Book.
Patrick Milsom
2015.
Book. (Front)
[Pencil in Orihon Book]
Provided by Artist
With this work I was
considering the actual experience of making marks, and how much of the actual
process of the mark making could be visible
Where I began looking at Rebecca Horn's Bodylandscape (2004)
Where I began looking at Rebecca Horn's Bodylandscape (2004)
Patrick Milsom
2015.
Book. (Back)
[Pencil in Orihon Book]
Provided by Artist
Recording time, date,
longitude and latitude I wanted to illuminate the actual physical process of
the work to be present without the performance being present. I like the idea that an artwork could be considered as documentation of a the performed process of making and by presenting this documentation we allude to this performance but in denying the actual we begin to imagine what might of happened. I suppose this is present in all artworks but I wander if it is more present in works that specifically deal with process?
Presenting this process in the format of a book really pushes the temporal element in this artwork, immediately using a book there is a sense of narratikve that I really like, there is also an immediate reference to eastern art and potentially the Chinese philosophy of Zen which is concerned with time and change. I like this reference and I am very tempted to explore this avenue but I also feel that this overt reference grounds this work too quickly.
With the inclusion of the GPS locations there is a definite statement of process and locations in time but is the work too focused on the actual process? The marks that are made are not very exciting in regards of the developments in my other works and I find this repetitiveness rather dull, it is far too much like my older work and the earlier experiments. My next step will be to try and make a similar work but exploring the newer mark making technique that I have been developing recently.
Presenting this process in the format of a book really pushes the temporal element in this artwork, immediately using a book there is a sense of narratikve that I really like, there is also an immediate reference to eastern art and potentially the Chinese philosophy of Zen which is concerned with time and change. I like this reference and I am very tempted to explore this avenue but I also feel that this overt reference grounds this work too quickly.
With the inclusion of the GPS locations there is a definite statement of process and locations in time but is the work too focused on the actual process? The marks that are made are not very exciting in regards of the developments in my other works and I find this repetitiveness rather dull, it is far too much like my older work and the earlier experiments. My next step will be to try and make a similar work but exploring the newer mark making technique that I have been developing recently.
Patrick Milsom
2015.
Book. (Front Detail)
[Pencil in Orihon Book]
Provided by Artist
Patrick Milsom
2015.
Book. (Back Detail)
[Pencil in Orihon Book]
Provided by Artist
an influence on this work was Martin Lewis, whose drawing and performance is really exciting, I find his use of unusual mediums really interesting, particularly his use of grease in Rub the Blemishes on a White Wall with Grease Using the Index Finger.There is a transience and temporary nature to the work, the performance of the process is a relatively arbitary task, highlighting the random blemishes creates a ephemeral constellation which could be there at one moment and the next it could be gone, but there is an extra dimension to the work that concerns the materiality of the process. The grease has a permanence to it. In my experience it is very difficult to remove grease from sirfaces, so once the performance is finished this artowork will exist for a very long time before it disappears.
Martin Lewis
Date Unknown
Rub the Blemishes on a White Wall with Grease Using the Index Finger
Hanne Darboven,
Hommage à Picasso,
1995–2006.
Installation view,
Deutsche
Guggenheim, February 4–April 23, 2006. © Deutsche Guggenheim.
Photo: Mathias Schormann
Drawing inspiration
from Hanne Darboven’s durational works like Hommage a Picasso and the obsessive
quality of recording mathematic formulas involving dates,
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