Two new pairs of artists begin their residency this week. They will be exploring individual and relational Dissent as part of BLOCK_CHAIN > THE POWER OF TWO, an in an experimental and collaborative project which runs 9 January – 8 March 2018.
Two weeks ago James McColl and Peter Driver kicked off Block 1 and have been populating their artists blog with observations, reflections, and discussion. This week, we welcome the following artists into the unfolding dialogue:
BLOCK 2 >
Ahokkumar D Mistry
BLOCK 3 >
Ashokkumar D Mistry
Through my work I explore human agency and in particular I have focused on how individuals rise against institutions and authority. Identifying as dyslexic, dissent seems to have become a trait of everyday life. Dissent runs as a strand through various bodies of work from the perspective of human acts, mechanisms or events that lead to change.
“We must first engage to reveal its consequences.”
An artist and urban explorer, I have always been intrigued by closed off spaces such as building sites, which mostly become private or incorporate privately owned public space , or spaces which are public but the owner has the right to close the space at anytime.
I look forward to using the Block_Chain project as a vehicle to explore the themes of Pops (privately owned public space) and Physchogeography through my participation as an artist taking inspiration directly from urban street walking. I will incorporate my ‘habitual’ use of electrical tape to draw/illustrate my findings both insitu on the streets and in the studio during my 2 week residency.
My work has an undertone of current social awareness for example images taken round devastating
public loss such as the stabbings & loss of life round Borough Market, London.
“Physchogeography” in terms of my practice and daily explorations, is the act of walking in a city – predominantly London with my senses being overtaken with the environment. I feel small and inconsequential (in a good way) with my normal thought processes being subconsciously taken over by the place I find myself in. My mind becomes absorbed in looking at the details of the streets and architecture, which between them create spaces and non-spaces. This feeling of calm while drifting overtakes my body and mind. When working on my paintings (studio), tape drawings (both in the studio and in-situ), and collages, that same sense of otherworldliness is present.
My practice aims to demystify the artistic process . Hence , it aims to challenge the role of ‘ the artwork ’ and ‘ the artist ’ . Resulting works mimic and incorporate ordinary ephemera in their conception. Thus, the artwork playfully reduces art to the everyday while simultaneously elevating the throwaway as art . The work often adopts a low – tech aesthetic which aims to ironically pander to the – ‘ I could have done that’ – reputation of contemporary art.
Having lived and worked in Southampton for many years, I am now producing work from a completely off-grid, rural location in the Catalan mountains. My work could be related to the theme of dissent with regards to my studio setup, out of the system, solar-powered, alternative as well as the work itself relating to certain gender stereotyping and attempting to interrupt behaviours. Concepts within the work question gender identity, femininity as well as exploring the connectivity between our bodies and the built or natural environment.
I create large scale site-specific sculptural installation and recorded performances which attempt to convey social, educational, religious and submissive acts to highlight the unachievable quest for ‘perfection’. I am playing with interrupting controlled processes and displays using, in the first instance, obsessive acts of repetition in casting from moulds followed by subversive acts of destruction and interference in the casting process results in breakages and accidents, which become even more important.
I am interested in individual control and consumption. Obsessive and routine acts of measuring and perfecting envelops both my creative process whilst commenting on the disciplined quest for an unattainable bodily ‘perfection’ and simultaneously questioning this concept. The use of chocolate, soap, latex, soil and wax, degradable or edible materials show my obsession with the seductive yet repellent nature of human anatomy. Life, death, transience and fragility are explored within materials and processes which attempt to question some of the contemporary issues of sustainability, consumption and climatic change.
During their two-week residency these artists will post digital images on Instagram and post observational writing on the blog as part of their response to the subject of dissent.