As a part of my plan to visit museums I have never been to in London, especially smaller collections, I went to the Freud Museum at the end of July. I had heard that contemporary artists have been invited to intervene in the space and collection at Freud’s house in London. During my visit I was also impressed by the wolf paintings made by Freud’s patient Sergei Pankejeff years after he had been after a significant patient of Freud who had used his dream of the wolves in his research. Pankejeff had a recurring dream as a child of 6 or 7 wolves sitting in a tree outside his bedroom. The paintings which were made many years later have only 5 wolves in the tree but I found them very compelling and arresting as images. I am not sure if this is due to their naivety or the content as significant dreams, something that Freud obviously expanded on and which gives them a kind of power.
Mark Wallinger’s intervention in Freud’s last house in London where he lived as an exile for the last year of his life. Wallinger has covered the wall above the therapist’s couch with mirrors and plays with the role of the therapist of reflecting the client’s mind on itself. This mirror above the couch creates an illusion of space and light above us all. It also give the room an amazing verticality. I have not been in the room without the mirrors but the reflection is very powerful. The action of the window cleaner feels like a task which is complimentary to the work of the therapy/patient. The reflection of the couch alluding to the ‘magical’ effect of therapy.
The Freud Museum’s website
Las desapariciones infantiles durante el franquismo y sus consecuencias (Children who disappeared during the Franco dictatorship and the consequences)
Ricardo Vinyes University of Barcelona 2006
La infancia «redimida»: el último eslabón del sistema penitenciario franquista (‘Redeemed’ childhood: the last link in the Francoist penitentiary system).
MIRTA NÚÑEZ DÍAZ-BALART 2001
At this Monday’s hangout we were asked to make a statement about our hopes and aims for MA2
I have tried to make this into bullet points below:
- make links with local, national and international organisations involved in collaborative practice and through this make improved contact with other artists both here and abroad;
- to continue to increase visibility online through maintaining my new website and improved documentation of projects;
- develop studio practice through experimentation alongside focused research possibly with professionals from other disciplines – to make this practice work both in galleries and as site specific work.
- Experiment with working on a variety of, often found, supports and on cloth, walls, furniture alongside relocating objects from sites and adding to them.
- seek a variety of ways of funding my practice.
I feel like I need to address the question of nostalgia and my anti nostalgic sentiments. As I want to continue looking at the past this will continue to be an issue. I am also concerned that I myself do not become nostalgic for a time of greater optimism and I need to consider to what extent I am connecting with current debates. So far I have tried obscuring images using layers. These could be layers of other imagery and also more abstract mark-making which are more grid like.
for example this technique of small strokes a kind of irregularly pixelated grid obscure the reading of the individuals face. I can no longer attempt to find a likeness to someone I know or have known.
does it still show a gazing back at a more optimistic and idealistic age? A romanticised notion of living in contact with nature and animals.
In this case the faces were never given
here the faces are obscured and therefore the women no longer look like your mother/aunt etc. I think this is working better with a wider tonal range in the painting of the women (first layer).
in this monochromatic painting the first layer shows a storage warehouse in the cigarette factory with agricultural workers outside on the top layer. One can distinguish the faces of the labourers but not very clearly. there is also a confusion with the building in the back. So why look back? I am really questioning this need I have to use the old photos and I am not convinced I want to depend on this way of working. I like the idea of contemporary reenactments like Jeremy Deller(with the miners strike) but in a contemporary setting. I do not want to be stuck in the past either. The way we are working now is really important to me and I need to reflect this in my work too.