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Fortnightly Updates #2 Testing, First Steps and Motivation.

Here we are, second update on what I've been up to, hello.

The past two weeks have been not more source than substance for my creative processes, and I'll jump into them now.

Firstly from last weeks Update, I mentioned I was creating a setlist for open mic nights. So far I have a playlist of a collection of songs I have practiced or would like to perform given I can give them a fair representation in my performance. This process will be a long one, as a high critic of my own singing and performance, I will be practicing and exploring different ways to perform covers of the songs chosen, and to ensure they are at a quality in which I would be happy to listen to out and about over a pint, and that others would also. This will shortly also include a handful of the classic open mic songs which if all else fails, a solid sing a long can make a night. The difficulties I am having for this process is the time to practice it. Currently living with family with young children, the time I get home from work is their bedtime. Which doesn't mix well when the lullaby next door is Mardy Bum by Artic Monkeys. So the plan for this is to hopefully start on clearing a little space in the garage for practice, and when the world kicks back into gear, and my area shifts out of Tier 3, I can perform at open mic nights.

"WHO IS MORB?" has began in the pre-writing process! From planning on what to write and talk about, I realized that I am not as knowledgeable in the subject as I would like to, which spurred Phase One: Sources and Structure.

For sources, I wanted a mix of first hand experience in the art of Graffiti as well as documented, whether photography of, or written documentation on them, weather that being books, journals, news articles or social media posts. Through this I discovered a link to my performance attitude and preferences through research: of Dada and Avant Garde political groups such as the Clandestine Insurgent Rebel Clown Army (CIRCA) Which attend political rallies and protests; wearing clown-esque military uniform and equipped with feather dusters and water pistols. Their intention to defuse tensions as well as to support the cause peacefully. With studying a module in clowning (and graduating from Clown Mod) This group sparked interest into me and their presence can spur beautiful scenarios through contrast, like for example (Here)

More to the point through this article written by The Guardian "Banksy pledges £80,000 to Russian art Group Voina" (2010) I read up about Voina, another group of activists from the Russia using art, vandalism and orgies to pull a political point across to the public and those in power. This includes drawing a 60ft penis on a draw bridge outside the Russian ex-KGB headquarters, Staging a orgy in protest of the pointless nature of Russian Democracy in its current state, and celebrating international workers day by throwing live cats into a McDonald's to "to break up the drudgery of workers' routine day" and many more. These art extremists I feel capture a aspect of Live performance as well as graffiti and street art to a sense, which is a focus I will be looking at in my Article in the section 'Reasons for Street art and Graffiti'

As well as looking into other artists and performers for sources, I wanted to try the form first hand. Through this I ordered just some cheap spray paints online and tried improvising some Graffiti. This helped me find a new respect for those that create and give to the community at risk for nothing in return. Not only from what I discovered it is difficult and their is a learning curve when it comes to outlining, blending and distances for spraying, that also speed and intention are also important. Mistakes are irreversible and can

Few sketchy ideas, containing, an eye, framed triangle on beach, contrasting reflecting tree

only be fixed by overlapping paints or embracing the rough element of the art form. Using a scrap fence panel is where I stared with 4 colors and black and white spray. Next week I will be experimenting with speed and stenciling, another form of graffiti and street art.

In other news, I am in conversation and production of a PowerPoint called 'Processes, People, Pieces' A presentation which I might have the pleasure to present at the University I graduated from for the Live Art Module this year. It will be explaining certain styles, characteristics and developmental processes to Performance Art. It will also contain Key Artists of said styles, and personal processes and pieces which myself and other graduates did when we were taking the module they are running. This will also help me adapt into the new world of online presenting which I feel is becoming more of a necessary skill to have in our highly digital work environment currently.

Moving to Motivation; This is what I have been struggling with for the planning process for "Big brother is Watching". The contacts of shops and locations for CCTV footage is both hard and morally questionable. Through every Performance artists process they have to take a step back from their work and look at the moral issues of the piece, as well as the likelihood the piece can be performed effectively. I am a person who currently has to drag themselves back down to reality in the creative process mostly through being unaware of the capabilities of myself. This in itself can be a demotivating and difficult section of the process as usually this is where doubt and possibility of performing come to play. In this section it can be overwhelming at some points see where to start on such a big task. The plan for this piece is to double check on the availability of the gathering sources need to complete the piece, as well be aware of the political climate we are in, as art is subjective, It can bleed into different views on the intention of the piece. For now, it is chipping away at the development process, slowly but surely.

SOTW (18/10/20): Soldier, Poet, King - The Oh Hellos: this enchanting folk song about the tale of the power of words as weapons, and the metaphorical strength they have. Overall, and incredibly catching tune brining a seasoned mix of folk and electric instruments, voices and harmonies. That and the charm of the song are the few reasons as to why it is this updates SOTW.

AOTW(18/10/20) Anthony Christopher 'Claustophobia' A haunting rendition of visualizing claustrophobia. The reason the piece is interesting to me is the processes. A lot like animation and fine art illustrations, time is a key part of producing, and in this piece it is evident that time, patience, repetition and effort went into this piece, in which itself the creation process must of been a journey and art form in itself.

For now, I'll catch you all in 2 weeks for update 3, hopefully with more progress and research.

Until then.

SC (18/10/20)

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