After several reconfigurations, transformations, and technical upheavals, I think the concept for Cappadocia has came to a point where-in it will develop in a near linear trajectory towards a very particular design. One that habitats all of the concerns of the artist and the host space itself.
The original concept was conceived as an installation bubble form that would occupy the space of a specific Cappadocian cave excavation. This rapidly evolved, morphing into a conceptual cave that featured frescoes that were ‘lifted’ from the original cave wall. The original cave space was to be reformed, re-envisioned – what ought we do with these frescoes now we can lift them from their original setting?
As a walk through, or promenade, installation, the new and old can merge to create a bridge between cultures, between spaces, between people, and between times. Instead of perceiving that a site is ‘before our time’, an audience would have to contemplate their comprehension of Being and of being now. This experience would repercuss upon an audience member’s perception during their later experience as well as being affected by their experience attained a priori. The question is, what affect does this piece of work have on the individual in terms of their relationship to the original space.
The design of the installation was to be in accordance with notions of the uncanny. This decision was considered the only logical actuality, the landscape and the situation already occupies territory we would label as the uncanny and the juxtaposition of artworks, existing and new, would be complicated. There must be an acknowledgment of the cave excavation as a “gestalt”, a whole, wherein the placement of a new piece of work risks coming into contradiction not only with the frescoes but the purposes of the space, the social perception of the site, the architecture, the material properties of the space and the acoustic resonance inherent to it. When it comes to engaging with the site specific work there is a risk that the space will dominate the artwork or the interests of the audience members and whilst this might be effective it is worth attempting to develop a relationship which is more symbiotic. The installation must complement or dialogue superfluously with the original space even if the visual spectacle itself is invasive or aggressive towards the original nature of the space. [I’m not sure how much this is a reflection of my own ideological outlook on life]
A concept that has been consistently present in the development of the work is the appropriation of existing images from the cave space to constructed installation. The format of the images is still being considered and depends largely on the ability of the artist to put ideas into practise.
Methods for creating the visual representation of the frescoes and the installation include using heat transfer paper, photopolymer emulsion, sculptural forms, tensioned and self-supporting fabric structures[based upon the infrastructures of pop-up tents], and fabric ‘plates’. Glass plates and transparent paraphernalia would be interesting to use in correlation with the photosensitive emulsion although this would be a dramatic learning curve and would be impractical to carry out due to the weight of such materials.
As an additional note, I have been considering a dance for film project and a series of sound and vision projects both as collaborative projects. These will need some elaborating as time goes by. Research into the history of Jazz and current practise performed under the title Jazz is being undertaken at the present moment in time.