Project "Kill your darling"
mise en scène:

THE FINAL CONTEMPLATION/ REFLECTION

PRESENTATION about/on that a WORK is never really done (finished) so long as it is contemplated.

(This was a virtual presentation via teams with the installation visible to the viewers)

I felt uneasy with this painting and I never had the feeling that it was done. The work/ PAINTING sits there for 2-3 months and is contemplated (reflected on)
and this reflection documented, and then through the presentation itself FINALLY contemplated/ reflected on.

I make a new work – an/ the extension of it.

3 steps to the reflection:

Performative (performance)
Painting
Writing (text) / book
Final installation

I would like to add that this is something between a ritual thing and a methodology.

The book serves as a guide for the final reflection

The final reflection (presentation): I read out the text from the book, perform and introduce the ritual, and ends with blowing out the candle, closing the book.


/

to see more images of this project scroll down. Included are the additional´notes´i read out during my presentation.

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Research diary:

The research diary helped me better understand what I was researching in my paintings (overall), but also in creating my “The final contemplation” project.

I prefer to keep my research diary private, and because of this I transcribe only some things that I find currently relevant for the purpose of this presentation.

I wrote thoughts that were unfiltered, sometimes more or less coherent; but concluded that “overall the underlying tone was A FEELING OF DISCOMFORT.”

“A kind of MELANCHOLY, I was attracted to this discomfort. Recognising it in artworks resonated with me, because it acknowledges my state of being (discomfort) – and thus makes it into something important and/ beautiful.”

“I became hyper aware of things/scenarios that are discomfort , but also ´vices´ that distract from it. (assuming that the default ´feeling´ in life is discomfort) (vices being: intoxicants like drugs, alcohol, lying in bed, ???...)”

“The works not only in subject deal with discomfort, but also on a whole (body of work) to the discomforting way we consume art.”

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Furthermore, I developed an interest in 2 general archetypes which I applied to ´the artist´, I try to define their characteristics :

The 2 archetypes are based on the Greek gods Apollo and Dionysus

DIONYSIAN vs APOLLEAN artist

And ( which one am I?)

Apollean – appeal to logic, RATIONAL

Dionysian – belief in the irrational, Mystic , ROMANTIC

Through discussions with other artists I realise the line that divides the apollean and dionysian artist most of the time is very thin, and it is better to perhaps imagine it as a scale ranging from apollean to dionysian.

The Apollean and Dionysian seem to be concepts presented in dichotomy, but in this circumstance, they are somehow interconnected.

The 2 archetypes not only deal with the artist himself , but in addition also the work that speaks for itself. My big question is where would I put myself, but in order to reach this answer I think the good way of further research would be to apply my archetype scale on well-known artists from art history, and also clearly outline the parameters that define the archetypes.

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