• Lindsey de Roos

Crit Observations ideas...

So Talk Week...


Thank you for reading my email! You have a brief intro into my talk week plans. Here are some images of the tests I've done to get a better visual understanding of the work.



MY CONCEPT

A few weeks ago, I came across this collective spit/e that currently has an archive residency at rm gallery. I've tried researching deeper into the collective, but they seem to be a ghost. However, in the description of RM they talk about wetness and dryness. I've internalised this into this work as wetness is this fluid, free, and pure creative state and dryness is the institution, its rigid, hard and it's draining us of our fluidity. And i started to contemplate this in context to art critque, more specifically the behaviour and language (or more the way the language is used).


Upon reflection, I remembered that a process of drying paper is to stick it wet on a window and the sunlight dries it, which you then just peel of. And i wondered about that same wetness to dryness that paper goes through. Which is where the idea of these crit observations come from. In the images above, I've written times of how long it takes for the paper to dry, which is roughly 4-5 hours. And conceptually that is also the general cap for crits, by the third or fourth hour. We are tired, rigid, and no longer hungry to consume art. This what I can only think of right now as a bodily (not sold of that phrase), in the way the paper responds to the institute concrete and our response to critiques.

THE CONCRETE PILLARS

I thought long and hard about where the paper would dry. It did not feel right for the paper to be dried and presented on the white walls. For me, these walls are simply layered of paint to conceal any sign of living. It doesn't feel right to be apart of that cycle when my work is addressing something alive and more honest at least to me). for me the concrete, for the most part, goes untouched but it also remembers. Every spatter of paint, every water stain, every tag is laid bare.

And from there, I feel that the concrete pillars are the most honest part of this building. They are these hard rigid structures that just soak up any moisture because of that's their very nature. And i find that sort of irony actually quite funny. The very thing that is keeping us alive is simultaneously drying us out and slowly killing us. Which can be a bit of a metaphor for the impact that the institute has on non-white experiences. And I'll elaborate that this is what's funny, it's staring at us every day, and we just aren't looking.

But before I move on, I'm gonna touch on the honestly of the concrete a little more. Despite the leach like behaviour that the concrete has, the honest facade still interests me. Once you've split something wet onto the concrete, it immediately soaks it up and wears the stain as a badge. And in this case of the arts floor. There is a consistent facade of paint and activity. Oil paints, spray paint, sharpies, water, tape marks, filler etc. is has depicted this collective "art community" vibe. I'm not too sure how this has complete relevance to the work just yet. But it is just a side thought.


INK

Initially, i used an oil-based marker which didn't work on the wet paper, and water-based did. What i did like of the effect was that the test became more legible as the paper dried. So the first thought and feeling of the crit observed would be wet, unconstructed, and messy. Which in its material limitations; manifest in the work. And as the paper dries the words will become clearer. For me thats an indicator, how important the text will be. Especially as its the only context the work is giving.

Things to consider

what is my criteria of the "observations"?

Do i title the work? literally right a title?

Who's crits do I attend?

what type of language do i use?

how do i use that language?

will i peel the paper of the wall?

cant really have a "critique" of the work so what will i do?

how will i facilitate the discussion of the work?



I WILL UPDATE THIS AS I THINK ABOUT IT MORE, SO I WILL EMAIL YOU WHEN THE UPDATES COME.

Recent Posts

See All

Reflection on - I'm sorry, but why are you coming for me and not my ideas, these damn thumbtacks, and my microagression fantasy. The Racial Gazes ideas comes from Zimitri erasmus technologies of race.

last year I wrote a set of anchors to keep me anchored. I also called it my art manifesto, because to some extend it is that, and manifesto also sounds boujee. However, I'm realising how the idea of a

Over lockdown I've been listening to a lot of podcasts, ranging from two friends just yarning about a particular topic, to a very well planned and orchestrated episode. and I started to think about th