Flavia Feedback from Syowia
Monday 24th Sept 2018 (sent as an email)
Thanks so much for sharing your process. Its exciting to see the topic of body in relationship and relationships in space as a framework. - Please note these are just my initial thoughts - take what ever works for you and ignore the rest – I will clean it up tonight when adding to google docs.
obvious observer is Eadweard Muybridge – he came to my mind when I was looking at the charcoal drawings – this is probably a surface response but I think some of the photography work of his could be inspirational.
I love the way the materiality is iron in some of your work – its an obvious choice due to using magnets – I wonder if material can be explored more to go beyond being functional with working with magnets to symbolic – I thought of Joseph Beuys rust drawings -
"There is something strong about the bond within the structure of a diamond that makes it the hardest and most pure element founded in the mantle of the earth, whereas for graphite a weak bond makes it dark and slippery." FB - this also made me think about geometry and religion – maybe research sacred symbols – African patterns use a lot of geometry – also nature and geometry - so much to look at as a philosophy here – rich material to engage with – then translate into the visual format
I love the aesthetics of the magnetic element in your practice – the iron fillings and their shapes – some of it reminds me of crescents on the surface of the moon.
Spirituality and the cosmos somehow keeps coming up for me -quantum physics also comes up for me
I would document/ photograph even more all the places you see geometry in the environment around you like what you did with the concrete floor photo – I somehow imagine if you did several of these and layered them all out on table some inspiration will come at you – its that we see it everywhere – man made and nature – I think also check out the Rudolf Steiner philosophy it might be nice for you
there's is also artist Pamela Phatsimo Sunstrum - she did a series of works on the cosmos you might find inspiring – she works a lot with the body and the cosmos and identity - you can find her at Tiwani gallery in London – her video work might be better for you.
https://www.google.com/search?q=pamela+phatsimo+sunstrum&rlz=1C1JZAP_en-gbFI792FI792&tbm=isch&tbo=u&source=univ&sa=X&ved=2ahUKEwiHob-UgdPdAhUnxoUKHbkuAUkQsAR6BAgEEAE&biw=1261&bih=640
Space Studies:
totally random but I thought about Francis Bacons paintings when looking at your room – figure in the room – sculptural exploration – I think its because of the room he used to build into his paintings – they could be something to look at – they are very simple but create depth and play strongly with psychology
the body work – what I found most interesting with these videos were the ones with the flat metal looking band -
I would encourage you to explore the trace of the action more – maybe incorporating the magnetic paint or a mark making onto the paper/canvas/cardboard/wood/metal/concrete what ever surface you like – but the imprint of the body with the action in space – and a reference to time and if the material is active like magnetic paint with the metal this can remain active after the body has left. I would also explore sound – what type of sound is being produced through this process and what does it mean or can it mean for you
also I found it interesting that the magnetics points where on your hands and feet in places of pressure points of the place of receiving energy or giving energy but the part of the body that is used in open and closing giving and taking with the body – reflexology and the meridian lines may be of interest to you – I would also explore doing this with eyes closed – creating a meditative practice within the action – or long endurance to see what really happens – also magnets have been used as healing – something with relationships and healing is triggered for me in your process.
Exploring time in relationship could also be interesting – creating circular or linear place of work
maybe also changing the perspective of the camera – you could get a camera on the body and get a very different perspective – but then again it depends on if the video is a product you want to create for the work or not – I guess it would be interesting to see the body the self inside of the perspective of how they see their relationship to the space or someone or a philosophy – something to think about
I think the bandages you use also make me this of healing and the medical world – it would read differently if they were cycling gloves or fashion gloves or colourful scarf – the choice of the bandage made me think – healing – western science –
I think you should include your ego box here too – there might be some unconscious connections and its interesting work – the body transcends its molecular and the ego is the body – this could be explored further
Flavia’s response to Syowia’s feedback /10-01-18
Thanks a lot for your feedback! and extensive artist’s references. It helped me a big deal to clarify ideas around the direction my process is taking and to understand that as much as i’m interested in the universal i’m also piercing fibers related to my own identity. Our conversations during residency around existence and the ego triggered the creation of the ego box! and i’m glad to be able to step on that territory (thank u for that). I must say this is something i have had in the back of my mind-creative process for a while and is now becoming more obvious. However vulnerable i feel showing that part of myself i still see it as an opening for transformation. My question is: how much does it need to be stated about my own pain and trauma?
Exploring the trace of action with the body and materials i’m using really resonated within, your suggestion of Joseph Beuys rust drawings inspired me to experiment with iron and water. I’ve had a bucket filled with water, scrap metal, crinoline fabric and iron shavings fermenting in my bathroom for the past week and it is fascinating to see the iridescent layer of foam that has appeared on the surface. I want to research more about this transformation that happens when rusty water meets air (oxygen). Also, i have started pouring this foam on white paper and observing the trace of the liquid when moving the paper around.
Time has been implied in my past sculptures and see it as a potent element mainly related to this idea of change-motion. I have approached time before as a measure of change and now i’m starting to see it as a limit or boundary constantly moving and adjusting to space…
Nature, science and human symbolism are themes i want to keep pondering as a way of bridging the subconscious-conscious, universal-individual, time-space, tangible-intangible, heaven-earth, the material and the abstract.
I hope to integrate and articulate all these issues in a graceful way. And to have the guts to step aside from creating purely functional objects.
Sending Heart! Flavia
Flavia Feedback from Kate
October 1st, 2018
Hi Brave Lady! This is a vulnerable offering. Wow - it’s so amazing when we can go in the direction that leaves us naked. We need to convince the body to trust again after trauma, so that you are offering your body to your work as the mark of change - amazing. Last night I was a poetry reading and the writer said, “Pay close attention to the material you resist and the material you obsess over — there are poems in both places”.
Joseph Beuys came up for me too after reading your blog. These two quotes reminded me of your process: “how we mold and shape the world in which we live: sculpture as an evolutionary process; everyone is an artist.”
He also said...“That is why the nature of my sculpture is not fixed and finished. Processes continue in most of them: chemical reactions, fermentations, color changes, decay, drying up. Everything is in a state of change.”
I’ll just say again that one of the most intriguing elements about your video work is the directionality of the materials. You’re pulling them along with you, despite their painful implications. I began to consider the metaphone: The pins that prick, the pins that hold us after we’re broken, the pins that point to something. I wonder if the directionality of your body can play a larger role in these “movement video sketches”? Do the magnetic surfaces have to be your hands and feet? It’s beautiful, but I’m also struck by the tortured imagery of it all. The medical bandages make it very vulnerable - wounded even. Is there something more about the way you’re making the wounds vulnerable? Something is calling you to discover identity and this is a powerful choice. I wonder about a choreography that would have you collecting and repelling the pins…
Flavia’s response to kate’s feedback// 10-05-2018
Thanks lot for your words, feedback and questions. Indeed, convincing the body to trust again ain't easy. For me It is an everyday act of caring and patience, that more often doesn't align with my mental processes (intelect). My physicality seems to be much more slower. So, i’m learning to listen to my body’s tempo as much as i’m learning to open myself again. I still feel very protective of my own pain. It may have to do with my inability to express it / tendency to keep it all in.
I wonder if the directionality of your body can play a larger role in these “movement video sketches”?
I think it will be amazing. During this series of short videos/ experiments i was constantly thinking how wonderful could be to experiment with another body in space with objects
Do the magnetic surfaces have to be your hands and feet?
Not necessarily, the choice was very unconscious but in way limited to the size of the magnet. however, I wish i could experience the magnetic pull with my whole body. I’ve been thinking about a magnetic suit and did some experiments with magnetic tape on fabric, so far unsuccessful.
Is there something more about the way you’re making the wounds vulnerable?
This is a profound question and i don’t know what to say….
Hi Flavia! Oh so sorry to be out of time, my bad bad
Thank you for sharing your work and wonderful to see your creative exploration. Not sure if i have I’ve got format right, this is my first foray with google docs. I wish I had seen/heard your presentation, but have looked over your webpage, so, please accept these notes and observations in that context of a little ignorance. I’m trying to keep my thoughts as fresh reactions and direct responses. Here goes..
What do I see?
Firstly but more generally about your practise: I see multiple strands going on here that talk to me about materiality, performativity, movement, body, voice. Materiality seems to stands out strongly.
I see a sensitive, calm, yet playful, inquisitive explorative nature in your approach.
There’s a quiet considered tone/pitch that your voice (poetry recital) seems to set that permeates the wider body.
I understand these to be series of exercises or tests, a bit like a speed dating introduction, where there’s a declared potential for intimacy, yet there’s a little awkwardness, unfamiliarity. Your playful interrogation of things, whilst there’s some predictability (ie as we the audience have an understanding of magnetism) curiosity is still engaging. I think that to be in the ‘try out and see’ is an important experimental place/space to be in.
What I understand? This is How it makes me feel
For sure it makes me feel the same calmness, I can't help feeling engaged by your studious curiosity and a subtle sense of humour (very discreet/wry even/ wistful). Altogether your works have a slowing down effect on me. I really look, listen, become more attentive.
It feels in light, unburdened. I interpret that relations between body and object you are sharing here are in young experimental or preliminary stages, although you have extended your enquiry in magnetism, each experiment still feels exploratory stage, perhaps not tested to limit or boundary(or maybe you just haven’t shared those).
I think I feel this way because there is a mesmeric quality, that commands rhythm, almost dictating rate consumption. However, after a while i began to wonder what other tempos do you do?
How are my observations connected to other theories or bodies of work.
With regard to your relationship ie body to object, movement and so on, I can't help thinking about Pina Bausch’s thoughts/interest “it’s not how people move.. but in what moves them”.
I really like Rebecca Horn’s machinery and prosthetics, as extension to herself. (She also talks about failure, her machines are not built to be forever, but inherently struggle, fail). I wonder about whether you consider testing to boundary (you’ve talked about boundaries) ie to failure. Embracing ‘Failure’ as learning site. So far there’s a sense of safeness in your work. I think the language and outcomes of these stages (say juvenile vs mature) are very different and are potential spaces to be explored as well.
“Through an interdisciplinary re-search including: nature, science, dreams and symbolism, I intend to enrich my own process of thinking and making while addressing the subjects of space, boundaries and identity (human body).” (Can you see the comment i added? This portion of your practice statement makes me think of Rachel Whiteread)
Geta Bratescu Romanian artist, see Magnetti in Oras 1974, she died a few days ago. She had a varied practice and in many ways Approach playful like yours. Much interesting collaging going on in her practice amongst other things, being playful in studio, lines, hands video.
Flavia’s response to Polly’s feedback// 10-05-2018
Thanks for your observations! And feedback. I understand these to be series of exercises or tests, a bit like a speed dating introduction, where there’s a declared potential for intimacy, yet there’s a little awkwardness, unfamiliarity.
You understood and saw it right!. This feels very contradictory-as much as i wish to experience Intimacy once i’m there i don’t know what to do-how to behave, that triggers an immediate response mechanism: me running away from that space. I think i have both, issues with intimacy and commitment.
I really like your suggestion about embracing failure as a learning site. I’ll chew on that.
Regarding boundaries: -I didn’t grew up with healthy boundaries so i sometimes perceive boundaries as limitation that threatens and interferes with my own sense of freedom/ being. which makes me wonder about limits (either material or psychological) and how they shape one’s identity.