History
The
involvement of the Transvoyeur artists and events, to
the core group or collaboratve, are immensely diverse.
Please select below from the Archives to research the
history of activities:
2007
- Year (4): Independent
Research and Redefinition (National and International)
Select
to view the history months of events:
__________________________________________________________________________________________________________________
November
2007
The
Big Draw 2007 and Transvoyeur
Written by Gaynor Evelyn Sweeney.
Photographs Copyright of Artists.
30 November 2007.
1st
- 31st October 2007
Transvoyeur
and associate artists contribute to supporting a programme
for the The Big Draw 2007. Drawing sets were provided
by submissions to young budding artists who presented
work to be exhibited to the online gallery at www.tranvoyeur.com.
The artists were aged from 1 to 16 years old and
some with the help of their parents scanned and emailed
back their art. The project ran from 1st - 31st October
2007 and the submitted work to be exhibited on line in
the gallery. The objective was for the participants to
present an image of their favourite place, but the theme
was quite open and some did illustrations of their family,
pets, friends and other wonderful depictions.
The
art submitted can be viewed below:
| |
|
|
|
Amy
(Age 9). |
Sarah
(Age 8). |
Elizabeth
(Age 10). |
Andrew
(Age 4). |
| |
|
|
|
Thomas
(Age 8). |
Stewart
(Age 2). |
Anne
(Age 3). |
Kelly
(Age 11). |
| |
|
|
|
Amanda
(Age 9). |
Jonathan
(Age 4). |
Christina
(Age 2). |
John
(Age 2). |
Contact:
Gaynor Evelyn Sweeney (UK Projects Co-ordinator)
E-mail:
transvoyeuruk@hotmail.co.uk
Website: www.transvoyeur.com
The
Big Draw 2007
E-mail: admin@campaignfordrawing.org
Website: www.thebigdraw.org.uk
Part
of the Campaign for Drawing
Contact: Sue Grayson Ford (Campaign Director)
The Campaign for Drawing, 7 Gentleman’s Row, Enfield
EN2 6PT.
Tel/Fax: 020 8351 1719
E-mail: info@campaignfordrawing.org
Website:
www.campaignfordrawing.org
__________________________________________________________________________________________________________________
Live
Art in London and Online by Gaynor Evelyn Sweeney ...
Sleep with the Artist and UGLY (-).
Written by Gaynor Evelyn Sweeney.
26 November 2007.
I
am due to be in London (UK)in just over week for a few
days to complete the projects ....
Sleep
with the Artist (London/Online)
and
UGLY (-) Natural Order versus (ou)R-DNA (Selective
Audience/Participants in London)
If
you are going be about please email me at ges1967@hotmail.com
to meet up, as it is limited access to the above performances?
www.gaynorevelynsweeney.co.uk
Associated to: www.transvoyeur.com
More
information below:
UGLY
(-)
Natural Order versus (ou)R-DNA
Live Art by Gaynor Evelyn Sweeney
London (UK)
An
audience to witness a unique, exclusive and private live
art experiment to explore the concepts and processes of
natural order versus (ou)R-DNA from the constructs of
evolution, the visceral and intervention of the human
form with the transitions and shifts on the parameters
of flesh, liberties, ethics and government. The procreation
of new concepts with the desire for (re)design on progeny.
From selective breeding, societal inception, scientific
intervention, biotechnology and the genome culture. The
performance will address these and more with the audience
to determine the new human species.
This
performance is in secluded location and there are places
limited to ten members only. To be considered please contact
the artist at ges1967@hotmail.com and provide an explanation
why you should be chosen to determine the next stage in
the evolution of humanity? If you are selected by the
artist to witness, share and intervene in this experiment
she will email you the date, time and location in London
(UK).
www.gaynorevelynsweeney.co.uk
Associated to: www.transvoyeur.com
Sleep
with the Artist - Dream Sharing, Gaynor Evelyn Sweeney.
Dreams
mean different things to different people. A visual dialogue
of the human pscyche revealing a fusion of experiences
and the subconsious of the dreamer.
‘Sleep
with the Artist - Dream Sharing’ is a project where
another is invited by selected submission to spend a night
with the artist. This process will be filmed and transmitted
via the net from beginning of sleep to awaking.
The
artist and the selected participant will discuss and compare
their dreams.
For
the next eight hours both artists will produce live via
the net art cognitive of their subconsious experiences.
In
the afternoon, a psychologist will be invited to deliberate
with the artists their dreams and reflect on their visual
representations.
Web
browsers and members of the public logged on will be invited
to pose questions via email at the end of this discussion.
To
be performed in London, UK.
Dreams
and Analysis …
In
many of the ancient societies, including Egypt and Greece,
dreaming was considered a supernatural communication or
a means of divine intervention, whose message could be
unravelled by those with certain powers. In modern times,
various schools of psychology have offered theories about
the meaning of dreams.
In
the Western world, the first major work on dream interpretation
was the 2nd-century Oneirocritica by Artemidorus, which
interpreted the meaning of many subjects of dreams. Dream
interpretation was taken up as part of psychoanalysis
at the end of the 19th century; the perceived, manifest
content of a dream is analyzed to reveal its latent meaning
to the psyche of the dreamer. One of the seminal works
on the subject is The Interpretation of Dreams by Sigmund
Freud.
In
his book The Interpretation of Dreams, first published
at the end of the 19th century, Sigmund Freud argued that
the foundation of all dream content is the fulfillment
of wishes, conscious or not. The theory explains that
the schism between superego and id leads to "censorship"
of dreams. The unconscious would "like" to depict
the wish fulfilled wholesale, but the preconscious cannot
allow it — the wish (or wishes) within a dream is
thus disguised, and, as Freud argues, only an understanding
of the structure of the dream-work can explain the dream.
In every dream in which he attempts to do so, he is able
to establish a multitude of wishes on a variety of levels
— conscious wishes for the immediate future ("I
hope I pass this test".
Dream
analysis is central to Jungian analytical psychology,
and forms a critical part of the therapeutic process in
classical Jungian psychoanalysis. Although not dismissing
Freud's model of dream interpretation wholesale, he believed
that Freud's notion of dreams as representations of unfulfilled
wishes, to be simplistic and naive. Jung was convinced
that the scope of dream interpretation was larger, reflecting
the richness and complexity of the entire unconscious,
both personal and collective. Jung believed the psyche
to be a self regulating organism in which conscious attitudes
were likely to be compensated for unconsciously (within
the dream) by their opposites.
In
1954, Calvin S. Hall developed a theory of dreams in which
dreaming is considered to be a cognitive process. Hall
argued that a dream was simply a thought or sequence of
thoughts that occurred during sleep, and that dream images
are visual representations of personal conceptions. For
example, if one dreams of being attacked by friends, this
may be a manifestation of fear of friendship; a more complicated
example, which requires a cultural metaphor, is that a
cat within a dream symbolizes a need to use one's intuition.
For English speakers, it may suggest that the dreamer
must recognize that there is "more than one way to
skin a cat." or in other words, more than one way
to do something.
Dreams
and Art …
Dreams,
rich in visual imagery and symbols, are a natural well
of creative inspiration for artists. While some artists
use the energy of a dream to express a powerful idea,
others use their art as a means of exploring their dreams.
References
to dreams in art are as old as literature itself: the
story of Gilgamesh, the Bible, and the Iliad all describe
dreams of major characters such as Callum and the meanings
thereof. However, dreams as art, without a "real"
frame story, appear to be a later development—though
there is no way to know whether many premodern works were
dream-based.
In
European literature, the Romantic movement emphasized
the value of emotion and irrational inspiration. "Visions",
whether from dreams or intoxication, served as raw material
and were taken to represent the artist's highest creative
potential.
In
the late 19th and early 20th centuries, Symbolism and
Expressionism introduced dream imagery into visual art.
Expressionism was also a literary movement, and included
the later work of the playwright August Strindberg, who
coined the term "dream play" for a style of
narrative that did not distinguish between fantasy and
reality.
At
the same time, discussion of dreams reached a new level
of public awareness in the Western world due to the work
of Sigmund Freud, who introduced the notion of the subconscious
mind as a field of scientific inquiry. Freud greatly influenced
the 20th-century Surrealists, who combined the visionary
impulses of Romantics and Expressionists with a focus
on the unconscious as a creative tool, and an assumption
that apparently irrational content could contain significant
meaning, perhaps more so than rational content.
The
invention of film and animation brought new possibilities
for vivid depiction of nonrealistic events, but films
consisting entirely of dream imagery have remained an
avant-garde rarity. Comic books and comic strips have
explored dreams somewhat more often, starting with Winsor
McCay's popular newspaper strips; the trend toward confessional
works in alternative comics of the 1980s saw a proliferation
of artists drawing their own dreams.
Dream
material continues to be used by a wide range of contemporary
artists for various purposes. This practice is considered
by some to be of psychological value for the artist—independent
of the artistic value of the results—as part of
the discipline of "dream work".
The
international Association for the Study of Dreams holds
an annual juried show of visual dream art (Reference:
http://www.wikipedia.org/).
__________________________________________________________________________________________________________________
Tony
Knox Leaves Transvoyeur for a Year Long Research Project
and Independent Pratice.
Written by Gaynor Evelyn Sweeney.
Photograph Copyright of Artist.
19 November 2007.
Tony
Knox, one of the founding members to Transvoyeur, leaves
to commence a year long research project in his independent
practice. He wil expand his previous cultural enquiry
of post modern hero in popular culture and the demise
of Mothman, a pseudo alter ego.
For
further information on his independent practice and upcoming
events got to:
www.tonyknox.org.uk
www.podgy.org.uk
www.mothman.org.uk
__________________________________________________________________________________________________________________
Poems
and Art: Liverpool's 800th and Ghana's 50th by Gaynor
Evelyn Sweeney and Kofi Fosu Forson.
Text and Art by Gaynor Evelyn Sweeney and Kofi
Fosu Forson.
16 November 2007.
The
artists Gaynor Evelyn Sweeney and Kofi Fosu Forson have
exchanged cultural discourse through their creative practices
and philosophies since 2003.
Sweeney was born in Liverpool, England, and returned in
her early thirties with her art. Forson, originally from
Ghana, West Africa, moved as a child to New York with
his family where he still resides.
Both
these places celebrate anniversaries in 2007. Liverpool
celebrates its 800th Anniversary as a city, while Ghana
commemorates it’s 50th Year of Independence. For
the two places this year is a notable one to the culture,
heritage and peoples.
Sweeney
and Forson adopt this theme of the anniversaries and through
prose and visual art explore their cultural heritage of
each respective place.
Gaynor Evelyn Sweeney
The poetry project I wish to do is more one of spontaneous
response, so I have taken a Dadaist approach. I have adopted
the lyrics from 'You'll Never Walk Alone' and fused with
a poem of my own, by combining the texts of the iconic
verse now synonymous with Liverpool, particularly football,
combined with my own prose is similar to that of the reformations
the city is going through.
Similar in the approach of hybridisation, the process
is one of taking the institutionalised and through deconstruction
and reconstruction new modes of thinking and expression
are realised and this simple theoretical and innate approach
is cognitive to the transitions Liverpool is experiencing
in its 800th Anniversary in 2007. It is comparable to
the multi-cultural amalgamations that have brought forward
the diversity in this city. This titled ‘Contemporary
800th Perceptions’.
When reading the words, it is interesting to address the
text in its own new form. The words fortify a 'Renaissance',
the old and iconic, ingrained in the culture of the city,
but to evolve into something new. In a similar way, the
auto biographical stance applied here by combining something
from myself to that which is institutionalised has been
implemented to the construction of the image.
I
have taken an archival photograph of Mill Road Hospital,
the Maternity Wing and one of myself as a baby and overlaid
with each perceptible. This was a very old and part of
the Victorian reformations in the history of the Liverpool.
I would have been one of the last babies born there in
its latter years.
Both
these methods in the prose and imagery are one to take
the iconic in the history of the city and reflect in terms
of my own shared experience as someone born here within
the 800 year chronology of the city.
Birth
of Contemporary 800th Perceptions
When you walk through a storm
Dance on the edge of the living sea
Hold your head up high
And let the water caress your toes
And don't be afraid of the dark
Laugh silent in echoes of seagulls cries
At the end of a storm is a golden sky
Between Elysium and Hades repose
And
the sweet silver song of a lark
Dance on the edge of the living sea
Walk on through the wind
And let the water caress your toes
Walk on through the rain
Laugh silent in echoes of seagulls cries
Tho' your dreams be tossed and blown
Between Elysium and Hades repose
Walk on, walk on with hope in your heart
Dance on the edge of the living sea
And you'll never walk alone
And let the water caress your toes
You'll never, ever walk alone
Laugh silent in echoes of seagulls cries
Walk on, walk on with hope in your heart
Between Elysium and Hades repose
And
you'll never walk alone
Dance on the edge of the living sea
You'll never, ever walk alone
And let the water caress your toes
Kofi Fosu Forson
After
my brother committed suicide in 1994, I found it urgent
to retrace my steps to the very country I had been displaced
from, Ghana. For starters, I wrote several poems in his
honour. What these poems did is place me back where I
grew up. It was a politicizing of my heritage and culture.
I
found a deeper meaning in my status as a New Yorker. I
questioned my friendships with Caucasians, especially
women who formed a balance in my practice. Not having
ever been a follower of politics, I attempted to learn
about Nkrumah and the founding fathers of my beloved Ghana.
The image followed the tradition found in the poem, which
was honouring Ghana's 50th. Originally, the b 'n white
photograph was a portrait of me honouring my identity.
It carried over into honouring Ghana. The miscue on the
nose makes for a deterrent from what would seem self-serving.
It gives the impression of a mask which I like very much.
Mother
Ghana
(My Scent is in Sekondi)
Nkrumah, we’re calling on you
Surrender the earth to mother Ghana
Fifty years since our independence
That day at midnight, your words spoke…
“Our independence is meaningless if not linked
…With the total liberation of Africa.”
Western Sons have fetched Apollo 1:
Space to afford many more moons
Together in creating peace
Streets catapulted to kpanlogo
People danced on La beach
To the spirit of High-Life
Year I was born, you had been overthrown
Ghana made it to Mexico
Could it have been the living among us
Answering our prayers?
My mother was Owunta, gave birth to twins
I lived in Osu. My scent was in Sekondi
Carried with me flavour of house wives
Smell of fried plantains wafting in the air
Far from the city of Accra, its fishermen
Contemplated the pull, mastered the wait
Dreams of villages came to us like water
Touching the shore
For
further information on the artists go to:
Gaynor
Evelyn Sweeney:
www.gaynorevelynsweeney.co.uk
Kofi Fosu Forson: http://kofosu.blogspot.com/
In
affiliation with Transvoyeur: www.transvoyeur.com
__________________________________________________________________________________________________________________
'Because,
I Love You!', Photographic Series by Gaynor Evelyn Sweeney.
Text and Photographs by Gaynor Evelyn Sweeney.
16 November 2007.
'Because,
I Love You!' Series, Monoshame, Pretend and Hide,
Photograph by Gaynor Evelyn Sweeney, 2007.
'Because,
I Love You!' Series, Seven Days to Lose Yourself and One
More for Goodluck,
Photograph by Gaynor Evelyn Sweeney, 2007.
'Because,
I Love You!' Series, Lose and Lost,
Photograph by Gaynor Evelyn Sweeney, 2007.
'Because,
I Love You!'. Photographic images taken, black and white
to denote harsh reality, which is quite often reversed
literally in the situations to escape or as a coping strategy.
The eyes to denote the humanity of the person within.
Then morphed in the colour version which is digital modified
to dehumanize the subject.
Abuse
in relationships is something encountered even in the
most respectable of homes and usually these the best well
hidden. Domestic violence is still a prevailing symptom
of the human condition where relationships break down,
the oppressor and the victim. It becomes a secret filled
with shame, but this perpetuates a cycle of domination
and victimisation. Like most abusers, to the outside world,
they are the nicest of people, but there is a twist in
their personalities. Usually able to emotionally manipulate
not only their partner, but family and friends. Their
guise a duality of extremes. Anything, can trigger them.
The simplest of things that does not please them.
These
individuals, not all the time, but generally tend to be
habitual liars along with the propensity to blame the
victim and find fault and criticism in all they do. Sexually
relations are forced and fidelity alien to the abuser.
Anything in their eyes is permissible and they see no
wrong in their actions. The abused becomes trapped, firstly
by the shock of the first incidence, the following times
by shame and so the cycle becomes established, concealing
the marks with clothing, makeup and more. It is one that
is destructive and can end up in fatalities, not on only
the potential of the abuser killing their partner with
the regular violence, but indeed the victim themselves
one day fighting back and retaliating. Survival will always
rise.
This
is a taboo subject and as a human and artist I believe
one not for shame, because the clandestine, brutal and
sinister nature of this only allow such to continue. It
is subject needed to be confronted and addressed.
For
further information on support go to contact: www.womensaid.org.uk
Gaynor
Evelyn Sweeney: www.gaynorevelynsweeney.co.uk
Affiliated to Transvoyeur:
www.transvoyeur.com
Ragdoll
Stories
He
said, "She was not 15 years old! She told me she
was 18!"
She
replied, "Come off it! She looked 15 and turned out
to be that age! You and your friend are disgusting!"
He
avoided, "Shut up! I do not want to hear it? I have
heard enough!"
She
retorted, "So, shut up and put up! Is that it! The
way your mother said! Excuse it to that he and you were
drunk! That gives credence to someone sexually assaulting
me in my own home, while you try it on with a child? Well!
Go on do your usual? Justify it, the way your family and
friends have!"
He
shouted, fists clenched, "I have had it. Shut the
f@ck up! I do not care!"
Interval
... Legs kicked black and blue, as she sits!
Finale,
He
wants a lift from his mate, so he wants to protect his
friends. He blames her. She is at fault. He is willing
to lie to save face and as long as he can still be friends
and get that lift.
She
sits alone, at least she is not thrown about anymore like
a ragdoll ...
__________________________________________________________________________________________________________________
Call
for Submissions ...
Love and Death by Gaynor Evelyn Sweeney.
14 November 2007.
The
familiar saying of the spirit is willing, but the body
is weak, made me think about a film where a lover willed
themselves to die and other examples of old couples, where
one dies and the other soon follows of a broken heart.
Morbid
romanticism maybe, but it does happen. Maybe easier to
carry over into the next incarnation to meet up again,
rather than live without that implicit bond.
Then
there is that where love is taken and not reciprocated
until there is nothing left to give, life itself carries
no meaning. So, start again in the next and hope it is
better as explicated in the novels and poetry of Romanticism,
so very much ingrained into costume dramas of the 20th
and 21st centuries. Where lovers are spurned by cruelty
and commit suicide, but not always, as a willingness is
expressed in these literary tales of preferring mortality
than a loveless existence. They simply give up and prefer
that cold touch of Death to carry them to the next realm.
In
the development of a new piece of art by myself over the
next four weeks, I would like artists to submit a sketch
of a vision that conveys the concept of ‘Love and
Death. I will select a series of ten and from these compositions
construct into a conceptualised live art piece to be embodied
and performed on line in conclusion of this project. The
final piece of art will be a fusion of expressions on
the theme from different view points collated to imbue
a sense of the universal that we all experience. For further
information please email you sketch to ges1967@hotmail.com.
Lord Byron
(Written 1824, First published 1887).
I
watched thee when the foe was at our side,
Ready to strike at him --- or thee and me,
Were safety hopeless --- rather than divide
Aught with one loved save love and liberty.
I watched thee on the breakers, when the rock,
Received our prow, and all was storm and fear,
And bade thee cling to me through every shock;
This arm would be thy bark, or breast thy bier.
I watched thee when the fever glazed thine eyes,
Yielding my couch and stretched me on the ground
When overworn with watching, ne'er to rise
From thence if thou an early grave hadst found.
The earthquake came, and rocked the quivering wall,
And men and nature reeled as if with wine.
Whom did I seek around the tottering hall?
For thee. Whose safety first provide for? Thine.
And when convulsive throes denied my breath
The faintest utterance to my fading thought,
To thee --- to thee --- e'en in the gasp of death
My spirit turned, oh ! oftener than it ought.
Thus much and more, and yet thou lov'st me not,
And never wilt ! Love dwells not in our will.
Nor can I blame thee, though it be my lot
To strongly, wrongly, vainly love thee still.
More
information is available at:
www.gaynorevelynsweeney.co.uk
Affiliated to:
www.transvoyeur.com
__________________________________________________________________________________________________________________
Artists
Life for Sale
Gaynor
Evelyn Sweeney.
12 November 2007
I
have been in Liverpool now about, I think, seven years.
Now ready to move on again. In preparation for this change,
I am selling off all my household belongings, art and
art materials to start completely afresh in 2008 for the
big move. This will help finance the new start and get
rid of everything.
I
have too much to list, but for insight, books, wooden
booksheleves, drawers, an array of art materials, large
wooden tables, mirror, kitchen gadgets, cooker, fridge
freezer, sofa and sitting rooms things, beds and much,
much more. Plus, a large selection of art on limited edition
original prints, paintings, etc..
If
you fancy to come and view and make an offer on anything
please contact me, Gaynor Evelyn Sweeney, at ges1967@hotmail.com.
Literally, everything in the household and art items much
go!
Everything
must go ... SALE!
__________________________________________________________________________________________________________________
What
is Live Art?
Synopsis and Reference Sources by Gaynor Evelyn Sweeney.
09 November 2008.
Live
art, or rather formerly known as performance art, is something
derived in earlier history of Dadaist performers, those
who did physical performance as a commentary to the socio-political
and cultural transitions in the lead up to World War II
through to explorations in the sixties and onwards, happenings
by likes of Warhol, Ono, the Fluxus and more. It has evolved
since and one that takes the spatial and temporal concepts,
whether the politics of the body, urban, the institution
and so on. They test parameters of not only flesh, but
the environment it pervades and the societal ideas behind
it. It quite often adopts from other art forms to hybridise
cultural expression with its origins firm within Fine
Art, as well as other inspirations. It is one inclined
to the contemporary, such as the moment, with an intrigue
expressed to technological advances whether by new media,
science and more, such as adopted by Orlan, Stelarc, Franko
B and many others.
It
lends from theatre only by technical process, but not
concept, as performance art is not theatre. It does not
apply the genre of narrative or performance for solely
entertainment value, but to conceptualise from the inner
being to the shared experience of audience. A sense of
the surreal. The discriminating terminologies to the fields
of ‘performance art’ and that imbued in theatrical
production or similar is ‘performing arts’.
Performance
art is not to emulate direct another art form, but to
fuse those visual keys points through the body something
inherited with a contemporary twist. It has to be more
than the re-enactment of another art form and touch on
the modern and post modern, otherwise it loses it function,
purpose and rationale and the art is restricted to the
genre of the specific field in history. It challenges
perceptions and combines innovation of theory, practice
and philosophy to the conventional constructs of art history.
Robert Pacitti, founder of the Pacitti Company, had an
astute way of looking at it. He considered it more a process
of ingredients, as in a cookery book. This is an ideal
way of seeing it.
This
is only a summary analysis of performance art and there
are many other sources that can be accessed for an enlightenment
to this.
Another
wonderful approach to understanding performance art is
that by Joshua Sofaer, who did an innovative pack. This
is informative, educational and insightful and particularly
the relationship between fine art and performance. Not
the emulation of another specific art form:
http://www.thisisliveart.co.uk/projects/live_culture/performancepack.html.
For
further information on understanding performance art in
the 21st century is explicated perfectly at the Live Art
Development Agency:
http://www.thisisliveart.co.uk/about_us/what_is_live_art.html
What
is Live Art?
Live
Art is now recognised as one of the most vital and influential
of creative spaces in the UK. Live Art is a research engine,
driven by artists who are working across forms, contexts
and spaces to open up new artistic models, new languages
for the representation of ideas and new strategies for
intervening in the public sphere.
Influenced at one extreme by late 20th century Performance
Art methodologies where fine artists, in a rejection of
objects and markets, turned to their body as the site
and material of their practice, and at the other by enquiries
where artists broke the traditions of the circumstance
and expectations of theatre, a diverse range of practitioners
in the 21st century – from those working in dance,
film and video, to performance writing, socio-political
activism and the emerging languages of the digital age
- continue to be excited by the possibilities of the live
event.
The
term Live Art is not a description of an artform or discipline,
but a cultural strategy to include experimental processes
and experiential practices that might otherwise be excluded
from established curatorial, cultural and critical frameworks.
Live Art is a framing device for a catalogue of approaches
to the possibilities of liveness by artists who chose
to work across, in between, and at the edges of more traditional
artistic forms.
Live
Art has generated what Joshua Sofaer has referred to as
‘an explosion of conventional aesthetics’
as a gene pool of artists, whose work is rooted in a broad
church of disciplines, have crossed each others paths,
blurred each others edges and, in the process, opened
up new creative forms.
To
talk about Live Art is to talk about art that invests
in ideas of process, presence and experience as much as
the production of objects or things; art that wants to
test the limits of the possible and the permissible; and
art that seeks to be alert and responsive to its contexts,
sites and audiences.
Live
Art offers a space in which artists can take formal and
conceptual risks, create a context to look at different
mediums of expression, explore ideas of process, presence
and endurance, and investigate relationships with an audience.
For
many artists Live Art is a generative force: to destroy
pretence, to create sensory immersion, to shock, to break
apart traditions of representation, to open different
kinds of engagement with meaning.
Live
Art practices have constructed new strategies for the
expression of identities and for many women, gay, culturally
diverse and disabled artists, Live Art has proved to be
a potent site, where the disenfranchised and disembodied
become visible, and where the politics of difference are
contested.
Disrupting
borders, breaking rules, defying traditions, resisting
definitions, asking awkward questions and activating audiences,
Live Art breaks the rules about who is making art, how
they are making it and who they are making it for.
Live
Art practices have proved to be especially equipped to
meet the complexity and sophistication of contemporary
audiences’ values, identities and expectations.
Live Art questions assumptions and defies expectations
about who an audience can be, what they might be interested
in, and the means by which they can be addressed.
Live
Art occupies a huge range of sites and circumstances,
from the institutional to artist led interventions; from
actions in galleries and performances in theatres, to
artists working outside of the constraints of official
culture, within civic or social spheres, in challenging
and unexpected sites, or at the points where live and
mediated cultures converge. Some may experience Live Art
in a gallery, others in a theatre, and others still as
an occurrence in some unusual location or a process in
which they are involved. Live Art can also span extremities
of scales – from intimate one on one encounters,
to civic spectacles, to the mass participation of virtual
events. Wherever they may take place or whatever shape
they may be, Live Art practices are concerned with all
kinds of interventions in the public sphere and all kinds
of encounters with an audience.
Live
Art offers immersive experiences, often disrupting distinctions
between spectator and participant. Live Art asks us what
it means to be here, now. In the simultaneity and interactivity
of a media saturated society, Live Art is about immediacy
and reality: creating spaces to explore the experience
of things, the ambiguities of meaning and the responsibilities
of our individual agency.
Live
Art is on the frontline of enquiries into what our culture
is and where it is located, who our artists are and where
they come from, what an audience can be and how they can
be addressed.
__________________________________________________________________________________________________________________
Transvoyeur
Recommendations ...
Dollman's
Blonde Sparkle Xmas Disco
Saturday
15th December2007
Tickets:
£7.99
Walk
the Plank
Fitzcarraldo Boat
Canning dock
Liverpool
Merseyside
UK
8.00
pm - 3.00 am
Contact:
dollmandisco@hotmail.com
www.garysollars.co.uk
Graphic
Design by Sean Kenny
(seankennyarts@yahoo.co.uk).
__________________________________________________________________________________________________________________
'Flesh'
Abstract Series Part II by Gaynor Evelyn Sweeney.
Written by Gaynor Evelyn Sweeney.
Photographs of Art by Gaynor Evelyn Sweeney.
02 November 2007.
Cock
(Abstract), 2007.
Cunt
(Abstract), 2007.
M'engage
et toi (Abstract), 2007.
Female
Nude #1 (Abstract),2007.
Female
Nude #2 (Abstract),2007.
Self
Portrait (Abstract), 2007.
Male
Portrait (Abstract),2007.
Female
Portrait (Abstract), 2007.
Portrait
of Knox (Abstract), 2007.
__________________________________________________________________________________________________________________
'Flesh' Abstract Self Portrait Series by Gaynor Evelyn
Sweeney.
Written by Gaynor Evelyn Sweeney.
Photographs of Art by Gaynor Evelyn Sweeney.
02 November 2007.
The
'Flesh' series is an abstraction of the self portraiture.
They are not representation of meaning with interpretations
to likeness, such as in realistic self portraits to represent
the likeness of the author. These are one where the function
and rationale to the representations have shifted to the
higher, abstraction to imbue a sense of the self in the
media. It does not refer to visual experience, but the
concept embodied. How these are perceived by another’s
subjective interpretation dependents on the cognitive
framework and not the creator. In essence, these abstractions
are simultaneously a reflection of artists vision in terms
of the self and that of the viewers own mind. ‘Flesh’
is that of the body, the sensual, the transformed and
more experienced by the artist.
(Oil
on Canvas Project, 2007).
__________________________________________________________________________________________________________________
Artist
and Philosopher Genderised: Kofi Fosu and Gaynor Evelyn
Sweeney.
Written by Gaynor Evelyn Sweeney.
Photographs of Art (c) Artists.
01 November 2007.
The
role of the artist is both viewer, philosopher and recorder.
One of communication, exchange and object of art to artefact.
Kofi Fosu and I through discourse on a manifold of subjects
on gender, ethnic, sexual and body politics have been
deliberated in a full spectrum, roles undulating from
artists to muse, as subject and mentor, to challenge and
inspire new modes of thinking and expression. Through
creative and ideoligcal exchange since 2003 the two artists
have produced impressions of portrait to reflect and embody
the other. The female artist as perceived by the male
and equally so from the female artists vision.
Portait
of Gaynor Evelyn Sweeney by Kofi Fosu.
Portait
of Kofi Fosu by Gaynor Evelyn Sweeney.
__________________________________________________________________________________________________________________
