This blog intoroduces Critique Sessions held at Youkobo Art Space, Tokyo. The sessions are for artists, who present their artworks at gallery or studios, to receive constructive feedbacks. It is also an opportunity for the participants including artists, workers in art industry, staff members and visitors, to exchange open discussions.
Vol.22 'Jaime Humphreys Solo Exhibition', 'Famous Ornament' & 'Ways of Worldmaking'
David: Was it
really necessarily to draw the line? I understand your concept but would it be
just enough for the video camera to follow and capture the lines of the building.
time, there was a desperate need for me to draw the actual lines. I have tried
in another work the similar idea to what David suggested. It was a video work
which explored to connect the exhibition venue and the spaces next door, by
tracing the lines existing on the floors and the walls.
was interesting to see you drawing lines on the building. I thought it would be
also interesting to show the video which records your action itself.
this work, I intended to connect the residency space for the artists and the
office space behind the gallery, while they are usually not seen and connected.
What do you think about this action?
There was an artist in the past who actually cut the gallery space into half.
video looks almost black and white, so the occasional interruptions of colors
are visually interesting. Can you think another way of tracing other than
drawing? for instance, such an approach to trace the lines by hand.
building and spaces were connected by a single line. Would it be possible to
draw the multiple lines so that the viewer will choose which line to follow?
core idea is to connect the act of drawing lines and shooting video. I would be
ideal if the viewers first notice the lines, then interpret the line freely.
recognize the work as a kind of video work which does not require the viewers
to keep watching it. Is it possible for the work to be shown at any place, like
Francis Alye’s video works? I mean, can be only the video work exhibited?
Jaime: I am
interested. I would like to present the work in the venue distant from the
filmed space, to view it objectively.
line in the video, and the actual line on the wall are almost lined but not
quite. This subtlety is a curious one. I wondered if it was intentional.
Hiroko: I was
very impressed by the seriousness of Jaime’s attitude towards making works.
(The total length of the line is 300 meters. He kept working for the 2 weeks
obsessiveness is not visible to us. If it is more present, will the work become
people notice my hard-work, which is great, but it is not the central concern of
Utako: If the
labor intensiveness is not part of the concept, could you think about a
different kind of making process?
David: I think
the choice of the material, a tape, was perfect, as it can be used on almost
have just realized that the line was made of tape.
Hiroko: It is
like the foot trace of ants.
Interestingly the ant did walk along the tape when I was drawing outside of the
friend: There is a basic principal for sketch to draw lines as if the ant
walks. The lines are like ones drawn by an architect or like a line of music.
Jaime: That is
why the musicians performed at the opening event.
wonder how the line will look like if the building is just removed.
David: I am a sculptor,
and at the same time, I am an image-maker. I have been collecting the images
that resonate with myself for the last couple of decades. I have six categories
to understand the world: history, land, city, religion, industry and army.
category are you after this time?
David: This is the first
time when I am expressing all categories at once. I let the viewers to decide
what they see in the works.
Hiroko: In addition to
your own database, did you add any new visual data during this residency?
David: This residency
actually increased the number of category: Cherry blossom, architecture and
square box. The image given by my friend was originally sourced from the
internet. Not only when I undertake residency, but whenever I am, there are
always some new influences, and there are resources available which are common
to all the categories I have. The world is small, in my opinion.
David: I won’t talk
about the Japanese influence this time. I usually tend not to talk about my
work. I think that the work can explain by itself.
Hiroko: I agree.
Friend’s artist: I got
an impression that you do curving and modeling simultaneously.
Margaret: The silkscreen
which I used this time was a stylized cherry blossom. By cutting off the image
of cherry blossom, it appealed to be away from its original image. The
repetition like Buddhism chanting, is one of my method of image making. This
time, I intended to talk about the historical and political intentions behind
the image of cherry blossom, rather than the beauty and ephemerality of the
flower. Historically, the image was used to idealize the death of young people
who died during the war.
Hiroko: I think that cherry
blossom somehow shakes human’s emotions. In my case, it reminded me of the
particular time when my father was in hospital.
Margaret: There is an irony
with the title, ‘Famous Ornament’.
Sumi: Did you know the
theme before you came to Japan?
Margaret: No. After I
came and noticed that there are many cherry blossom images used in town. I then
decided to use it as I recognize it as the cultural element. I also learn for
the first time about how Japanese have manipulated the image.
Utako: The images of
silkscreen are so effective and striking that my eyes almost hurt.
Artist’ friend: If the
scale is larger, it may be more effective.
Elizabeth: I am putting
the catalogue of this exhibition in my resident. This time I missed to see the
real blossom but her image offers the perspectives. I think the works we see
here are very tasteful indeed.
The three exhibitors
this time seemed to stimulate each other: a young artist who put a solo
exhibition after some time gap, veteran artists who have rich experiences in
residency and exhibitions. The opinions were expressed about what to choose and
what to let go, till which degree to control the work, and to leave the
interpretation of the work to the viewers. Whether it is in the gallery context
or the residency exhibition context, the resources always has limit. The three artists
exchanged practical ideas about how to perform to get maximum outcome. We hope
this dialogues will be reflected on their future activities.