual researcher tackle the problematics of visual research that makes not only sense to me, but in some way will help others locate their own unique visual voice.
The word unique must not go unnoticed when speaking about the individual approach to practice and research. There is nothing worse when you witness an artist adopting a cliche or applying what is considered a new trend to their conceptual framework. This process of practice deviates away from knowing yourself - [but more importantly developing your own unique visual voice] through the symbiotic relationship between practice and research. Plus the outcome or discovery will loose value should the self be missing from the thinking, making and reflective mix. The interesting thing about producing works of art that have meaning and resonate relationships with art history, social and or political current affairs is that the artist will have real currency - a story to tell - a narrative to explore - a concept to be realised - the guide is, for me anyway, is that if I truly believe in what I am doing then others will too. If it is fake - then it will bore the audience - but that might be your angle anyway.
Knowledge is power, so go ahead and explore the EVERYDAY: life and all of its experiences from not only a personal position but from a Global or Glocal perspective. Position your practice here or repositioning it somewhere - space and or place that has tenor - this is always a good and measured way to start a body of work or indeed a project. The everyday has plenty of scope to enact great visual conversations around an image or object that can not only be read by the viewer, but, indeed will be completed by them. That is, they, the audience have a reaction to something that you the artist have made from a position of knowledge in studio practice. This will present to the audience as authentic, visually competent and hopefully will raise some questions in or around the works content [imparting meaning, knowledge and understanding] and the works materiality should resonate mastery. This is where the artists visual voice is located - in knowledge and experience - to know the BODY must first experience and through experience knowledge will be embodied.