These are our Top 100 submissions of artists for the Universal Sea – pure or plastic?!
3
SEE / SEA
1072
Title:
SEE / SEA
SEE / SEA
Author:
moi tran
moi tran
Description:
Moi Tran December 2017 Proposal The Universal Sea Pure or Plastic Proposal for The Universal Sea- Pure or Plastic Working Title: SEE / SEA ‘Art is thus prefigured in the very processes of living. The distinguishing contribution of man is consciousness of relations found in nature. Through consciousness he converts the relations of cause and effect that are found in nature into relations of means and consequence. Rather consciousness itself is the inception of such a transformation’ Art as experience John Dewey. For the event of The Universal Sea – Pure or Plastic, I propose a LIVE action performance as a social living sculpture to provoke dialogue; exchange and engagement through real time experience and as a truthful reminder of the detrimental affects our actions impose on our planet. Water will act as the primary medium in this Live Art performance. 1. It is a direct visual connection to the subject matter. 2. It is an ‘everyday’ element that we are all very familiar with and use daily in our everyday rituals. 3. It is a LIVE element, responding to time and life and I am very interested in presenting the essence of Liveness in this work. 4. The elements used in this LIVE installation will act to provoke thought about climate change and pollution overall on our oceans. Description: Installation A large canvas made of un-primed calico will be installed on the ground, to compose and affect the viewing experience of the audience. It will reflect our natural viewing positions in relation to the Ocean and suggest an area of flat expanse. A selection of ICE Sculptures will be made using reclaimed plastic vessels (source to be confirmed). These Vessels will be used as moulds to create ICE Sculptures ( please refer to attached images). To enhance the dramatic visual effect of the melting process and the ‘live painting’ that the ice melting will create, different Inks will be mixed into the water before freezing the moulds. The fascinating aspect of these ICE Sculptures is that they will look familiar but the Ink will distort the perception of the object. The dramatic transformation of seemingly solid objects, which on first glance look plastic but are in fact made up of a solution of Ink water, this will produce surprise and engagement from the viewer. The ICE Sculptures will be removed individually from the moulds and stored so they remain frozen prior to performance. As a durational live process, the piece continues to respond to the elements in the environment, for example, the heat and the light of the gallery space and the temperature effects of human presence. The temporality of the ICE sculptures comments on the fragility of our oceans and highlights that we cannot neglect and ignore this essential life giving natural source. I am proposing a sound element to accompany this performance. Description: Audience Experience / Participation The aspect of engagement and witness to this event is complicit to both the performer and audience. In this performance I will engage audience participation as a physical presence and also as an active presence. A number of volunteer audience members will position themselves around the edge of the Canvas. The number will be limited to the safe accommodation of the public in this active involvement. The Artist will also be positioned around the canvas edge. Once the performance begins she will the go to retrieve an ICE ball, return to the edge of the canvas and place the object into the canvas surface. The Artist will then go to retrieve another ICE Sculpture and offer this to an audience volunteer who will be instructed to place/roll the ICE Sculpture onto the canvas surface. Each Audience volunteer will be offered an implement to aid the placing of the Ice ball to protect from the ink staining. The ICE sculpture will melt slowly in this position and over the duration an unpredictable abstract river of merging colours and melting objects, will emerge contained within the canvas surface. The dramatic and beautiful ink traces will spread across the canvas, the melting process and will act as a record to the witness of an event, between art and viewer. The Art work will act as visual metaphor to consider the transformation on the largest surface area of our planet as a result of human activity. The melting process will be visually transformative and comment on the fragility and transformation of our Oceans. The Ice Sculpture will melt and stretch out across the canvas to create an abstract and beautiful image that immediately resembles the water surface on our planet. All of these familiar and recognisable motifs of water will create strong associations with the viewer on this very urgent subject. It will act to keep this subject matter at the forefront of the debate in a symbiotic collaboration with visual arts. The audience will be encouraged to walk around the canvas area to view the piece in the round, this movement will encourage further viewing engagement with the work. The action will be completed when the canvas surfaced is fully activated with melting Ink balls. The piece comes to a natural end once all the Ink balls have melted, the audience would be encouraged to witness the full event. The Liveness in this action piece offers the audience the possibility to endure in the visual observation of the melting process which is also extended to the activation of the audience as an active subject experiencing in the first place the practice/contact/interaction with the melting coloured ice and the affects of this elemental change on the visual state of the work. To this end they are co- creators of the final piece. The resulting Ink canvas will then be exhibited as a visual record/ live painting, alongside photographic documentation as a legacy of the event. In this moment of pause and participation I hope that honest questions will arise surrounding the subject of the rapid pollution of our Oceans. I have recently been exploring this method of work in the studio and I attach some images for your perusal to offer an idea to support my proposal. Artist Biography A refugee of the Vietnam War, Tran’s work explores the affects of displacement and placement on identity as an evolving negotiation. In a multi-disciplined practice of object making, text, spatial installation, video and Live work, Tran explores experiences of transient social and cultural codes, re-considering, reclaiming and challenging disparities in Eastern and Western aesthetics and thought through the prism of re-identifying identity. Tran’s work observes assimilation through the ritual of ‘everyday’ living by exploring how seemingly mundane tasks are able to affect and change the course of Human experience and daily survival. Her works often draw upon elements of personal lived experience, of others or invented events that relate to blurred areas of memory to explore broader historical and social themes, often addressing issues relating to belonging, personal locality, temporality and the role of personal relationships, she is particularly interested in the discrepancies between the past and the present, and between the identities and histories imposed upon her by others and those that she chooses to reclaim. Tran also works as a designer for Set and Costume for Performance in parallel to her practice as a Visual Artist She regularly participates in residencies and has exhibited her work nationally and internationally, funded previously by Arts Council Ireland, Kunsterverein Rosa Luxemborg, Mark Rothko Museum. She trained at the renowned Motley School of Design for Theatre in London and holds a BA in TextileArt from The Winchester School of Art and currently MA in Fine Arts at The Chelsea College of Arts. Moi Tran
Moi Tran December 2017 Proposal The Universal Sea Pure or Plastic Proposal for The Universal Sea- Pure or Plastic Working Title: SEE / SEA ‘Art is thus prefigured in the very processes of living. The distinguishing contribution of man is consciousness of relations found in nature. Through consciousness he converts the relations of cause and effect that are found in nature into relations of means and consequence. Rather consciousness itself is the inception of such a transformation’ Art as experience John Dewey. For the event of The Universal Sea – Pure or Plastic, I propose a LIVE action performance as a social living sculpture to provoke dialogue; exchange and engagement through real time experience and as a truthful reminder of the detrimental affects our actions impose on our planet. Water will act as the primary medium in this Live Art performance. 1. It is a direct visual connection to the subject matter. 2. It is an ‘everyday’ element that we are all very familiar with and use daily in our everyday rituals. 3. It is a LIVE element, responding to time and life and I am very interested in presenting the essence of Liveness in this work. 4. The elements used in this LIVE installation will act to provoke thought about climate change and pollution overall on our oceans. Description: Installation A large canvas made of un-primed calico will be installed on the ground, to compose and affect the viewing experience of the audience. It will reflect our natural viewing positions in relation to the Ocean and suggest an area of flat expanse. A selection of ICE Sculptures will be made using reclaimed plastic vessels (source to be confirmed). These Vessels will be used as moulds to create ICE Sculptures ( please refer to attached images). To enhance the dramatic visual effect of the melting process and the ‘live painting’ that the ice melting will create, different Inks will be mixed into the water before freezing the moulds. The fascinating aspect of these ICE Sculptures is that they will look familiar but the Ink will distort the perception of the object. The dramatic transformation of seemingly solid objects, which on first glance look plastic but are in fact made up of a solution of Ink water, this will produce surprise and engagement from the viewer. The ICE Sculptures will be removed individually from the moulds and stored so they remain frozen prior to performance. As a durational live process, the piece continues to respond to the elements in the environment, for example, the heat and the light of the gallery space and the temperature effects of human presence. The temporality of the ICE sculptures comments on the fragility of our oceans and highlights that we cannot neglect and ignore this essential life giving natural source. I am proposing a sound element to accompany this performance. Description: Audience Experience / Participation The aspect of engagement and witness to this event is complicit to both the performer and audience. In this performance I will engage audience participation as a physical presence and also as an active presence. A number of volunteer audience members will position themselves around the edge of the Canvas. The number will be limited to the safe accommodation of the public in this active involvement. The Artist will also be positioned around the canvas edge. Once the performance begins she will the go to retrieve an ICE ball, return to the edge of the canvas and place the object into the canvas surface. The Artist will then go to retrieve another ICE Sculpture and offer this to an audience volunteer who will be instructed to place/roll the ICE Sculpture onto the canvas surface. Each Audience volunteer will be offered an implement to aid the placing of the Ice ball to protect from the ink staining. The ICE sculpture will melt slowly in this position and over the duration an unpredictable abstract river of merging colours and melting objects, will emerge contained within the canvas surface. The dramatic and beautiful ink traces will spread across the canvas, the melting process and will act as a record to the witness of an event, between art and viewer. The Art work will act as visual metaphor to consider the transformation on the largest surface area of our planet as a result of human activity. The melting process will be visually transformative and comment on the fragility and transformation of our Oceans. The Ice Sculpture will melt and stretch out across the canvas to create an abstract and beautiful image that immediately resembles the water surface on our planet. All of these familiar and recognisable motifs of water will create strong associations with the viewer on this very urgent subject. It will act to keep this subject matter at the forefront of the debate in a symbiotic collaboration with visual arts. The audience will be encouraged to walk around the canvas area to view the piece in the round, this movement will encourage further viewing engagement with the work. The action will be completed when the canvas surfaced is fully activated with melting Ink balls. The piece comes to a natural end once all the Ink balls have melted, the audience would be encouraged to witness the full event. The Liveness in this action piece offers the audience the possibility to endure in the visual observation of the melting process which is also extended to the activation of the audience as an active subject experiencing in the first place the practice/contact/interaction with the melting coloured ice and the affects of this elemental change on the visual state of the work. To this end they are co- creators of the final piece. The resulting Ink canvas will then be exhibited as a visual record/ live painting, alongside photographic documentation as a legacy of the event. In this moment of pause and participation I hope that honest questions will arise surrounding the subject of the rapid pollution of our Oceans. I have recently been exploring this method of work in the studio and I attach some images for your perusal to offer an idea to support my proposal. Artist Biography A refugee of the Vietnam War, Tran’s work explores the affects of displacement and placement on identity as an evolving negotiation. In a multi-disciplined practice of object making, text, spatial installation, video and Live work, Tran explores experiences of transient social and cultural codes, re-considering, reclaiming and challenging disparities in Eastern and Western aesthetics and thought through the prism of re-identifying identity. Tran’s work observes assimilation through the ritual of ‘everyday’ living by exploring how seemingly mundane tasks are able to affect and change the course of Human experience and daily survival. Her works often draw upon elements of personal lived experience, of others or invented events that relate to blurred areas of memory to explore broader historical and social themes, often addressing issues relating to belonging, personal locality, temporality and the role of personal relationships, she is particularly interested in the discrepancies between the past and the present, and between the identities and histories imposed upon her by others and those that she chooses to reclaim. Tran also works as a designer for Set and Costume for Performance in parallel to her practice as a Visual Artist She regularly participates in residencies and has exhibited her work nationally and internationally, funded previously by Arts Council Ireland, Kunsterverein Rosa Luxemborg, Mark Rothko Museum. She trained at the renowned Motley School of Design for Theatre in London and holds a BA in TextileArt from The Winchester School of Art and currently MA in Fine Arts at The Chelsea College of Arts. Moi Tran
Description:
Moi Tran December 2017 Proposal The Universal Sea Pure or Plastic Proposal for The Universal Sea- Pure or Plastic Working Title: SEE / SEA ‘Art is thus prefigured in the very processes of living. The distinguishing contribution of man is consciousness of relations found in nature. Through consciousness he converts the relations of cause and effect that are found in nature into relations of means and consequence. Rather consciousness itself is the inception of such a transformation’ Art as experience John Dewey. For the event of The Universal Sea – Pure or Plastic, I propose a LIVE action performance as a social living sculpture to provoke dialogue; exchange and engagement through real time experience and as a truthful reminder of the detrimental affects our actions impose on our planet. Water will act as the primary medium in this Live Art performance. 1. It is a direct visual connection to the subject matter. 2. It is an ‘everyday’ element that we are all very familiar with and use daily in our everyday rituals. 3. It is a LIVE element, responding to time and life and I am very interested in presenting the essence of Liveness in this work. 4. The elements used in this LIVE installation will act to provoke thought about climate change and pollution overall on our oceans. Description: Installation A large canvas made of un-primed calico will be installed on the ground, to compose and affect the viewing experience of the audience. It will reflect our natural viewing positions in relation to the Ocean and suggest an area of flat expanse. A selection of ICE Sculptures will be made using reclaimed plastic vessels (source to be confirmed). These Vessels will be used as moulds to create ICE Sculptures ( please refer to attached images). To enhance the dramatic visual effect of the melting process and the ‘live painting’ that the ice melting will create, different Inks will be mixed into the water before freezing the moulds. The fascinating aspect of these ICE Sculptures is that they will look familiar but the Ink will distort the perception of the object. The dramatic transformation of seemingly solid objects, which on first glance look plastic but are in fact made up of a solution of Ink water, this will produce surprise and engagement from the viewer. The ICE Sculptures will be removed individually from the moulds and stored so they remain frozen prior to performance. As a durational live process, the piece continues to respond to the elements in the environment, for example, the heat and the light of the gallery space and the temperature effects of human presence. The temporality of the ICE sculptures comments on the fragility of our oceans and highlights that we cannot neglect and ignore this essential life giving natural source. I am proposing a sound element to accompany this performance. Description: Audience Experience / Participation The aspect of engagement and witness to this event is complicit to both the performer and audience. In this performance I will engage audience participation as a physical presence and also as an active presence. A number of volunteer audience members will position themselves around the edge of the Canvas. The number will be limited to the safe accommodation of the public in this active involvement. The Artist will also be positioned around the canvas edge. Once the performance begins she will the go to retrieve an ICE ball, return to the edge of the canvas and place the object into the canvas surface. The Artist will then go to retrieve another ICE Sculpture and offer this to an audience volunteer who will be instructed to place/roll the ICE Sculpture onto the canvas surface. Each Audience volunteer will be offered an implement to aid the placing of the Ice ball to protect from the ink staining. The ICE sculpture will melt slowly in this position and over the duration an unpredictable abstract river of merging colours and melting objects, will emerge contained within the canvas surface. The dramatic and beautiful ink traces will spread across the canvas, the melting process and will act as a record to the witness of an event, between art and viewer. The Art work will act as visual metaphor to consider the transformation on the largest surface area of our planet as a result of human activity. The melting process will be visually transformative and comment on the fragility and transformation of our Oceans. The Ice Sculpture will melt and stretch out across the canvas to create an abstract and beautiful image that immediately resembles the water surface on our planet. All of these familiar and recognisable motifs of water will create strong associations with the viewer on this very urgent subject. It will act to keep this subject matter at the forefront of the debate in a symbiotic collaboration with visual arts. The audience will be encouraged to walk around the canvas area to view the piece in the round, this movement will encourage further viewing engagement with the work. The action will be completed when the canvas surfaced is fully activated with melting Ink balls. The piece comes to a natural end once all the Ink balls have melted, the audience would be encouraged to witness the full event. The Liveness in this action piece offers the audience the possibility to endure in the visual observation of the melting process which is also extended to the activation of the audience as an active subject experiencing in the first place the practice/contact/interaction with the melting coloured ice and the affects of this elemental change on the visual state of the work. To this end they are co- creators of the final piece. The resulting Ink canvas will then be exhibited as a visual record/ live painting, alongside photographic documentation as a legacy of the event. In this moment of pause and participation I hope that honest questions will arise surrounding the subject of the rapid pollution of our Oceans. I have recently been exploring this method of work in the studio and I attach some images for your perusal to offer an idea to support my proposal. Artist Biography A refugee of the Vietnam War, Tran’s work explores the affects of displacement and placement on identity as an evolving negotiation. In a multi-disciplined practice of object making, text, spatial installation, video and Live work, Tran explores experiences of transient social and cultural codes, re-considering, reclaiming and challenging disparities in Eastern and Western aesthetics and thought through the prism of re-identifying identity. Tran’s work observes assimilation through the ritual of ‘everyday’ living by exploring how seemingly mundane tasks are able to affect and change the course of Human experience and daily survival. Her works often draw upon elements of personal lived experience, of others or invented events that relate to blurred areas of memory to explore broader historical and social themes, often addressing issues relating to belonging, personal locality, temporality and the role of personal relationships, she is particularly interested in the discrepancies between the past and the present, and between the identities and histories imposed upon her by others and those that she chooses to reclaim. Tran also works as a designer for Set and Costume for Performance in parallel to her practice as a Visual Artist She regularly participates in residencies and has exhibited her work nationally and internationally, funded previously by Arts Council Ireland, Kunsterverein Rosa Luxemborg, Mark Rothko Museum. She trained at the renowned Motley School of Design for Theatre in London and holds a BA in TextileArt from The Winchester School of Art and currently MA in Fine Arts at The Chelsea College of Arts. Moi Tran
Moi Tran December 2017 Proposal The Universal Sea Pure or Plastic Proposal for The Universal Sea- Pure or Plastic Working Title: SEE / SEA ‘Art is thus prefigured in the very processes of living. The distinguishing contribution of man is consciousness of relations found in nature. Through consciousness he converts the relations of cause and effect that are found in nature into relations of means and consequence. Rather consciousness itself is the inception of such a transformation’ Art as experience John Dewey. For the event of The Universal Sea – Pure or Plastic, I propose a LIVE action performance as a social living sculpture to provoke dialogue; exchange and engagement through real time experience and as a truthful reminder of the detrimental affects our actions impose on our planet. Water will act as the primary medium in this Live Art performance. 1. It is a direct visual connection to the subject matter. 2. It is an ‘everyday’ element that we are all very familiar with and use daily in our everyday rituals. 3. It is a LIVE element, responding to time and life and I am very interested in presenting the essence of Liveness in this work. 4. The elements used in this LIVE installation will act to provoke thought about climate change and pollution overall on our oceans. Description: Installation A large canvas made of un-primed calico will be installed on the ground, to compose and affect the viewing experience of the audience. It will reflect our natural viewing positions in relation to the Ocean and suggest an area of flat expanse. A selection of ICE Sculptures will be made using reclaimed plastic vessels (source to be confirmed). These Vessels will be used as moulds to create ICE Sculptures ( please refer to attached images). To enhance the dramatic visual effect of the melting process and the ‘live painting’ that the ice melting will create, different Inks will be mixed into the water before freezing the moulds. The fascinating aspect of these ICE Sculptures is that they will look familiar but the Ink will distort the perception of the object. The dramatic transformation of seemingly solid objects, which on first glance look plastic but are in fact made up of a solution of Ink water, this will produce surprise and engagement from the viewer. The ICE Sculptures will be removed individually from the moulds and stored so they remain frozen prior to performance. As a durational live process, the piece continues to respond to the elements in the environment, for example, the heat and the light of the gallery space and the temperature effects of human presence. The temporality of the ICE sculptures comments on the fragility of our oceans and highlights that we cannot neglect and ignore this essential life giving natural source. I am proposing a sound element to accompany this performance. Description: Audience Experience / Participation The aspect of engagement and witness to this event is complicit to both the performer and audience. In this performance I will engage audience participation as a physical presence and also as an active presence. A number of volunteer audience members will position themselves around the edge of the Canvas. The number will be limited to the safe accommodation of the public in this active involvement. The Artist will also be positioned around the canvas edge. Once the performance begins she will the go to retrieve an ICE ball, return to the edge of the canvas and place the object into the canvas surface. The Artist will then go to retrieve another ICE Sculpture and offer this to an audience volunteer who will be instructed to place/roll the ICE Sculpture onto the canvas surface. Each Audience volunteer will be offered an implement to aid the placing of the Ice ball to protect from the ink staining. The ICE sculpture will melt slowly in this position and over the duration an unpredictable abstract river of merging colours and melting objects, will emerge contained within the canvas surface. The dramatic and beautiful ink traces will spread across the canvas, the melting process and will act as a record to the witness of an event, between art and viewer. The Art work will act as visual metaphor to consider the transformation on the largest surface area of our planet as a result of human activity. The melting process will be visually transformative and comment on the fragility and transformation of our Oceans. The Ice Sculpture will melt and stretch out across the canvas to create an abstract and beautiful image that immediately resembles the water surface on our planet. All of these familiar and recognisable motifs of water will create strong associations with the viewer on this very urgent subject. It will act to keep this subject matter at the forefront of the debate in a symbiotic collaboration with visual arts. The audience will be encouraged to walk around the canvas area to view the piece in the round, this movement will encourage further viewing engagement with the work. The action will be completed when the canvas surfaced is fully activated with melting Ink balls. The piece comes to a natural end once all the Ink balls have melted, the audience would be encouraged to witness the full event. The Liveness in this action piece offers the audience the possibility to endure in the visual observation of the melting process which is also extended to the activation of the audience as an active subject experiencing in the first place the practice/contact/interaction with the melting coloured ice and the affects of this elemental change on the visual state of the work. To this end they are co- creators of the final piece. The resulting Ink canvas will then be exhibited as a visual record/ live painting, alongside photographic documentation as a legacy of the event. In this moment of pause and participation I hope that honest questions will arise surrounding the subject of the rapid pollution of our Oceans. I have recently been exploring this method of work in the studio and I attach some images for your perusal to offer an idea to support my proposal. Artist Biography A refugee of the Vietnam War, Tran’s work explores the affects of displacement and placement on identity as an evolving negotiation. In a multi-disciplined practice of object making, text, spatial installation, video and Live work, Tran explores experiences of transient social and cultural codes, re-considering, reclaiming and challenging disparities in Eastern and Western aesthetics and thought through the prism of re-identifying identity. Tran’s work observes assimilation through the ritual of ‘everyday’ living by exploring how seemingly mundane tasks are able to affect and change the course of Human experience and daily survival. Her works often draw upon elements of personal lived experience, of others or invented events that relate to blurred areas of memory to explore broader historical and social themes, often addressing issues relating to belonging, personal locality, temporality and the role of personal relationships, she is particularly interested in the discrepancies between the past and the present, and between the identities and histories imposed upon her by others and those that she chooses to reclaim. Tran also works as a designer for Set and Costume for Performance in parallel to her practice as a Visual Artist She regularly participates in residencies and has exhibited her work nationally and internationally, funded previously by Arts Council Ireland, Kunsterverein Rosa Luxemborg, Mark Rothko Museum. She trained at the renowned Motley School of Design for Theatre in London and holds a BA in TextileArt from The Winchester School of Art and currently MA in Fine Arts at The Chelsea College of Arts. Moi Tran
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