Wednesday, 18 November 2009

Description of Tom Epps' Encounter












Due to the rain coming down when I presented my encounter, there is no documentation of it so I thought that I would share the few pictures that I took earlier in the day and say a few words about it.

With my encounter I wanted to add some interaction with the group as a collective as opposed to it being a singular experience and considering my writer background I wanted to add some words.

I found a space just outside of the Valentine building, going down some steps, below ground level, to a door. The area down the steps looked like it had been a place completely forgotten about by people for a time, but still being affected by it. Having litter down there, a degraded little door covering some piping and a metal grate over some water that seemed to be collecting litter as well as leaves and cobwebs. This reminded me of my Nan's orchard as a child.
So I decided to impose myself upon the encounter by taking the group down this set of stairs I asked them to stand on the steps like an audience as I sat on the wall above the encounter and read them this short verse:
The urban decay,
The waste of the nation,
Youth, youth, youth
Decay
Isolation play,
Degeneration,
Take what you can from this station,
The urban decay,
The waste of the nation.
I then wanted some small physical documentation of their own experience or reaction to this encounter so I asked them all one by one to offer a word or sentence after reading this and then asked them to remain and experience the encounter for as long as they felt comfortable and removed myself from it.
The responses given were as follows:
Darkness,
Dreary Doorway,
Trapdoor,
Gridlock,
Cellar Door,
Cobwebs,
Little spider's temporary home.

Wednesday, 4 November 2009

Chloe's Encounter with a Stranger by Emma Maxfield

As we walked around the edge of the contemporary arts building, we saw an inconspicuous tree highlighted by a collection of found objects. Due to the recent building works on campus, this was quite an unusual collection. Why Chloe had selected this specific site was not at first apparent to me. However the objects around it were very intriguing; Plastic security tape, A traffic cone, a strange metal coat hanger shaped object, which was later identified as an attachment for a tractor for levelling the ground, a large cable reel and a big stone.
Next to the tree was a chair. We took it in turns to sit in the chair that looked back towards the contemporary arts building. It was not until this point that I noticed a large and appealing tree, with only half of its leaves left in autumn shades of brown and yellow the rest lay on the floor. Also in front of me was a collection of mushrooms on the ground. Many members of the group found that the levelling tool was particularly interesting, going closer to find out what it was and what it meant to the installation. I particularly found the mushrooms interesting and aesthetically pleasing.
After experiencing this piece, I realised the importance of framing a piece of artwork or performance. The substance of a piece of work can be easily lost without the appropriate boundaries.

Encounter 3....

thinking about space again....

the holding power of the space seems to create the potential for dialogue

how to be aware of all the influences on an incredibly diverse space? does the performer/performance define the space or is it the observer, perhaps the camera?

do we just attempt to make vistas and open doors and windows....

jointly revisiting a space with Emma was illuminating - the textures and properties of the space seemed to become more tangible, layering one on top of the other: silence on silence we loved

Gallery of Moments

http://www.flickr.com/photos/43605447@N08/4011322600/

http://www.flickr.com/photos/43605447@N08/4011323882/

http://www.flickr.com/photos/43605447@N08/4010559423/

http://www.flickr.com/photos/43605447@N08/4010560957/

http://www.flickr.com/photos/43605447@N08/4010562073/

Here are the links to a small selection of photos I took over the course of the Creative Weekend.

I have chosen carefully to try and highlight some of the most significant moments for me that I managed to catch on camera.

Photo 1 - From Carola's workshop, Lisa clearing everything off the table. I love how this photo captured the motion of the movement as well as the movement itself. If you look closely you can see the sweeping of Lisa's hand underneath her. Hannah seems perfectly placed.

Photo 2 - Fred McVittie's Youtube channel of 'The Conference Report'.

Photo 3 - Fred McVittie's internet blog 'The Conference Report' which I feel inspired the idea of this blog.

Photo 4 - Me trying to photograph myself from above as though from the perspective of the 'Map'.

Photo 5 - On the way back to the studio after my tour I caught an image of Emma on her tour. I love the accidental line of pink reflection that runs through this photo.

To see more of these photos follow http://www.flickr.com/photos/43605447@N08/

Rachel Rimmer

Sunday, Encounter with a Stranger Video Documentation

Anna Fenemore is a lecturer in theatre and performance (Physical Theatre) at Leeds university. On sunday she came in and took us for a workshop on experiencing creativity.

At the start of the workshop Anna asked us to draw a map on the world on a piece of paper without any guidance or references and to see how they came out. When we gathered together and looked at the maps we could see that everyone had put the UK at the centre of the map and had drawn it far bigger than it should be, she used this exercise to illustrate to us how we are all at the centre of our own worlds and how our own experiences always seem huge, even though in relation to the world they are small.

Video:
http://www.youtube.com/watch?v=cmXCnw4RqDM
http://www.youtube.com/watch?v=CBEMdn086l0

Then she set us a task to walk around the area outside of the building, walking for ten minutes and recording any 'milestone' experiences we had on the walks.

Video:
http://www.youtube.com/watch?v=uz4RyRbTGlM

Then when we came back and created a rough map of our routes and marking our points of interest and told that we will have to make an installation for exeryone to experience at our points with the task of creating 'An encounter with a stranger'

Video:
http://www.youtube.com/watch?v=mrvRFhQs4q8
http://www.youtube.com/watch?v=fChQ4IPaGe8
http://www.youtube.com/watch?v=pEnHO4R4yoU

We were then asked to set up anything we needed at the point of interest and then to set a route that we were going to take on the map to experience everyones encounters.

Video:
http://www.youtube.com/watch?v=150zCp2gxtA
http://www.youtube.com/watch?v=Q1-EZiWkKeE

We then went out on our route and experienced everybodies encounter with a stranger.

Here are the videos from my phone of the encounters:

Emma M: http://www.youtube.com/watch?v=7BB43WYFH_4

Rachel: 1: http://www.youtube.com/watch?v=rMa6cEe68Lw
2: http://www.youtube.com/watch?v=_cG2wRgsC8c

Lisa: 1: http://www.youtube.com/watch?v=qMBtDqNoBNo
2: http://www.youtube.com/watch?v=dF9HU4fmoU0

Hannah: http://www.youtube.com/watch?v=UZIqGv4gODc

Chloe: Part 1: http://www.youtube.com/watch?v=z3FsVXhMd9I
Part 2: http://www.youtube.com/watch?v=beRFTy-4TO8

Emma T: 1, part 1: http://www.youtube.com/watch?v=cDgogXRmu-c
1, part 2: http://www.youtube.com/watch?v=a07N1L15u_Q
2: http://www.youtube.com/watch?v=pOivzR46kek
3: http://www.youtube.com/watch?v=iiSMAcICE9g
4: http://www.youtube.com/watch?v=cLv_2jomYuI
5: http://www.youtube.com/watch?v=ymvw0KSdGYI

After experiencing the encounters we were then asked to get into pairs and to create a response to the encounters or to a specific encounter and to create an installation.

Here is a video of Tom and Rachel explaining the task:
http://www.youtube.com/watch?v=OrAk1rhpZ6s

Here are the videos of the response installations:

Tom and Rachel: http://www.youtube.com/watch?v=lOQslnBmGOM
Chloe and Emma M: Part 1: http://www.youtube.com/watch?v=-i8qnoEBA4w
Part 2: http://www.youtube.com/watch?v=heSy9SJzbwk
Lisa and Emma T: http://www.youtube.com/watch?v=2j_vOmsTDBg

We then went back to the dance studio and we reflected on the responses.

Video:
http://www.youtube.com/watch?v=ba5M0Eyy5a8

Then Anna went on to discuss the theory behind the differences in mapping and touring and how this can help our creative process.

Video:
http://www.youtube.com/watch?v=AYgvAroV4Rw
http://www.youtube.com/watch?v=_8sc3uQfBZw

She then rounded the workshop off on some discussion on theory on documentation and it's different types and how that can be essential to us as contemporary artists.

Video:
http://www.youtube.com/watch?v=sCelO0yu69g

These photographs document Chloe Hynes' installation


Chloe happened upon these mushrooms which were a perfect natural element of her installation



I felt that this plough that she dragged over to include in the installation
visually echoed the way that the mushrooms sprout through the ground.

Photographs by Emma Thackham

Creative Writing Tasks

Here are some results of the creative and collaborative writing exercises undertaken with Carola Boehm

These pieces were written following verbal instructions and were intended to embody abstract concepts.


Fast-breathed Panic
Hot and Cold
Smothered
Fear
Schizophrenic Bird Wings
Run!
And Shut your Eyes


Hot and Cold
Smothered Bird Wings
Schizophrenic
Fast Paced
Panic!
Run! And Shut Your Eyes

(ANXIETY)


Karen Walker & someone else this morning, Bev
Chanel No. 5 very strong
Click click heels, ''should, could bla'' bla bla
Fags, Man!
Too fluffy, like you're not even touching it
''Bla, should , could, Oh well.''

The T.V interview/ The smoke I inhaled
A woman with too much make-up. A mirror
Blood on tongue
The feeling of discontent...too many faces, fakeness...face value
''How much longer?''5.6.7.8......

(DISCOURAGE)


Fear
Pain
Sorrow
Nerves
The smell of perspiration
The sound of silence, panting, shouting
The taste of bile
A complete metaphysical constriction
Of body and brain
Argh!

It can taste like bile
It can sound like silence
Or like a scream
It can smell like fear
Constricts your body and mind

(ANXIETY)


The shade of green of the trees,
The lustful bird cries
The relaxation of morning dew
A laptop,
A bookcase full of books
Notepads
And a stack of pens
Far away lands
And familiar
Yet unfamiliar people
Different aspects of myself
Everything I can
Yet stay seperate from it
Other's conversation
The colour of a man's tie
The way a child walks
The interaction of human
And place
Solitude
Can be my best friend
And my worst enemy
I smell the trees and record how I feel
I take a notepad
And jot it down
I sit
Remembering the unreal
And search for an aspect of myself
To add to this creation.



Opportunity
Less than desired
Home- a time of innocence
Feigned friends and bundles
Of charm
Who is next?

Opportunity
Less than desired
Who will be next?
Feigned friends and bundles
Of Charm
Home, a time of innocence.

(A HUSTLER)


Looks like a close embrace
It smells like teen spirit and feels painful
Sounds like Godspeed, you!
black emperor and sometimes a double bass pedal
Respectfully says
''Omnia Vinat Amor et cedamus amori''

(LOVE)


Loud noises,
Something disgusting
I wish I didn't have to deal with everyday
Day, after day
Grey cell
I feel like I'm in Orwells
Big Brother
Maxwell Demon and Winston
Winston Churchill?
Machines, bored men. Yellow suits
Sickening smells
9-5
40years
Boring job. But it needs to be done
Somebody needs to do it

Loud noises
Something disgusting
Grey cell
Orwell's Big Brother. Maxell Demon.
Machines
Capitalism
Yellow suits and sickening smells
9-5 40years
Somebody needs to do it

(HAZARDOUS WASTE DISPOSAL MANAGER)


An Encounter with a Stranger...with a Stranger (A documentation/response to Hannah Lambert's installation by Tom Epps)

She invites me in to sit with her. A fragment, she hangs, she grows, she snaps, she sings, she bites.

So I accept her invitation. I snap her branches as I stand on them when I enter, at fear of breaking her limbs. I sit on the added chair and feel an awkwardness in the event of the chair even entering her being to begin with.

I sit and admire the shades of green of her hair across her man made mesh face. And a voice from her mouth, in written words she offers,

“Until she reaches her left…
…and from her right.”

To her left I see the wounds that human-kind has instigated, a sign thrusted into her whole, diluting her sanity. And from her right, an entrance, a gate, with a giant lock, constraining her free will.

I look at her voice again and consider her a fragment. She is here and she is not here, but she is fading. Here she waits, alone, and I feel like I want to embrace her, or comfort her in some way, but she is unreachable. I feel a sense of dread at this: she is trapped in this place, alone.

She is split in two, never reaching her left, or escaping her right.

But I look again, I see her green pushing up through the branches below, her nettles hitting back at what has hit at her, I hear her song within the trees and I feel her will gently blowing against my face, this causing her to dance and sway. This is a unison created between her and us and I see now that she couldn’t be happier.

From her plane of existance, she presents us with a physical form, trying to reach out, and finding an art as she does so. I feel her emotions enveloping my senses and telling me that even though she waits, she is happy in doing so.

One day I hope I will meet her, but I do not think that it will be in my lifetime. When my spirit returns to the place where she dwells, I’d like to hope I could join her there, and dance as she dances so freely in the wind.



There she waits,
alone, unfulfilled.
Come and sit,
speak if you will.

She won’t reply,
she is faded,
become distant in
her long wait.

But sit with her
words: alone and not.
In her little corner
she waits forever.

Singing, now growing
stronger. I can feel
her smile on my face,
her joy in my ears.

Fulfilled and here
with me as I sit,
she is faded but
never gone.


http://www.youtube.com/watch?v=UZIqGv4gODc
(Short video of the encounter)

Tuesday, 3 November 2009

Video Documentation of Carola Boehm's Workshop

Carola Boehm is a principle lecturer in the department of Contemporary Arts at MMU.

Here is a short profile she has written for herself taken from
http://www.mccarthy-boehm.org.uk/:
"I consider myself a genuine post-modern interdisciplinarian in the areas of music, science and technology and believe that our higher education landscape is finally moving from a modernist view stemming from the 19th century (and the concept of a delineated discipline) to a post-modern view (and the concept of fragmentation and disciplines being social constructs).
My research has in the recent past revolved around interdisciplinarity and higher education. I am the assistant editor of the Journal of Music, Technology and Education and am currently Head of Music at the University of Wolverhampton . Previous positions I have held were at the University of Wolverhampton (Head of Music), University of Glasgow , the University of Mainz , the Conservatory of Music in Hannover , and the Royal Conservatory of Music in Den Haag.
My research areas include music technology education, methodologies for designing music systems, performance research and the interplay of interdisciplinarity, creativity and technology in education. I hold degrees in musicology, computer science and electrical engineering, amd one of the Co-founders of N-ISM, Network for Interdisciplinary studies of Science, Technology and Music. From 1997 - 2007 I was the Lecturer in Music Technology at the University of Glasgow and since 2000 the Co-director of the (Research) Centre of Music Technology. I am a member of the International Computer Music Association. Associate Editor of the Intellect Journal for Music, Technology and Education."

During the weekend workshop, Carola took us for a Workshop on the different ways of initiating the creative process. We underwent many different types of exercises including solitary, collaberative, writing, drawing, spoken, chance, movement tasks to attempt to induce the creation process to create some work.

The tasks weren't only fun but they also moved many of us out of our comfort zones and opened our eyes to how different tasks and techniques, especially the ones originating from the disciplines that we were unfamiliar with, can actually have a positive effect on inducing or at least stimulating the creative or even inspirational process.

As an example of this I myself as a writer, found it extremely hard to adapt to the movement tasks, but I could see here how the actions and reactions within movement can free the expression of oneself. This a technique that could definitely aid the creative process for such forms as poetry.

Here is the video documentation of the workshop with Carola (unfortunately the tape ran out before the end of the class so we actually missed the action-reaction exercises):
Part 1:
http://www.youtube.com/watch?v=FL8vkMLoBtc
Part 2:http://www.youtube.com/watch?v=GhuUBPhXi0s
Part 3:http://www.youtube.com/watch?v=lMQiBDJl7p0
Part 4:http://www.youtube.com/watch?v=WH3dP4lk54U
Part 5:http://www.youtube.com/watch?v=H5KWsOMoAsU
Part 6:http://www.youtube.com/watch?v=6TBuTVWzlyQ
Part 7:http://www.youtube.com/watch?v=bgJEfjl1S0w
Part 8:http://www.youtube.com/watch?v=QaPOBq8LL2U

Video Documentation of Fred McVittie's Workshop

Fred McVittie is Director of Theatre at University College Falmouth (incorporating Dartington College of Arts). Research interests rotate around the application of cognitive poetics to arts practices, with a particular focus on the role of performance metaphors within and across different forms of knowing. (Description from http://falmouth.academia.edu/FredMcVittie)

Fred came into the weekend worksop to give us a lecture about the generative form of the creative process, introducing us to the art of blogging that we decided to incorperate into our presentation of this documentation. Also he showed us some different modes of exploiting this process visually, such as a visual discussion with oneself on video. This showing us that the generative phase can become an artform in itself.

Here is the links to the different parts of the video documentation that we recorded of Fred's lecture:

Part 1:http://www.youtube.com/watch?v=heAB8zC-a64
Part 2:http://www.youtube.com/watch?v=pZRQSc03SYk
Part 3:http://www.youtube.com/watch?v=i3QbzXh4VCQ
Part 4:http://www.youtube.com/watch?v=3w6FYcOcCX8
Part 5:http://www.youtube.com/watch?v=p9XhCrR8PoA
Part 6:http://www.youtube.com/watch?v=80g7vHwW8ac
Part 7:http://www.youtube.com/watch?v=ZHpXLP13LH0
Part 8:http://www.youtube.com/watch?v=NS6QcQwT2mc
Part 9:http://www.youtube.com/watch?v=Wb4fp5F4nWQ
Part 10:http://www.youtube.com/watch?v=gcEXOfAtgRw
MACA WORKSHOP
DOCUMENTING RACHEL RIMMER’S “AN ENCOUNTER WITH A STRANGER”

The section of the piece I would like to focus on will be called, in short, “HELLO DAD?”

Rachel Rimmer took us along the small nature preserve in Crewe on what was turning into a showery day. As the spits gathered on the fringe of the hood, that hid my face from the ducks attempting to prove their tiny little manhood, I remained warm physically. There is something about a hood; especially on a large coat you feel your grandmother would wear, hence the purpose of its purchase, that makes you feel you’re not as present in what it beyond the fluff around you. Like you have your own little soundscape, bubbling your face from actually acknowledging fully, what you’re seeing and hearing. She asks us one at a time to follow her. She takes me, just out of earshot of the others. I don’t think my hood will assist me now, it’s just me, Rimmer, and a little pink, I think, phone.
“DAD” love that accent. “UMN, THIS IS HANNAH, DO YOU FANCY A LITTLE CHAT?” she passes the phone to me, I take it, amused at the gesture in the passing of a dad, and put it to my ear. “OK HANNAH, JUST WONDER DOWN THERE AND STOP IF YOU FEEL CONFORTABLE, OR….” She goes on… I put one foot in the direction of my wander and other seems to follow.
“HELLO?”
“HELLO”
“HAS RACHEL LET YOU KNOW SHE’D CALL?”
“NO, DO YOU HAVE ANY IDEA WHAT WE ARE SUPPOSED TO SAY?”
“UMN, NOT REALLY” I stop walking. I can see the side of a disgusting building, disgusting as in grey and made of plastic not craft or skill. There is a fence in front of me I think it is barbed wire. And trees to enclose the clearing that is fenced off before me.
“OK THEN, WHAT CAN YOU SEE?”
“SOME RED BERRIES. AND THE RAIN IS CUTTING ACROSS THE CLEARING DIAGONALLY. FROM MY RIGHT UP HIGHT TO MY LEFT.”
“WHAT PLANT IS IT DO YOU KNOW?”
“NO I DON’T SORY,UMN, I THINK IM GOING TO GO BACK NOW”
“OK THEN, WELL HOW DO YOU KNOW RACHEL? ARE YOU ON THE SAME COURSE?”
“YES WE ARE NOW, WEVE WORKED TOGETHER BEFORE, AND NOW WE HAVE MORE TIME WHICH IS NICE.” I begin to walk back to Rachel. The time seemed right to.
“YES THAT IS, ARE YOU ENJOYING THE COURSE?”
“YEAH, ITS INTERESTING, LOTS TO THINK ABOUT AND YOU ARE ALLOWED TO ASK QUESTIONS”
“THAT’S GOOD, WELL THEN, WHERE ARE YOU NOW?”
“IM GOING TO GIVE YOU BACK TO RACHEL, THANKS FOR THE CHAT. HAVE A GOOD DAY”
“NICE TO MEET YOU”
“AND YOU”
“HELLO DAD? OK THANKS HANNAH IF YOU WOULD LIKE TO SEND ANOTHER ONE DOWN…”
I walk back to the others. Feeling that something has changed.
What?
What?
I think over while the others proclaim I have a face like i've just been to see Santa Claus. And I think, yes, that’s right. I’ve just met with someone I know to be a stranger, we have never stood face to face, we have never exchanged a handshake, or chatted about how we were acquainted, but I knew him. Somehow I knew this man.

We had, neither of us, any idea how the other might look, or smell. But we were connected. So very connected. What was this connection? I felt like I had known this man, well, this voice, a little, after I passed the phone back to Rimmer. We, Rimmer’s dad and I we tied with our unknowing, making us not so strange to one another but the piece we were enclosed within. We shared the experience, depending on the other for some kind of reassurance that what we were doing was in fact, what we were supposed to be doing. The chat itself, about the chat that was intended to happen, was in itself, a conversation that created direct correlations between the voice in the little pink phone, with my own voice that circled around my fluff rimmed hood. We, “DAD” and I, were united by the lack of our connection, giving us a connection in itself. We were not strangers meeting anymore. We were explorers, playing within the mindfield of the text we were BOTH part of.

Having passed the phone to another I realised something about the man had stirred me greatly. I asked myself if it were the tone that made me feel relaxed, that I was in fact, doing what I should be. The gruff of the voice that said oak to me.
Years of warmth.
There was support there also for the task his daughter was playing with.
Respect for it also.
No ridicule.
The inflection of his voice made clear that there was understanding for the sanctity of the ‘unknowing’ within the task.
Its ok, its ok its ok. Its ok.

Who now then, was the stranger of the piece? Was it I? When I knew this voice, what it represented and how it spoke how could he be a stranger to me? The relationship of Rimmer and “DAD” meant that they were, after all related. With this in mind, I questioned that it was not my meeting of a stranger, but the strangers meeting of me. The stranger of the piece was me. At this point anyway.

As more visitors experienced the little pink phone and the “DAD” voice, “DAD” must have become more and more accustomed to the task at hand. I should, imagine, that the conversation was more subject based with the other students, as both parties had some idea of what was to come. I feel, an experience, such as I had with the “DAD” was completely improvised, perfect, caught in the moments purest form, and paralleled from both parties. As true improvisation, in any form, if I may be as bold as to claim, should be.

The section “HELLO DAD?” of Rimmer’s “an encounter with a stranger”, for me presented itself with many layers. The one I feel I have most identified with here is the journey of a thought within a piece and how it can change its own direction throughout the piece.
How the “stranger” within the piece changed from the piece itself at the beginning. Then the meeting of two strangers “DAD” and I, as we tentatively set sale amongst the piece. The area where the stranger was me outside the relationship of Rimmer and “DAD”, then to the other guests encountering themselves as strangers within the piece as “DAD” became the piece itself and then finally, and this has just come to be as I write this, Rimmer asked “was that ok?” as she took the phone from my slightly colder phone hand, suggesting that for the entirety of the piece she was unknown, on the outside, she, the maker, had not experienced this multi layering as I had. Which leads me also to ask if any of the guests had experienced the piece as I had? And then I question if each encounter was the stranger itself. As the piece accumulated it lost its “strangerness”, however it did accumulate into something new each time, making each of the past participants strangers to the new growing of the piece.

I question on and on….

The piece, and section called “HELLO DAD?” for me, was one of those moments that take you off guard, it spoke through the other moments in Rimmer's “an encounter with a stranger”. Whether for its simplicity in its making, or its complexity in it’s diagnosing, it still, I am very happy to say, is circling around my fluffy hood. I would like to quote here the film AMERICAN BEAUTY. And especially the “bag scene” in which he captures something that, for him, reaffirms his faith in the beauty capturing. This piece, for me, allowed me to encounter a something that reaffirmed my faith in encountering something, and for this, I would personally like to thank Rimmer. Cheers.

Encountering an encounter.

As an outside obvserver and one who was not able to attend the weekend seminar, I thought it would be interesting to share comments on each persons encounter.
I presume each photo, video, documentation was proceeded with a certain amount of 'conceptual' discussion; this may, or may not, be the case.
For this reason I have chosen to simply view each piece as a 'stand alone' or, dare I say it! autonymous piece of work.
I have also chosen not to read the other posts until I have written my own. So as not to influence my own 'Encounter'
Karl Derbyshire.

Encountering 2....



performer as filter, relecting and refracting the space....

how much time does it take to allow the process to become public and what makes the process public?

no photographic evidence of the space or the dance - I think they become like ghosts.

Lisa H Kendall Nov 09

Encountering 1.....




be at the centre of your work /be at the top of the tree....

closed space/ open space

motion in stillness - quality of breath or is that breathing : sounds of the trains, trees, wind, sirens, birds, feet on stones, legs in grass....

Lisa H Kendall Nov 09

Monday, 2 November 2009

An Encounter With A Stranger: Emma Thackham's Photograhic Journey


An Encounter With A Stranger:
Emma Thackham's Photographic Journey

The journey we were told was photographic, but it was also in a way indefinable - intriguing. We, the observers, were lead by Emma Thackham around her chosen world; she was considered and tranquil.

From the beginning there were unanswered scenarios and questions to which she appeared to give us no extra clues. It was wonderful to be asked to look at and experience seemingly very ordinary situations, but because of the choices and manner of the tour leader, to wonder at what and how, we were seeing. The practise room with it's singular smell and instrumental listings: a vacuum of silence in the stairwell with a birds-eye view of the car park: down the stairs to a dark, draughty, half-built entrance, transformed for us into an audience holding/contemplation area: along the corridor and round the corner to the downstairs bathrooms, with their potential for temporal repetition and watery sound. Emma Thackham had evidently defined her spatial exploration and her terms for inhabiting these spaces and it seemed that we were being invited to do the same.

The quality of the light outside the building was surprising in comparison to the artificial daylight inside and as we turned the corner, the wind and sunlight became important in framing the serenity of the installation before us. A blue chair was placed unobtrusively on the pathway at the side of the building, adjacent to a small urban garden. On the chair was an instrument-object, or rather a pair of castanets fastened to a small wooden block with screws and wires. Each observer had the chance to sit on the chair and "play" the instrument, but in a way we didn't have to - the running water from the bathrooms ran directly to our right and could be heard "playing" from beneath the garden. Placed on top of the water grate was a randomly beautiful heap of castanets glistening in the sunshine. We had definitely been on a thought provoking, sensory tour, but I also had the sense of having read the map and of unearthing some of the treasure.

Lisa H Kendall - November 09
Photograph by Emma Thackham

An Encounter with Emma Thackham Part 3


I returned to the room with the castanets and played around with an idea for installing them on the floor. The idea was that the viewer would be prevented from entering and would have to view the installation from the doorway...However the idea I had formed whilst outside lookng at the grid was still forming so I decided to take the castanets out there to see what I could do with them.



This strange contraption was in the drawers with the castanets and I decided it could be my perfect stranger for the participants to explore... I left it on the chair for them to encounter in their own way without any instruction from myself.


The castanets themselves I lay on top of the grid



It had struck me earlier after visiting the ladies bathroom that waste water from there passed underneath the grid. The sound this made was a beautiful trickling stream sound.
I decided to place the castanets on top of the grid to draw attention to this sound of water and the notion that being framed in this way and not being used as intended - transformed the castanets to become artifacts rather than instruments - their music or soundtrack coming from the stream of water underneath the grid. Instead the castanets became an interesting composition for a photograph (above) and an installation with the participant as performer, encountering the stranger the odd castanet contraption.


Chloe documenting her experience of my encounter



Hannah examining the castanet contraption

Photographs by Emma Thackham

An Encounter with Emma Thackham Part 2



I continued my journey, noting points of interest such as this unfinished area of the building - It interested me as a point of incompleteness- I also felt the area could act as a frame or stage for a potential performance piece


Outside of the space was this collection of casters that appealed to my eye in a photographic way


I emptied my handbag in the space, exploring the idea that the participants could sift throught the contents in the unfinished space. That way their encounter with a stranger could be their imagined construction of the identity of a stranger through interaction with a stranger's belongings


I passed this window on my journey and stopped and considered it as a point of interest. The way the pane is surrounded by black metal and pink and white paint really framed the area for me and I thought this and the action/inaction in the urban landscape outsde could be an artwork in itself. A viewer would be presented with a constantly changing canvas, of clouds and sky and birds combined with the stillness of the urban artefacts/building materials.
This area, being enclosed within firedoors is also eerily silent. This factor of silence drew my eye to the subtle movement outside all the more.


My journey included a visit to the ladies bathroom



I then ventured outside of the building and passed this grid where an idea was borne...

Photographs by Emma Thackham

An Encounter with Emma Thackham Part 1


Like the other students, my Encounter With a Stranger began with the brief from Anna Fenemore to go on a journey either within the building or outside, somewhere I had never before explored. Along our journey or tour, we were to highlight points of interest and then make a response in our preferred art form for the group to experience whilst sat on a chair

I decided to explore the building: It is brand new and being a new student to MMU I had not yet had chance to explore it fully. This seemed a perfect opportunity.




I began upstairs and found myself in a corridor empty except for a piano and lots of doors.
Most were locked but one at the very end of the corridor was open. I peered inside and my senses were immediately infused with the rich smell of wood.



This lonely cupboard with its peeling labels instantaneously appealed to my artist's spirit of inquiry -


The bottom drawer was labelled castanets


Upon creaking the clunky bottom drawer open I was greeted with a sight that filled me with relief.. a multifarious array of castanets, old and new, different colours, shapes and sizes...



I instantly knew I had found something that I could work with - as a visual and live artist I required a point of interest that was both visually and contextually appealing - I just had to complete my journey to figure out my context for installing them...

Photographs by Emma Thackham