Proposal docx

Artist as a practitioner – initial proposal.​​Helen Chance.

The decision to procrastinate illicit art in Hull was one thought of over a meeting, cups of tea, previous interventions and a pinch of fortitude. Sound like a recipe for success?
I had myself, last year met with Andy P of the KAG (Kingston Art Group), we had met under the guise of looking into the available studio space at KAG, and talk soon turned to the use of illicit art works in the urban capitals of the world, how it can influence media, politics and popular culture as well as serving of reconnaissance for the artist themselves.
I had already used such tactics in the previous year, using the anonymous placement of interventions for personal interest only. Conscious of them still in place (if a little weathered and forlorn), made the decision for me to use semiotics, key visionaries from my studio practice, whilst also remaining entirely anonymous.

The concept itself is to highlight human ignorance toward mortality, fear of death and the arbitration we seek to define our existence. Through art I can portray feeling, evoke response, and prompt fictitiously, momentarily what one would otherwise angst? I have decided to remain detached from my interventions as I feel that I can express myself more freely, and use the responses to the work more productively. (Fig 1.)

The allotment itself will be the use of surgical instruments, and known patient surgery attire. Semantically my direct literature will not be present, leaving the viewer to devise strategy, adjust emotions and develop theorem.
I have a specific location in mind…a popular public footbridge which stretches the gap of now somewhat derelict landscape between the Hull Marina, adjacent to the Tidal barrier and destining at the Deep.
Steeped in history the ignored, decaying spaces are a clear match to the way one believes we behave toward impending mortality. We know that the concept exists; yet we choose to spend time there as and when we please. To juxtapose the popular destination with the use of inappropriate visual intervention is my proposal for my public art piece. (Fig 2,3,4)
I have chosen this placement in relation to the latest bout of extreme weather we have experienced, and the Hull tidal barrier being the “anti aging cream” or “SPF” that saves us from impending mortality. I dance with idea of it being a place of beauty and brouhaha visits, along with the knowing of it being dangerous, risky and well documented as such. When we pursue cosmetic surgeries, we again are aware of the risks yet we are consumed by beauty. I see the connections with human excess and the damage it has on our landscapes, as well as the decadent ignorance of the ultimate consequence.

The materials required are simple, that of medical/surgical gowns, and surgical viewing implements as previously used in a studio setting. The gowns will be hung, preferably from trees, as to work with and react, both with the public and the elements.
Whereas the speculums will be placed ideally adjacent to the permanent viewing devices already in situ on the Marina edge.
The audience target in this consideration is definitely public, non-disclosed and/or preempted. The intention of the clothing are nearly almost visual to prompt fear, disassociation, and question evident existence.
Yet the speculums are there to be interacted with and used as an alternative-viewing device aside from the conventional.

The event itself will not be publicized, promoted or hinted at in any way by myself. It will be photographically documented on placement, and I will visit the sites anonymously on prediset occasions to document any interactions, speculation or vandalism to the works.
There could be potential for media speculation, or external documentation, as this is a popular sightseeing attraction within walking distance of the city Centre.
In comparison the opportunity for damage, weathering and loss is evident in abundance as there are no assurances, contracts, insurance, sponsorship or permissions.
Due to its illicit nature I believe the location to be ultimately available, on request, without the need to pre-book and organize a slot/placement. Times and dates also become defunct. It will be a workable, flexible and affordable project for me to undertake, which harks to the direct principles of my current studio practice.

List of illustrations.​​​​​​Helen Chance.​​​​​​​​​​​​​​​​​

Figure 1.​​​​​Figure 1a.

Figure 3.​​​​​Figure 4

Figure 5.

​​​​​​​​​Helen Chance.

Map of Hull Marina. Specific sites to be finalized.


One thought on “Proposal docx

  1. Tom Conoboy says:

    I like the idea of art being made to work in different contexts from that which you would expect. Being confronted by “art” in a public space forces you to think differently about it than if you are in a gallery looking at an exhibition. That, for me, frees the art and the artist and the viewer to make more interesting connections.

    There’s an American short story writer called Donald Barthelme, and one of his most famous stories is called The Indian Uprising. It’s a very strange story, surreal and, to be honest, making little sense. Many people hate it, saying it is completely meaningless and a waste of time. They don’t understand it, or what the story is trying to do. One critic said that people who support Barthelme’s approach are ‘repeatedly stressing it must be understood within contexts that have nothing to do with the work itself.” But that is absolutely the point of it, and the critic misses this totally. The Indian Uprising is, you might say, a piece of guerilla art in itself – a completely different set of statements which have hijacked the short story form and overtaken this story. So you have to think about it differently. You have to confront the story from a different perspective than the one you would ordinarily take. And this is what your art proposal also sets out to do.

    Juan Munoz did something a little bit similar with his piece for the Tate Modern Turbine Hall installation a few years back, with all his little people hiding and looking down at you. It gave the impression that the exhibit was observing you, rather than the other way around. Again, this forces you to think differently. Your idea of using the medical implements will have the same effect.

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