A statement of intent

Finally, after five years of research I have arrived at a conceptual standpoint from which I feel able to move forwards with making practical work. 

This has been a major stumbling block since college because it is important that your work takes on board factual contemporary thought including science, as opposed to inventing things which are obviously not true to the knowledgable or illustrating theory (unless pointing out implausible logic that is your aim of course). Before starting to seek out evidence about what I thought about embodied perception in 2007,  I hadn't  found a philosophy which I felt made any sense against my own practical experience. My chosen philosophy will now run paralel to my practical work. 

Also having been so drawn to dance as a medium, yet not being able to let go of my identity as a painter-come- sculptor collage artist, I have also had to investigate where I am situated in this respect. The opportunity to carry out primary research and talk to the very people working in this area, rather than reading others opinions in books, was made possible by working at Dance UK. It has been valuable, and the six articles that I have now written, have a life of their own as a thesis on collaboration between art and dance, and practitioners who deal with movement in other disciplines. These I hope to publish more widely.

All of this means that I am in fact now at a point where I have established a personal identity, which everything else can be evaluated against, which I needed. All that out of the way I can turn to my practical work again.

In doing this I have realised that something I have always struggled with, is genuine observation of the world around me as a starting point for the work. In other words what to look at. After a four year period of researching as opposed to making, lots of trains of thought have been dropped, leaving just the essential things that fascinate me, that have always fascinated me, which are as follows: 

• Changing perspectives in movement and parts of visual language that are related to that- scale, color, light, perspective, line, shape and more recently form. 
• Subjects have ranged from journeys, forms that evidence a passage of time/ occurrence of a sequence of events such as rocks/ costal landscapes, and the properties of materials them selves. 
• I have a strong interest in process and materials. 

Up until now, because of the indecision about where I am coming from creating inertia, it has seemed more important to establish a conceptual clarity around why it is that I feel a truthful representation of my, inhearently spatial, experience in the world, has to be one in which embodied perception and a duration of time are both evident. 

It would appear, then, most sensible thing to do next, all things considered, would be to explore some of these things through film amongst other things.