ART with WORDS

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YAZMIN BOYLE





e

m

b

o

d slippages of difference, cracks and spaces in/between, the unknown,

i unknowns

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t


The upper story moves like keys in oiled wards, unlocking and containing, rendering this through the cranial receptacle that incubates outbursts or other forms.


... Expelling my frustration and pleasure through the act of making becomes a space that locks out the outside world and binds me to my insular world ...




Am I undone.... or am I becoming by learning to unlearn?










bodies become spaces of unlearning,

bodies become de-institutionalised,

bodies become activated.







To think is to make, to ache, to flick the lip,

to collect and select,

look, scroll,

click,


<save>







m a t e r i a l



l a n g u a g e




The shifting landscapes of making, moves into new terrains of materiality, skewed slippages and muddled normalities.

Iterations pause the known, it allows the plume to move, the unset to pour, the unfix to bellow and glide into a state of in process.


Once you know you don't know, you can begin to explore. The unknown becomes the work, it is the research, it is the thinking, it becomes the material, the extra millisecond, the sprinkle of dust. An intangible place where things can happen.


Chug


chug

chug

chug,





push, push, push...




i

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t

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n

g

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b

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l

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y


into

process

intersected

by

scrawl.










I t e r a t i o n after i t e r a t i o n


This formulaic flow, to recite and replay is suckled and framed within my artistic narrative;


creating a space to draw in breath and voice, it becomes my digestion, my choras, my healing


container. The absorption of unknowing, charging my journey like activated phantoms


through the inner self.



''Be what you are becoming without clinging to what you might have been; what


you might yet be.’


- Luce Irigaray, (1985). “This Sex which is Not One”, p.214, Cornell University Press





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Bias and language intertwined, leads the way to conformity and injustice.


It becomes a meta- power, a regime of 'truth', locked up meaning which protects order,


unmasking the falsity of an imposed truth. Free thinking is contested and new ways of


working and communicating are disrupted. Play in its innocence becomes a diffusion of


power which in turn challenges control.




Materiality? A tool for forging unlearning entangled with play,


unfinished, in progress, never-ending, a state of excess, spoiling


and seeping out; 'queered angles' * teasing out moments


that sit outside heteronormativity, revealing pathways that


become activism by refusing the straightening effects.


* Sara Ahmed, (2006). "Orientation: Towards a Queer Phenomenology," p.563, Duke University Press






Here lies my thoughts and ramblings about making.



My name is Yazmin Boyle and I am an artist / researcher that works and lives in the West Midlands. My research interrogates how embodied and material processes can give rise to ‘unknowing’ and the becoming of identity, through the entanglement of self, materiality and action. I use various means of making interconnected with participatory encounter to investigate the affective and transformative potential of materials. This is recorded through sculptural works, art writing, photography, conversation and unconventional gallery display to disrupt binary, cis and representational systems. This call has given me the opportunity to reshape these topics. I find freedom in writing, coupled with the nostalgic notion that at times, I write better than I speak. The play of words juxtaposed with glitched out images enables new understandings and spaces; reconfiguring the physicality of artwork and transforming material thinking.






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