An ancient proverb says "thought is a thread and the raconteur is a spinner of yarns-but the true storyteller is a weaver".
Traditionally women would get together and work collectively on a piece(story quilts).Spinning and weaving were the single most time-consuming activities of the pre-industrial revolution. The women spent all of their lives making things which would eventually disintegrate into dust.Opinions were shared and stories were narrated around their stitch .This was the most fundamental means for communicative rationality and social activism.
I use traditional modes of expression employing old–fashioned techniques that require labor–intensive processes—obsessive, elaborate, yet impeccably manufactured.My stories are born out of these detailed time-consuming,imperfect processes. At a time when images are digitally rendered and mass produced, I am particularly sensitive to the presence of the human hand in work.
As Micheal Ginsborg-an artist with a long standing painting practice reflects,it may require careful orchestration: "The facilitation of unforeseen discoveries is what ran through the whole art of the last century,not all artists of course ,but unstable techniques,the absurd and the illogical are all about the unforeseen.Some of the methods used by artists to drive factor of randomness in their work:distraction or relinquishing control,embracing chance and collaboration,following a hunch rather than a rationale,privileging senses over intellect."
Traditionally women would get together and work collectively on a piece(story quilts).Spinning and weaving were the single most time-consuming activities of the pre-industrial revolution. The women spent all of their lives making things which would eventually disintegrate into dust.Opinions were shared and stories were narrated around their stitch .This was the most fundamental means for communicative rationality and social activism.
I use traditional modes of expression employing old–fashioned techniques that require labor–intensive processes—obsessive, elaborate, yet impeccably manufactured.My stories are born out of these detailed time-consuming,imperfect processes. At a time when images are digitally rendered and mass produced, I am particularly sensitive to the presence of the human hand in work.
As Micheal Ginsborg-an artist with a long standing painting practice reflects,it may require careful orchestration: "The facilitation of unforeseen discoveries is what ran through the whole art of the last century,not all artists of course ,but unstable techniques,the absurd and the illogical are all about the unforeseen.Some of the methods used by artists to drive factor of randomness in their work:distraction or relinquishing control,embracing chance and collaboration,following a hunch rather than a rationale,privileging senses over intellect."
For virtually all artists,the search for the unknown outcome is not only welcome but provides a driving force within the creative process.As Paula Reggo says "You are doing it to find out what the result will be." Artists want to encounter in their final work something that does not feel known to them.How do artists achieve this desired "unknown outcome" varies.
One such artist who works with the "thinking hand" is William Kentridge. His animation films are created without any definite idea,script or a storyboard , but eventually leads to compelling political discourses about apartheid,colonialism and totalitarianism.He starts with a key image drawn in charcoal .He continuously erases,reworks and rephotographs the image to eventually transform it and unravel a story told extempore which emerges from his subconscious mind.
My earlier works were more intellectual, created with the intention of responding to a predetermined concept.More recently I am inspired by Kentridge and have altered my working methodology to one driven by the power of thinking without thinking or the use of my backstage mental process called intuition.I try to deploy a furiously rapid thinking process to take spontaneous decision making.This approach has lent considerable complexity and maturity to my work .
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