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A reflective journal of my practice, process, and thoughts.

Posts tagged political myth
Mid-Point Review


The feedback I received during the crit session has already proved tremendously helpful and I’m grateful for everyone’s comments and insights - it’s so important to share work, and to ‘test’ it - is the work doing what you expected it to? This is one of the aspects I’m most enjoying about the course, being back in a shared environment with the framework in which that is an objective.

To a large extent and overall I feel as if the recurring themes throughout my crit align very strongly with my own feelings about where I am at right now, and some of the questions that would be constructive to consider. This is very encouraging.

The question of the extent to which my project is rooted in and weighted by personal history and identity, and how effective it might be in communicating something relatable on a wider scale is something I think is central for me to address, and it one of those continuous considerations that I am working to unravel. It was very valuable to hear how, for example, Betty read the project as being more concerned with a search for identity than an investigation into geography and change, and in response to this Ed said that he felt that identity was one of several subjects tied in together, being expressed through metaphor, and that the tricky part will be to communicate all of that in a way that each subject gives meaning to another. This is definitely a key objective for me now and something which I will focus on more as I work my way through the project - Aristotle describes what I am handling as a ‘phenomenal amount of data’ - and I do feel this. Identity is definitely a concern, and the way I have been approaching the project is from a point of this forming the basis, or the roots, of it and everything that follows or is overlaid or extruded from personal narrative, into something that I intend to speak more of our collective experiences in today’s geological context, and something that works outside of the confines of my own geography, or my home. More and more I am treating this project as something which is so multi-faceted that I do not, in one way, want to impose borders on it, but rather begin to focus in on one metaphor or ‘dimension’ at a time. I will be revisiting and reworking the globe-shaped project map, in order to begin working into it - the project - now, rather than reading around it. I hope to develop something compelling in that multi-faceted way, in which connections that at the moment feel like hints or confusions might emerge more thoroughly as the result of working on this for years to come.

Action Points / Development

Consider the potential of both writing, and verbal description, as a branch of methodology in the communicative behaviour of the project

Pav commented that he felt the quality of the spoken narrative in the video was more important and effective than the visual communication. This is one of a few comments that surprise me - it is intriguing and I am very eager to engage with this. I did not write a script for the video presentation. I made the video piece in a way that was possibly much less efficient than I could have, and I think that this is actually an example of my continuous approach and nature to labor over something, which often results in research dominating time I could be utilising more carefully in making. I developed the video in a very linear way, beginning to end, adding visuals and making mental notes for what I might say as I worked my way along the timeline, then made two sound recordings for the narration - a hiccupy and stumbling rough edit and then something a little better. However, I did greatly enjoy this and this is important actually in a couple of ways - I love writing and research and I have often gravitated towards those modes over visual communication. In this case, I spent much longer processing the visual work I had made and images I had collected along the way via the research than the text. This feedback is helpful also because it suggests to me that the text or the ‘non-visual’ research is at a point where I have something I can begin to articulate and make sense of in terms of a basic framework, so now I can really push forward with that framework more into visual/aural. Having said that, there is something about the spoken element which I, though I do not necessarily in any way enjoy listening to own my monotone drone, think might be worth pushing or at least reminding myself of as I work because it could inform part of the communicative behaviour of the project. Alexis provided a connection to the work of Stephen Jay Gould, explaining how “his essays sweep ideas together in classic form taking one through a disclosure of idea that eventually settles as a sedimentary bed in ones mind, creating a geology of thought”. In response to Alexis’ question, I have considered writing previously, and the feedback he has offered encourages me to revisit it in this context, and indeed how writing could form a dimension of the project in itself, in relation to the thread of historical constructs and reconstruction.

Explore the soundscape, and evaluate it’s potential relationship to the aesthetic of the project

For the Mid-Point Review video piece I wanted to record a very simple soundscape, and something that echoed the time-bound aspect in connection to the research; deep time, memory, life-span. I slowed down and amplified a recording I made of ice cubes cracking in warm water, and this together with one piano chord formed the basis of it. I did enjoy this, and I am thankful for the feedback I received as regards how the sound worked; Aristotle commented that it was significant in his reading of the project, and this seemed to be a shared interpretation amongst others in the group. The development of soundscapes in correlation to the environments that I am imagining each of those metaphorical dimensions within my project to ‘look’ like is definitely something I intend to pursue - I will continue experimentation, and I plan to make field recordings to enrich the process moving forward.

Continue to investigate: extrusion, depth maps, interaction

As I state in the video, testing and trialling methods and techniques of making the project immersive and experiential is a key objective of the project. Christopher suggested the concept of being able to navigate through the embossed landscapes in real-time, which certainly speaks to the thoughts I have regarding experimentation I plan to begin this week in connection to perceptions of the past. On the subject of the embossed landscapes, I’m grateful to Ed for pointing out that those I included in my presentation look very similar to satellite recordings of the breaking up of ice sheets in the Antarctic - this is a useful reference point. Kelda spoke about the way in which I’m currently switching between digital and physical and how that is intriguing and this is something which I have thought about quite a lot; generally I imagine this as actually being a comment within the work somewhere about the two, and about formats - I’m thinking back here a little bit to Daria Martin’s show at the Barbican which I discussed in my previous blog post, and also I am always quite mindful of, for example, the fluency of Joseph Beuys’ interdisciplinary process. I’m also very interested in Kelda’s reading that my work “has a gritty monotone approach a bit like a black and white documentary, which looks real but is a representation of the real.” Documentary is very important to me… there are a few very distinct qualities concerning direction, narrative, and truth (Werner Herzog’s pursuit of the ‘ecstatic truth’ comes to mind) which I have always been fascinated by in that field that deals with negotiating representations of the real - and persuasion. I’d like to pay some more attention to this. Dannii and Jonathan referred back to the concept of extrusion as a device which should be investigated further, and core samples as frozen records of previous events and environments, lifeforms, being literally pulled from within the earth, the question of how our behaviours will be defined in future samples - layers of plastics, the ‘unnatural’… These are certainly reflective of, and valuable extensions of, my thought process. All of the feedback I have received is beginning to inform my planning and direction, and the weight of the focus I give to certain questions that directly affect the experience of viewer.




Mountain Lake
Mountain Lake.  Salvador Dali, 1938.

Mountain Lake. Salvador Dali, 1938.

I can say without fear of falling into the slightest exaggeration that each outline of a rock, / and / of the beaches of Cadaques, each of the geological anomalies of its landscape and its unique light I know by heart, for in the paths of my wandering solitudes, it was these silhouettes of stones and its states of light attached to the structure / and the aesthetic substance / of the landscape that were the sole protagonists on the mineral impossibility of which I project day after day all the accumulated and chronically unsatisfied tension of my erotic-emotional life.
— Salvador Dali

A few weeks ago at Tate Liverpool, I rediscovered my teenage fascination with Salvador Dali. When I was 17, I obsessively dedicated my A Level Personal Investigation to exploring his twisting, turning, melting and shape-shifting personal myth-narrative in relation to psychoanalysis, hooked on his use of symbolism, and I attempted to keep a dream diary (though this was unsuccessful, because I couldn’t and still can barely ever remember any of my dreams). I also remember watching a documentary entitled ‘The Dali Dimension’ which examined the numerous scientific influences on Dali’s process and preoccupation, and this fed into my interest in wider subjects of belief, relativity and forms of knowledge which continue. Dali’s malleable appropriation of ideas with a scientific basis into poetic or suggestive questions less concerned (although I imagine he might have argued differently) with empirical evidence, challenging percieved rationality, provided me with an exciting platform for pushing my very general understandings of, possibly of the interdisciplinary scope of, art, as a young adult, and I realise now that this was the real beginning of my dedication to a practice as I moved past A Level into my BA. Dali disappeared however.

Since being surprised by the mollases-laden painting ‘Mountain Lake’ a few weeks ago, a few interesting things have occurred to me, in my remembering the bits of Dali’s life and work that stood out to me as a teenager, and I have discovered something I was (I think) unaware of: Sigmund Freud’s fascination with archaeology as a metaphor for uncovering hidden experiences, and his topographic theory of the mind.

‘Mountain Lake’ retraces the footsteps of Dali’s parents, who visited the lake after the death of his brother, also named Salvador, who died almost nine months to the day before Dali was born. The artist grew to believe that he was either his older brother’s living reincarnation, or that his brother was still existent in the form of a spectre over his life. As Tate describes, the painting combined personal and public references, with the disconnected telephone in the foreground alluding to imminent war - to be specific perhaps the negotiations between Neville Chamberlain and Hitler over the annexation of the Sudetenland in September 1938. This combination of personal past and political present seems intentionally ‘muddy’ and loaded with a kind of subconscious tension; the slippery fish-lake of memory and ebbing lucidity separating the visual or physical structures of the past, and representation of a stratified mental landscape, and foreboding communications, the tension in the onset of the unknown, in the present. A summary of ‘Freud and Archaeology’ on the Freud Museum website explains that “In clinical work, Freud was engaged in an archaeology of his own, digging into minds to uncover hidden experiences, fragments of the past that he tried to put again into a living context.”. Expounding on this, a fascinating essay from Julian Thomas (2009), available here, suggests that “Archaeology encapsulates a series of evocative themes: of repression, of loss and concealment, of discovery and revelation.”, and explains how “Freud thus sees the mind as built up through a temporal process of sedimentation, with the deeper layers being the most ancient, as in a geological formation. Yet the deepest layers of all effectively transcend time altogether, and approach the condition of being archetypal or universal.”

Dali’s methodology was clearly much influenced by this, and this returns me to considering my own practice and methodology - mining the past to point towards a future, personal narrative/past and wider ‘political’ future. ‘Mountain Lake’ is a geo-archaeological poem and a timely reminder of where I have been, in the early development of my practice a long time ago, and of how some of the concerns I had are still elements I am unravelling.

This Is_Land / Process & Print


I am still deliberating over the ‘success’, at least in terms of having positively communicated some ideas and questions, of a project I exhibited earlier this year at Artlink Hull, and carried through to the Hull Print Fair last Sunday. ‘This Is _ Land’ grew out as a branch of my research last year, when I realised that my interest in social ecology in relation to migration was very much interwoven with my concerns about geological change, and a number of broad questions bloomed from that: how do we respond to climate change or resource driven migration in humanitarian ways in an age of rising nationalism and an intoxication with borders?

The Banksy piece on Scott Street Bridge in Hull which appeared back in January. To me, it feels gesturally powerful in it’s location at the end of Hull’s City of Culture year, a city in which the majority of voters in the EU Referendum opted to Leave, something which still does not quite correlate with my experience of the general values of the people I have grown up with and around. Maybe this vote was both a decision given to the public and taken away at the same time; personally, I wonder to what extent the result was a demonstration of the stranglehold of right-leaning press and mainstream media power, and rising populism on opinion, promoting experiences of the past lived vicariously, because none of us were there when we knew economic harmony; ‘It didn’t used to be like this’, so the headlines ‘remind’ us. Fear the unknown, for it is worse than it ever was.

The Banksy piece on Scott Street Bridge in Hull which appeared back in January. To me, it feels gesturally powerful in it’s location at the end of Hull’s City of Culture year, a city in which the majority of voters in the EU Referendum opted to Leave, something which still does not quite correlate with my experience of the general values of the people I have grown up with and around. Maybe this vote was both a decision given to the public and taken away at the same time; personally, I wonder to what extent the result was a demonstration of the stranglehold of right-leaning press and mainstream media power, and rising populism on opinion, promoting experiences of the past lived vicariously, because none of us were there when we knew economic harmony; ‘It didn’t used to be like this’, so the headlines ‘remind’ us. Fear the unknown, for it is worse than it ever was.

Part of my objective with the project was, possibly, to have more of an objective. It is part of the nature of my process as it stands, that I simultaneously try to distill, while naturally abstract information. This is perhaps not especially unique, but my aim here was to explore a slightly more ‘direct’ aesthetic - to utilise saturation in order to comment on saturation, and I wanted to play with a type of visual counter-point reflective of the binary modes we are conditioned to process feeling through politically, with at least reductive and at worst catastrophic - and unwanted - results, as a way of opening up questions on what we are being fed by sensationalist news feeds and agendas. The idea of, on some level, subverting convenience was present in this as well. This began to take the form of screenprints from digital manipulations. I am always interested in the suggestion of the halftone as being a mediator, and the screen as a mechanism for processing and transferring information, conferring emotive material, the basis even of an agenda, through the code of black dots (or something like that). This is obviously ingrained in the ‘press’. In parallel to the physical work, I created a separate instagram feed for the project, and as I worked through a range of different combinations and churning of those into screens, it became increasingly clear to me, especially after the Artlink show and in evaluating that, that the digital work seemed much more potent and engaging in it’s digital form, and with the print based work I received better feedback for the pieces that were less busy, with fewer layers. In designing the digital manipulation layers for the screenprint series, drawing from sensationalist tabloid cuttings, screen grabs from pixelated propaganda films and news reports, iOS function symbols, I realise now that they became overwrought and slightly laboured, whereas the digital pieces did what I had originally intended much more effectively. This has brought about a real sense of question for me now as I move forward - what is the physical ‘stamp’ of the print doing that the digital representation isn’t. The question of what it means to digest print digitally is something which I am now thinking about a lot. This context might be creating an interesting ground for innovation in print. In an article from July 2009 on the site Printeresting, exploring a web-based program which allowed the creation of protest-poster style graphics, designed in reaction to the aftermath of elections in Iran of the same year, the term Metaprint was used to describe the generation of the work:

“At the risk of overusing the ‘meta’ prefix, the Internet seems to be creating an era of Metaprint. Historically, images had to be distributed by physical means to affect change. Now, distributed is executed through an electronic network and reaches the audience without a printed component. The print (if there is one) is the last step, a step farmed out to the audience as an optional souvenir.”

Selection of social media post collages, IG: thisis__land, 2018.

Selection of social media post collages, IG: thisis__land, 2018.

The word ‘souvenir’ connotes a number of things and if they tend to be keepsakes or tokens, then there is an element of souvenirs representing memories, or as being ‘reminders’. This is something that also fed into the act of participating in the Print Fair last weekend. Back in the lead up to my spotlight show earlier this year I labelled a number of pieces ‘Reminder’s - postcard size screen prints on reflective card representing geological change and excavation, and these were exhibited beneath larger, more densely layered collage pieces at Artlink. That particular choice of wording ‘souvenir’ in my reading of the article has a slightly negative tone which suggests that the physical piece would essentially be the inactive, obligatory object. This is interesting in itself, and while that’s not necessarily representative of how I feel at this point about print work (the physical piece can ask of a small investigation from the viewer, is a gestural communication, is a space, and is an important mode of presentation in so many ways whether this is referring to a mounted piece, a print in a smallholder’s display rack, a publication), the argument is compelling and something I intend to be mindful of in my process - the pursuit of making work engaging in a saturated environment, and using those platforms which are now very much a mainstream visual currency, inside and outside of the gallery; the screen.

In evaluating the project now, I can identify a few important action points for moving forward. The work I have made so far has bloomed into a broad collection - probably broader than I had originally intended, interrogating a range of visual sources from life rafts in online museum collections and tabloid articles perpetuating misinformed immigration hysteria, to technicolour renderings of oil spills and ecological catastrophe in 1970s National Geographic issues and photographs of thawed animal remains from the Siberian permafrost. This wide, exploratory approach both in terms of subjects and mediums has led me to reshaping my intentions. In a return to the basic questions I had at the beginning of the year, I have recently begun discussing social ecology and political myth with regards to nationalism and climate change, with Dr Jeremy F. G. Moulton, Associate Lecturer in Environmental Politics at the University of York, and these discussions are having a significant impact on my knowledge of the issues surrounding my concerns. In a collaborative spirit we are continuing to ask questions of one another’s concerns from the perspectives of our individual practices and experiences, and I am planning on publishing transcriptions of these conversations online soon, as part of a dedicated This _ Land __ site. The site will also feed from the project instagram account, and be a screen-based experience and space for continually developing visual work, as I learn more about the specific contexts I am addressing and how my experiences of those have been shaped, through related ideas and possibilities arising from collaboration.

What I stand for is what I stand on.
— Wendell Berry
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