Looking At This, I Notice That

An artwork is made based on a personal hypothesis resting on the existing knowledge of the artist. This knowledge, whether from a case study within a theme the artist is researching or from his or her general understanding/reception of the world where he/she is working, will inevitably cause the artwork to be of a personal and subjective matter, regardless of the proposition or matter discussed in the work itself. With this in mind, the idea of an auto analysis of one’s work seems somewhat unproductive as one enters the analysis or critique of one’s work with the same knowledge or moral as the work was initially based. With this in mind my intention with this text was to create a paper that would be an opportunity to demonstrate something about my work and its context, rather than demonstrating my knowledge. By leaving the raw material of my sources as untouched as possible I hoped with this approach to present a process that would embody the sensation of my work, rather than the singular reading the rewriting and customization of the sources that a more formal paper would dictate. The footnotes, more informal in their structure than a conventional text, gave me the opportunity to more freely propose the plausible and temporal truths I am searching while escaping the traditional role of the author. The fragmented form of the paper also better reflected the conceptual aspects of my own practice, where the gaps of knowledge and unconnected dots inevitably are exposed just as openly as they are in this text.