Again Weather Horrific, hoping this doesn't become to much of a problem.

Sat in the car outside the work, no one passing by and even if they were i think the last thing they would want to do is stop and chat unless i was giving away full waterproof gear with some sort of internal heating system!

Planned text for catalogue instead while looking at the work.

 

Sat in the market square hoping to see the work on the big screen but missed it again, I fear this may well turn into a bit of an obsession, i'm dying to see how people react when it appears. 

This little obsession though turned into a topic of conversation.  I asked people on the benches next to me if they had seen it, granted some did looked at me like i had completely lost my marbles but some were more open to chat.  I quite naturally found a way through conversation to mediate the work DAD is doing in town does and  preparation for viewing the work.

I'm conscious of steering conversations, it is important to keep going back to Reside, but it is as eqaully important that i listen and hear what they are saying and why they are saying it. Also i am fascinated as i have always been in the lives and stories of other people. Stories the public that the work is intended for and is informed by share with me force be to remember my reading of the work is all ways influx, fluid, open to change.  

2 conversation of note: 

- Working on the ships all over the world, leaving and coming home was part of his life for a long time,   Saw an old crest that lived behind the bar in a pub where the now cinema is...he saw it in Japan, someone had pinched it! This was an obviously fond memory he had of being homesick. Home is a magnet, he said you always want to leave for a better life, but home cooking, freinds, the call of old dover pulls you back in. Talked about immigration. Talked about feeling displaced in the community you belong when been away and how sometimes the memory of a place, or the hopes you have for a future there doesn't match up 'reality'  This was all before he had seen the work. I asked him to think of the things we talked about when he went by it. I hope he does.

A slightly drunk man walks past but the chalking caught his eye, 'no-ones looking, there all hiding arn't they' i just said im not really sure what they are thinking, i followed him up and down the work as he considered what each one might be thinking and who they might be. He used his self as an example to explain to me what he meant,  we talked for 20 minutes about appearances, judgments, paranoia the difficulties of change and the hope of being able to protect others.

Was a really enjoyable and insightful conversation for both of us i think.

Finding a way

I wasn't planning to work this afternoon but true to form curiosity got the better of me. How are the public experiencing Pierre Yves work? And why am i not there? I felt i really needed to observe today to get a sense of the general human traffic. I wanted to make myself visible at the beginning of the project to, by implication, attach my self to the exhibition.

Introduced the work to a family member. "No wonder you feel strongly about these photos, its frustration, they are pissing you of " "what do you mean" laughing at me he carried on "well their ignoring you aren't they, you hate it when people don't include you, you either go all anxious and insecure or more than likely completely the other way'

I hadn't thought of it like that.

Was reassuring to see an old friend. D. an old college, who works with the YMCA young people at Atina House over the road. She wanted to know what i was up to. Had a long chat. Positive responses to the work and the use of the space as a gallery. "its great to have something new to look at, we can see the gallery from our office". . She was keen to know about the gallery how Dover Pride and DAD have worked together. She spoke of her son, an artist who is away at uni. She would have liked a card to pass on. We talked about the project being european, as she pointed out the flag on the window. We chatted about the immediate community and how i hope to become familiar face to the people who use this walkway regularly. Trust. 'You'll have people bringing you tea and cake before to long'. I hope so!

She teachers art classes for 13-16yr olds. Going to pop in and have a chat as she may bring down some of the young people.

Felt awkward. Both invisible and conspicuous. Inhibited.

Just watched. Some glanced, some stayed for a while, some were not distracted from their conversation, inquisitive stares, always on the move.

How to join them? Really conscious of just popping up from no-where with an in your face cheesy "Hi, welcome My name is..." the kind of approach usually adopted by sales. Would this put pressure on them to talk to me, probably.

Chalks: toyed with what to write. Thought about how no-body seemed to be reading Pierre notes and if they did it was a quick scan. "oh i didn't see that" "not very noticeable as the text is bit small" "its a bit to long". Read the text again. The silence of the images disturbs our own silence. The whole series contains hint of suspicion. I chalked it on the pavement in large letters. It spoke about how i was feeling as a mediator, how i was the one looking and the one being looked at. It was a self reflexive action and also a tool to help me mediate the works ideas confidently. People were intrigued to what was being written and stopped. Some read before they saw the work, some as they passed it. Most passers bye read. Without being in their face eves dropping I could hear comments as they stood above me reading. If they stopped I told them it was the words of the artist. I wrote it again at the top of subway. I will think about this some more. I may take some time with the text, pull some questions/prompts/provocations out of it.

Spoke to a few passersbye and residents of the B&B. Didn't push conversation to much today

'lovely curiosity about them'

'they seem Fresh'

'are they all english, i've walked past'

'The only face that is looking is the bust in that photo'

'its good to see the shops being used for something other than storage'

'i prefer it at dusk'

'i think its beautiful'

-need to start recording my conversations.

Ego?

I have been thinking about my own ego. I really want my process to develop organically, although i may have a plan, this needs to remain in flux constantly shaped and moulded to compliment what is all-ready there.   I need to be intuitive to the sensibility of the community throughout the project.  Only from meeting people and building relationships can i understand what 'public' i am mediating to. 

I feel i have run away and distanced myself from Dover over the last year, but but every-time I'm back i'm 'home'. I notice so many changes but mostly where the people are concerned its like i have never been away. I think this is part of the experience of growing up in a small town. I always have been sensitive to Dover's needs, i have always have felt part of the community.I want to remember my personal links to Dover but not to let my ego overtake others interpretation.  

Is it OK to have niggling worries that i will become an outsider during this process, that maybe the community i have always seen as my own will reject me?

    WHEN ONE ASKS WHAT I WOULD ASK OF ANY AUDIENCE, I MEAN, FIRST OF ALL I WOULD BE VERY CAREFUL NOT TO ASK ANYTHING OF AN AUDIENCE OR EVEN A "VISIANCE." BUT IF I DID HOPE TO SHARE SOMETHING WITH THEM, IT WOULD BE THAT I WOULD ENCOURAGE EACH PERSON TO SEE HIS OR HER OWN INNER NERVOUS SYSTEM FIRING, BACKFIRING, AND CREATING. BECAUSE THAT ALSO IS NOT JUST FOR THE VISUAL MUSIC OR THE AESTHETICS OF IT. THAT'S ALSO BECAUSE THERE'S INFORMATION IN THERE ABOUT HOW ONE IS FEELING." - STAN BRAKHAGE

Quotes and Questions, Questions Questions...

"Such happiness as life is capable of comes from the full participation of all our powers in the endeavor to wrest from each changing situations of experience its own full and unique meaning". Dewey

"Tell me, and I forget. Show me, and I remember. Involve me, and I understand" (Chinese proverb).

"The real questions are the ones that obtrude upon your consciousness whether you like it or not, the ones that make your mind start vibrating like a jackhammer, the ones that you "come to terms with" only to discover that they are still there. The real questions refuse to be placated. They barge into your life at the times when it seems most important for them to stay away. They are the questions asked most frequently and answered most inadequately, the ones that reveal their true natures slowly, reluctantly, most often against your will.

Ingrid Bengis, Combat in the Erogenous Zone, "Man-Hating" (1973).

Thinking about:  Berger, Focult, Barthes.

*Can an Aesthetic Experience be quantified? 

*Am i ever to be sure the  connections the public make  to the work will be genuine?  

*How and where do we find meaning? 

*Unanswerable questions, Irreverent Questions

*Can we encourage or acquire or  visual language through experience, observation,and imagination? What is my role in this process

*How can i Animate the imaginations of the public?

*How can i ensure the offering of public response are not secondary to the offering of the art it's self

*How can i bring the two works together? A celebratory event?

"You can discover more about someone in an hour of play than in a year of conversation".  

Plato

Toast & Tea: Planning at Mandy's

Inviting Debate: Local Media

Your Dover are happy to follow the project. Which local paper has the  'your say' section?  Perhaps could arrange a 'talk back' interview? My methods of mediation should be responsive and not selective, hopefully the paper will give me access to non-bias opinions, spring-boards to open up the art debate or to ideas for the think tank.

Great that Joanna and Challey from KETV have an existing positive relationship. Would really like to build mutually beneficial relationships here between both organizations through the course of the project.

 Assisted Visits/Workshops

Both agree that it would be a good idea to talk to Piere regarding the contact's and relationships he built up over the course of his residency.  Would also like to contact Porchlight and the  Immigration removal centre.  

I hope to develop an affiliation with  Acyliff childrens centre perhaps working with the expectant mothers.  

Sharon's Shadow walk;   Would like to send personal invites to various community groups along with officials from DDC or Town Planning. 

 Availability for assisted visits?

Creative Strategies 

Would like to mediate with a playful and  exploratory approach. 

Excited about the image of a Suitcase. A prop, a tool or a temporary archive maybe? Terminals; "Please dont leave you bags unattended".   The possibility's of Postcards as means of thought exchange.  Group Map Making; Exploring journeying both physically and emotionally, identity and memory of place.   Collection of luggage labels as a way of recording and documenting-

1 word or a sentiment, a picture a simple expression of a big idea. PLACE.

Thinking of end event and the drawing in and celebration of the process. Not sure if i want to make this public yet.  

Need to defiantly put some planning into these ideas now, make them more tangible, Exhibition to start soon!! 

 

 Always be aware our autobiographies will determine our findings.

 The question you ask will define the question you get.

De La Warr Pavilion in Bexhill-On-Sea

'I don't want to be inside the gallery but out there where the people are' 

Joesph Beuys

Really impressed by the inclusive Education & Learning programming. Happy coincidence that Sharon was the artist leading the walk and talk for the Joeseph Beuys Exhibition.  I dragged  along my partner, who quite often expresses his 'Not For Me' opinions.

Thought about benefits/disadvantages of group tours.   Awareness of the domination of our experience by others, with seemingly more knowledge than steve or I. (Shall we say some were not backwards at coming forward with their opinions and seemed to take great pride in correcting Sharon at times).   What i found insightful, for my purposes, was the quieter conversations going on between visitors. Also noteworthy, a women after the tour had gone of to read the  information packs made available by DeLa. She then discussed with Sharon that had she known  Felt and Soap were often bi-products of human hair and fat from concentration camps, her whole perception of the works would have been different.  Sharon had purposely left out this information to prevent closed readings. Steve talked about how knowing the artists background and working process helped him to make the work relatable.  

I was nudged to consider; when facilitaing meaning-making experiences that are affective, how much information is to much?  

The concept of speakers corner  was inspired.   

Wandering around Dover

Having lived away from dover for a year now, i really felt the erge to re-connect to the local community to come home if you like. The sun was shining so i jumped on the train for a Dover wander from the train station to the market square end of town, where the exhibition will be, and through the underpass to the sea front. Tried to just be in the town while also being perceptive of the public that will encounter the Exhibition.

Popped into Mandy's Tea Rooms. She wasn't there but i took a scrummy piece of chocolate cake away with me.

Would like to return to pop back to have a chat about how building local community networks is an integral part of D.A.D's initiatives. To discuss the benefits of sustaining creative communities to the local business community and the possibilities of the the tearooms involvement with the box gallery and reside project.

Lots of chance meetings and chats with locals, visitors.  Where have they come from? Where are they going? What brings them here? An assortment of compelling sometimes amusing array of stories and frustrations.   I noticed the changes in the atmosphere in the market Square since the big screen. It has developed a welcoming outdoor living room feel along with qualities akin to a terminal. People seem to feel invited to reside here for a while and they do so in a multitude of ways before going of on the next part of the days journey. I think the public will be receptive to me here if i adopt a 'will you pass the time of day with me' approach, perhaps how a family natter on about Eastenders whilst in front of the TV.

Thought about the immediate surroundings of the box gallery, who passes through, where are they going. Perhaps the chalking of provocative questions on the pathway leading to or away from the gallery or a 'thought exchange' may work well here.

Need to explore appropriate and interesting methods of recording conversations and reactions

Planning: Making maps

Armed with tin felt tips and a large sheet of paper Joanna and I mapped the course of the project.  By clearing the 'fog'  a route for mediation appeared through, in and between, DAD, the artists, the installation and the public.   Joanna would also like Charlotte and I to share learning experiences, possibly leading to an interesting base for a report.   Hope i wont let any of them down but at the same time, i need to remain aware that an eagerness to please the artists or DAD, if i am to be ruled by it, can be counter-productive to the mediation process!

Thought about arts organizations and the small but often ingrained ‘not for you’ messages.   Talked over the reticence, and objections of some areas of the Dover community to previous work. Perhaps this isn’t a negative, at least they are engaged, it is an emotional response, one that can be built upon. I talked about my feelings when faced with artwork that i don't 'get' immediately and subsequent defense mechanisms.  Joanna and i both mulled over the tagging of artists as  'mad' and removed from 'normal' life and concerns of the public.  Possibly mediation  can de-mystify the artist and her work by suggesting points of access and a basis for reflection for the public to connect  the ideas of contemporary art to the concerns of contemporary living, their life. I see mediating as orchestrating creative encounters with the work that are mentally and/or physically engaging. I feel responsibility to nurture a fluid and democratic environment where ALL, regardless of academic points of reference, feel able to reflect, to explore, to question and express their well-founded and valued opinion drawn from their diverse experiences. 

Understanding my role as perhaps ‘context rather than a content provider’ perhaps is a tentative step towards remedying the alienation of the public to the artwork. 

Process base workshops?

I NEED TO GET MORE PRAGMATIC IN THE PLANNING AND IMPLEMENTING OF THESE STRATERGIES NOW,  start to make community contacts,  make contact with local press to  encourage debate and get people talking about art.   Also think about accompanied visits and workshop invitations. 

 

Exhibition opens in St Omer.

I approached the exhibition as a member of the public.  I was very conscious of my knee-jerk. reaction to grapple around in my academic suitcase for  responses.  Although having said this i am an ordinary member of the public, i am not a visual artist. 

  It’s been to long since I have been to France considering my proximity to it!  It never ceases to amaze me that with great ease we can reach ‘over there’ a new country.   A childlike anticipation in remembering  mothers voice, fancy going over the ‘other side’.  Revisited the rituals of waving goodbye as the  place I call home disappears and the feelings on arrival in Calais.   I still did this in my head.  I wonder if anyone else does this and why, when we spend so long looking out from the cliffs do we also look back, in both directions is there a shared sense of  desire to move and stay still, to Look Left Look Right Look Left again?  Recall of these sensations I felt as a child from Dover, where the ‘other side’ always had some presence or closeness but always foreign and distant.

Seduced by the charm of St Omer.

Meet Charlotte  the UK mediator.  I was interested in how she would approach the public, She talked about the  welcome process not being intrusive,how some may want to talk and some not. 

There was no explanation, no forced interpretation her approach was to offer stimulus for the imagination,and keys for contemplation and reflection allowing me space to consider and develop my own individual feelings. We talked about shadows, movement and stillness, net curtains, train-station as a site for the exhibition.

I was pleasantly surprised by the visceral reaction i had to Pierres installation and was encouraged to go with it, which was very revealing of my personal baggage.

I loved the discovery of Sharon's installation, hidden in a forgotten part of the train station. The site and all its comings and goings and the work that inverted seemed to reveal more and more of its self of the time i was there.

I was impressed by the turnout, i think its fair to say the French 

generally more culturally aware or active. This will inevitably be where the Uk and French mediators role differ.

Edda instigated playtime;childhood games immediately eased the Anglo-French gap.  I may not speak french but defiantly  know how to play!  

Back home with a boot of smelly cheese, artichokes and all manner of lovely french imports.

Old habits die hard..

Thinking about the opening tomorrow and old anxiety habits have set in.  Will I be good enough, will I understand, what if I don’t “get it”,  will I sound like a stupid rambling idiot, will they regret employing me, is my  visual arts language to basic, but  I don’t speak French, what do artists wear? Arghhh help help help.  STOP.  BREATH.  LOOK.  LISTEN.  and LEARN.  it is  bewildering to me that even after four years of study i am still effected by these inhibiting thought patterns regarding involvement in contemporary arts. Perhaps this is worth remembering. 

Researching Uk and European methods of Mediation.

Reasearch

Sharon references both authors in her project proposal;

Italo Calvinano; Invisible cities (1972) and Juhani Pallasmaa  The Eyes of The skin (2007) 

It makes sense to me  to take these sources into consideration when devising mediation strategies,  particularly creative workshops. Im also personally and academically curious about these ideas or ways of seeing. 

A D.A.D THOUGHT

"A daydream is a meal at which images are eaten. Some of us are gourmets, some gourmands, and a good many take their images precooked out of a can and swallow them down whole, absent-
mindedly and with little relish."

Source: W. H. Auden

Dinner with D.A.D

Using the ritual of offering up and sharing in a meal as a means to explore daydreams, to foster  new ideas and build relationships is a something obviously close to DAD's heart.  

All seem excited and positive  about this new approach of Mediation.    I will be acting in a intermediary capacity.  Liaising  with the artists to gain insight to their work and then developing creative strategies to ensure its accessibility to the public.  I will work on devising democratic techniques of interpretation or translation or decoding (im not sure which term fits, yet) which will foster  genuine connections with  the artistic process's and final work.   I will also be expected to mediate through existing local networks and media.  

 I have been chosen for this job as i am an advocate for building sustainable creative communities particularly within towns in transition.   Not everyone may be an  artist  but all have a  latent creative potential and if that creativity is tended to its regenerative potential is vast, i advocate access to excellent arts for all.    My practice will also be research into the boundaries that (exist?) between contemporary arts and the community of Dover  and ways in which we may transcend them. I feel passionately that i have  the opportunity to challenge the 'its not for me' habit of thinking about  contemporary arts. 

I am also looking forwards to meeting my French equivalent, hopefully she will offer some insights as this is all very new to me!

My main point of contact for this project is Joanna. My relationship with D.A.D.is constructive and nurturing.   Her  passion is infectious her demeanour unassuming,  like her stunning and inspiring home i’m sure she will keep me both wild  and cultivated  retaining the charm but building on the best of what is already there. This is also true of D.A.D  as an Organization in Dover.  I am eager about the future.