Art | In The Process Of...

In The Process of...

an online anthology where ten artists present their creative processes together with a selection of artworks/art projects in progress

In the Process of... an online anthology where ten artists present their creative processes together with a selection of artworks/art projects in progress. Based in different countries, and working in disparate fields, the artists all share the practice of process based working methods.

Loosely connected through professional encounters and friendships, the artists are also connected by their decisions to live and work away from what might be considered the dedicated centres of art.

This web based exhibition showcases works in progress. Presenting a selection of ongoing projects and processes, in which they convey substantial aesthetic statements.

Linda Petersson Ödbring

Rebecca Ann Tess

Pinioned II

2022

Vision and Sound John Carberry

Choreography and Performance Sym Parr and Jessica Hesford

Digital Video
Monochrome
Duration 02:56
Aspect Ratio: 16:9

The central theme of the ‘Pinioned’ series is feeling trapped in repetitive cycles. With all the disruptions of the past few years I feel my days have all become virtually the same. The process of making videos and animation can become monotonous after the initial excitement wears off. Multiple takes of shots during filming and watching footage over and over during the editing process is repetitive. It requires a conscious effort to look at the subject with fresh eyes. In my work with dancers I feel they have similar problems with rehearsing the phrases and then multiple performances of the same piece.

I am inspired by David Hockney's work with polaroids. He would go from room to room in the houses he was staying at, taking a photo of each room. He talked about how he realised he was also capturing time as he went along as the sun would move in the 30 minutes or so that he was taking the photographs. Video does the same thing already much faster so I have been thinking about how to show that process in other ways. So I have been layering strips of different takes over each other.

Using multiple takes at once you see the variation and the passage of time during the process of recording the footage. It breaks up the human form in compelling ways that accentuate both the movement, and the body. Pulling and pushing the human form apart/together. It plays with the human brain's ability to seek out other human shapes, like seeing faces in clouds.

The Sound design is composed of recordings of the familiar sounds of car engines and the fan of my computer. I altered the recordings digitally to be warmer and less abrasive. I wanted to use the repetition of the mechanical devices to set the beat of the audio, and highlight the fluidity of the dancers movements.

The variation ‘Pinioned II’ is ultimately about finding new ways to stay interested in your daily grind.It can be dull, but there is some comfort in repetition and you can always do things a little differently.

John Carberry

Håkan Carlbrand

On Off Shore is an ongoing video project where I am revisiting a four year old video film project that never was shot. Using research material and location video footage I am recreating the essence of my original visions and intentions.

At the end of 2018, I started planning a video project about the careless exploitation of land in South Korea. Since I began working in South Korea in 2016, I have been fascinated by the massive tidal mudflats surrounding the country's west and south coasts. When you fly into Incheon Airport, you have a grand view of this muddy topography. From the air, it looks like a submerged empty landscape with meandering valleys and rivers. At high tide, it becomes a vast desolate flatland of mud stretching out towards the horizon.

In my outlines for the project, I wanted to create a narrative video with actors. I envisioned a story where two groups of people viewed the mudflats with opposing understandings, perspectives, and prospects. One group would represent the Korean economic elite, whose sole goal is to make as much profit as possible through the traditions of Korean finance, industry, and politics. The other contingent would have a more scientific and observational approach. All protagonists were to be anonymous and maybe even faceless. The idea was to create a collage of scenes mixing landscape footage of typical Korean mudflats with staged and theatrical scenes of actors playing out stereotyped situations, such as executive board meetings and an activist hacker den.

My intention was to capture conflicting interpretations of a specific land area and simultaneously show the indifference to the land itself that either approach would generate. The mudflats are what they are due to many factors. Human activities certainly have an immense impact, usually in a complex and unfathomable constellation.

On Off Shore – alpha version (2022) and On Off Shore – beta version (2024) are two versions that has emereged in my attempt waking up a dormant art project.

Gustav Hellberg, Goheung, 27 June 2024

Gustav Hellberg

Johanna Karlin

Borahm Kim

Roman Korzhov

The idea of demarcation lines is important to me - it continues the technique of “black curtains”, increasing the distance between “here” and “there”. The picture Fence shows a typical suburban fence of the nineties. Then the metallurgical plants were left without orders and, to stay afloat, they began to produce everyday goods: frying pans, buckets and other utensils, cutting patterns on metal sheets. People willingly bought the remains of these sheets for fences, appreciating the strength and cheapness of the product. Such fence still stands at our country house as a monument to the times of change, with a rapport in the form of quadrature of the circle. In recent years, these transparent walls have been actively replaced with solid tin sheets. As a result, the overall transparency of the allotments has been transformed into a network of intricate labyrinths.

I compose a movie of my feelings. Fragments of memories about events, paintings, chronicles of home photos. They are often self-portraits, the favourite motif is a self-portrait in a mirror, since a mirror is also a movie, transition to another dimension. Sometimes this is a self-portrait in a specific situation, sometimes in an extended time period. For example, in the picture Dream we are sitting on the sofa and somewhere nearby there is a Titian's album opened on the page The Shepherd and the Nymph. It had been opened on this page so long ago that it became the first plan. Renaissance motives are close to me, the motives of a “naked” body, not “nude”, but naked, uncovered. The dialogue of the two is taken from different time periods, the layers of the present and the past live between certainty and surprise, between two time periods two greyhounds are running... they are always naked, they are the nature.

Excerpts from Nelya and Roman Korzhovs' exhibition catalogue for the exhibition Coauthors Don’t Conclude Agreements at New Tretyakov Gallery, Moscow, 2023.

The painting Orange Rectangle Hidden Behind the Tree was born of many photographs. It is a work from the series of “self-portraits in the mirror”, where the mirror is a special entrance to another space, a kind of a slot into reality, a geometric shape and a formula reflecting something that has already happened, but at the same time, being a portal to the future. Working with a mirror is very attractive because its smooth surface levels out the natural roughness of reality. The object in it is constantly swaying and everything is displayed in reverse order. For me, this is one of the methods of extended viewing. The idea to move the mirror into the thicket, behind the house, to make a photo session for the picture, appeared a long time ago. One day we rushed to the country-house. That day was incredibly hot, the sun was so sharp that it was impossible to stay in the light. We settled down and I started taking pictures. Some time passed, we returned home. I already primed the canvas and made black curtains as a frame, but as it often happens, the picture did not correspond to the experienced state. Sometimes it's interesting to start a painting without a precise composition. I love it when the entire surface of the canvas is moving. In essence, the work of a painter is about «closer, further, warmer, colder ...» but it is the love for these showdowns that makes you paint. It seems to me that immersion in a mess of paints is the closest thing to performance. The idea with the rectangle came at the very end, when the surface was almost filled. It suddenly became clear that this crazy orange would be the sun, where the rectangular shape would work as an additional element, creating an intersection of plastic methods. Later, this picture became the centre of the work Private Life, where the horizon line was running along the edge of the bed sheet. I like painting in series.

I am attracted by movies that can remain open, where the meanings are not tied to the social, and the discovery of new meanings is possible in seemingly insignificant episodes. The exhibition presents sessions of works based on Red Desert and Zabriskie Point – movies by Michelangelo Antonioni. The picture WIND is a word from edge to edge, the landscape with the wind, the house, the smoke. The movement of the group of people is fixed in the negative, their feelings are not shown ... They are changeable ... I would like the viewer to repeat “wind, wind, wind" sounding like a blizzard ... I'm interested in the idea "the body of the landscape". On the one hand, this allows you to perceive it as your own body, on the other hand, in the landscape there is always the nature of alienation, the nature of the unknowing of ourselves.

Excerpts from Nelya and Roman Korzhovs' exhibition catalogue for the exhibition Coauthors Don’t Conclude Agreements at New Tretyakov Gallery, Moscow, 2023.