Mentor Meeting Two

Ernesto Neto, The Island Bird, 2012

In preparation for the meeting I had to articulate a few questions about what is on my mind and what is guiding my practice.... 

How do the places we have lived become a part of us?

Does place become a part of our collective memory?

Is it possible to feel a connection to a place you’ve never been to?

What do our surroundings say about us and our private lives?

What role does our sense of touch play in regards to memory, place and identity?

Why is it important to me to know where I came from? Will it help me understand myself better?

What is my role in the line of women in my family?

Ernesto Neto, Humanoids Family, 2001

Ernesto Neto, Humanoids Family, 2001

Artists

Eva Hesse (particularly her lists, sketches and writings)
Ernesto Neto (objects meant to be hugged or spaces to be inhabited)
Lygia Clark (objects for healing)
elin o'Hara slavick (especially her cyanotypes)
Helio Oiticica (particularly his Parangoles performance)


Exhibitions
Explode Every Day: An Inquiry into the Phenomena of Wonder

Lygia Clark, Abyss Mask, 1968

Things to Consider
Be deliberate in setting parameters concerning new sources for library cards. This can be related to location of library, content of cards, etc.

Clarify and be able to defend why I've chosen catalog cards as a material for the leaves.

• The following qualities of these cards connect with my subject matter and interests:
• Cards are a method of documentation
• Way to organize and archive information
• The information displayed on the card inscribed the work with specific meaning
• They are made of paper which carries it own historical context and tactility
• This method of organization signifies outdated modes of relaying information

Clarify and be able to defend specific reasons why I've decided to use collard leaves.

Pay attention to the sculptural qualities of sound. Try combining various recordings.

Take a look at John Dewey's philosophy of knowledge.

Work feels more like a deep investigation of place and marking its changes rather than mourning them. Presentation of evidence without judgement feels significant.

How the work is made almost feels more important that the object itself. Explore how to make the process more a part of the finished work.

Be as specific as possible with narrative and intentions.

The truth as I understand it from the stories that have been passed down to me is more important to my work than their historical accuracy.

On how to proceed when you have a lot of raw material to make sense of....

• Don't be overwhelmed
• Follow all leads
• Don't over-edit
• Don't feel pressured to use everything right away, there may be enough material to work with over a long period of time
• Always take risks

elin o'Hara slavick, After Hiroshima: Two Leaves, 2008

elin o'Hara slavick, After Hiroshima: Hair Comb, 3 views, 2008