Graham Gussin, London based artist and tutor gave a lecture at the Falmouth School of Art last night. His work had only been introduced to me briefly beforehand, but his insight into his own intentions behind the work have given me a better understanding of the origins and development of his practice. TIME/SPACE/SCALE TRANSMISSION/RECEPTION PROXIMITY/DISTANCE Many of Gussin's pieces explore the concept of 'nothing', and demonstrate the process of filling a void, a whole space with one material. Equally many of his works deal with the opposite by denying the space of its original purpose, creating symbols of absence. 'Unseen Film' (2002 onwards) is a series of works where all the tickets to a cinema screening are bought but the screening is not attended. Usually, the tickets bought are for a show that screens at the same time as the opening for the exhibition where the final work is on display. It toys with the idea of reception, and the consequences of buying those tickets. What would the audience originally intending to watch the film do? Would they go to the exhibition instead? These works also could in some ways be considered sculpture; but inverted in the sense that the space is denied its reception and remains empty. SOUND / SPACE Gussin’s sound drawings are made by using computer software to map sound, indicating the presence of sound and equally language. The software responds to sound by creating a landscape where action is situated. The sounds in these works are excerpts from pornographic films. But what is more unusual is the specific quotes used are at moments of contact or sincerity between the two parties; I love it, in space there are no limits, I love it. This is heaven don’t you think? The image from the software is then translated into a drawing, converted into 35mm film and then projected on the wall. The hand-drawn nature of the work shows a physical translation through the body. A ‘ghost’ copy is created using latex drawn onto the wall, painted over and then peeled away to produce a negative drawing, much like a drawing on carbon paper. These ideas of projection and translation onto a larger scale are ideas that I have been considering for the development of my kinetic drawings. Essentially re-drawing becomes an activity of abstraction from the original, turning it into a form of code. I would also be interested to try a similar technique of visualising sounds using digital technology; my drawings in the past in relation to sound have always been hand drawn.
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AuthorThird Year BA Hons Fine Art student studying at Falmouth University Archives
April 2017
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