David Dunnet

David Dunnet’s piece - the altered readymade ‘Colour Type #1’ - a typewriter which prints in abstract coloured forms. The work investigates the coding of meaning between one system of marks and another by translating from the language of written words to that of colour. The viewer becomes implicated in the act of translation by using the typewriter and is asked to consider the relationship between the separate modes of communication. David is collaborating with Philip Morris by bringing together two complementary works which explore the audience’s relation to often unquestioned aspects of everyday life through participation.

Philip Morris

By constructing a chair from wood found in a half-mile radius around his home in South London, Philip Morris attempts to explore the limitations of found materials, juxtaposing the consistency of chair structure with the inconsistency of material.

Final design of Philips core fundamental bone structure.

n refiguring the wood he invites the public to question the beauty and functional limitation of discarded material deemed to be worthless by society. The user is asked to consider their negative relationship to waste by sitting in the chair – the work can only be realized through the contribution of the viewer

Philip’s work doubly fulfills its function by allowing access to David Dunnet’s piece.Philip’s practice confronts ideas of failure and functionalitywhilst, David is interested in the use of translation as a tool for critiquing accepted systems.

Natasha Cox

Natasha Cox will be investigating the participation of the ‘private view’ as an event.

The private view only invites a certain amount of interaction and demands we behave in a particular fashion. How do we interact /engage with each other and art works.

What unnoticed action take place at these events. Does anyone actually look at the work? What do people really talk about?

Anne de Vries
"By creating staged images with common everyday objects and removing them from their original context and stylizing it ,the artificiality of the mundane gets emphasized. The private view is a performance and the ones who attend are the performers."

Erwing Goffman explains we must look at the world through a frame, everything is performed, and this is expressed in these photographs.

Sophie Noonan

Sophie Noonan’s interest lies with identity, exploring it in a performative and installational manner, she aims to tackle questions of personal identity and our current societies obsession with our appearance, looking closely at how peoples perceptions of themselves may be reflected in how or even if the participate. Her interest in collaboration and participation has been shown through exploring notions of spectatorship and interaction, creating an experience in which your position from voyeur to participant constantly shifts. She invites you to dress and undress her, leaving her identity open to alterations and dismissal.

Natasha D'Aguiar

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Natasha D’Aguiar is exploring the unconscious. In using the participation of the audience she aims to create a stage, enabling the participant to react to the situation. Two situations will ensue, Silent Encounters and Interview Encounters. The situations will invite the spectator to become the participant by filming the sitter’s eye in a gallery context. Silent Encounters will explore the unconscious movements of the eye and the social element of communication between the artist and the participant. This exploration continues through the Interview Encounters by asking set questions in order to trigger reactions.

An Introduction

Over the next 3 weeks we will document our preparations for our upcoming event on 26th November as part of our final year at Camberwell (UAL). We invite you to come along to the event and/participate via this blog, creating an on going discussion about the exhibition, the exhibitors and how the interaction process works. Hope to see you then.