Failure as a crucial step towards clarity
I started out this academic year with a mix of clarity and questioning. I knew I wanted to create immersive spaces either for rituals to take place and/or to be made in a sacred way, but I had too many ideas to pin one down at first. Initially, I thought I was going to make one installation for feedback and then one for seminar. But I was quickly humbled by the amount of time, energy, and considerations these installations take. Here I will provide a few images of one concept I had that I ultimately had to abandon (at least for now, I very well could come back to it). I will explain in my presentation more about why this needed to be set aside.
The failure of the tent was actually a blessing in many ways. I realized I had to make some decisions and narrow down to one installation for the first part of the academic year. This limitation is what brought me to wanting to go all out in this Island of the Dead installation. This was an important change for my artistic process: I am shifting away from making a lot of individual works, and rather spending all the time it takes to make one full experience. This patience now being required in the work has been highly important not only for the quality of the work, but also for the intention behind it spiritually. A spiritual practice is not rushed, and it takes as much time as it needs to.
Spirituality
Another way the work has changed from this is I feel less concerned with depicting spirituality, and I am more focused on the making itself being sacred. When I approach the work in this way, it just feels more in line with the vision, and the feeling comes through stronger.
So, yes, the work is becoming increasingly spiritual. The work process itself is approached as ritual, sacred time to tune in and listen to my guides. Rather than forcing an idea, I arrive to the practice in a softer way to begin. I kindly ask my guides what wants to be made, and then from this place I begin. Sometimes, this is spoken through the material, and other times it is directly from one of my guides or ancestors through trance meditation.
And while the work is very spiritual and personal, I also want to keep it open enough for the viewer to simply enjoy the visual experience, even if they know nothing of the backstory. This is why I have chosen to not share the backstory behind this piece…. for now.
Screenshot of recorded Autumn equinox ritual. The practice does not only exist in studio, but anywhere I intentionally engage with spirit.
Materiality
My shift in my relationship with the material has been one of the most important changes in my work since this program began, and is part of why I think my artistic system is becoming more and more clear. I have shifted towards allowing the material to find me, and once it does I follow that material. I am embracing more found objects, recycled materials, and the process of transforming “trash” into artwork as a form of alchemy.
I am finally getting over the fear of moving further away from painting on traditional surfaces and expanding what painting can mean to me has been a super important step. Observation can be painting, dancing can be painting, I can paint with light, I can paint with foam, I can paint with space. I never thought I was going to be one of those art students who changes their work this much, but here I am! And damn, it is so freeing. This is what I was craving in my work! While I still have a lot of work to do on this installation, and a ton of learning to do with the materiality in this space, I feel confident about where I stand in this moment. I have so much trust in the process unfolding as it needs to, with both triumphs and failures to guide me along my path. I am excited to continue working towards this immersive installation, in which I will invite you all to come and physically experience once it is complete.
Moments of light inspiration
