Documentation, 5 Key Posts.


1 ‘Touchable Ensō’ March 2015

Clay Ensó

The coherent phenomenological description of the nature of the mind and emotion and the potential release of its suffering, based on a highly refined practice. The awareness that emerges through the paying of attention on purpose, the present moment, non-judgementally the unfolding of the experience, moment by moment. Many workshops, research and practice into mindfulness and the practice of flow linked to the positive impact on the wellbeing of the individual.

The enso is the symbol of the universe and the mu (the void) made only with the one thought in mind, and fully absorbed in the activity. The act of making them turns into a form of meditating itself.

There are displayed properties of  boundaries , the edge, inside, outside, being there and not there. At this point in my studies I was interested in exploring other forms of media rather than a painting. Presenting a physical object seemed more validating to my concept. I created ensos made with clay rather than a brushed ink in order to erase the boundary between you and the object. Without the use of a paintbrush, it becomes more personal and direct representation of you and your subconscious at that exact present moment.  The entropic nature of the clay is then passed back to earth over time, representative of our incredibly delicate human position. The symbol of absolute enlightenment and strength. Entirely minimalist but shrouded in meaning. 

2. ‘Mind Box’ May 2015



Here I attempted to create  a box where you can enter and re-create the idea of ‘nothing’ , a mind box. Cutting off the stimulus to the brain in order for you to be aware of your consciousness more.

Firstly, it breaks down boundaries between art and the viewer. You yourself become an integral part of the work by the fact that you can enter it and experience it directly.


The main idea is that with no stimulus entering the brain, the brain starts to ‘entertain’ itself and conjures up its own images. Our brains need stimulation in order to sat healthy, and a perfect balance in order to achieve ‘flow’. Too little will cause our brains to act out in order to prevent muscle atrophy.

This should induce a heightened state of consciousness, so you are alone with just yourself, being more aware of yourself.

There is evidence that Short term sensory deprivation can induce relaxing and meditative state. But Long term can induce extreme anxiety/depression. Leading to Muscle atrophy.  There are obvious similarities to the Ganzfeld effect, however I hoped to make my Box less of a scientific experiment and more gallery friendly.

To create an out of body experience in which you question what your reality is through being more aware of your consciousness by cutting off outer stimuli.

By creating this box, it was the first step into the installations that I work with now. By looking back at this point, I hope it shows how much progression I have made within the year and how much confidence I have gained since this point.

3.Experiments With Coloured Smoke Bombs


With influence from Filippo Minelli,  I have experimented with coloured smoke bombs. A small experiment that I carried out in order to highlight the surrounding spaces with colour. They produce an ethereal atmosphere due to their temporary nature, lasting only around 30 seconds each. They’re materiality consists of barely nothing.  As a viewer, my eyes were drawn wherever the coloured smoke took them, in places that I wouldn’t look if it wasn’t there. Connotations of the cloud can brings ideas of dreams and heavenly places. However, it  can also carry symbolism of threats, similar in appearance to flares. It can stand for the divine, the god-like, or it can stand for misfortune, pain or terror. This provides the audience a with a platform to take from it what they wish, whether they enjoy the brief moments of the cloud in all its beauty or whether they see this as a threatening experience. A  new spacial awareness is reached for the viewer. The temporary installation was documented by photographs, which I am quite pleased with how they aesthetically appear.

At this moment, I realised what I enjoy most about my work is its temporary nature. Its subtle materiality, weather it really exists or not instantly draws on the right questions I hope for a viewer to encounter.


4. ‘Dimensions of Space’ Dec 2015


It was an exploration of the mind, illusion and reality. I aimed to create a sensorial space that the viewer becomes an integral part of as it wouldn’t exist without their participation and their resulting experience. I hoped that it would suggest a re-evaluation of the relationship the viewer has with their surroundings by highlighting the dimensions of the space with UV light. By exploring different realms of experience; aiming to create a physical space which facilitates sensual situations through installation. I aimed to challenge the viewer’s perception of their own reality caused by a first person experience provoked through a response to the highlighted environment.


5.Title and Statement for ‘Corridor’ May 2016

I realised that my work is a conjunction of contradictions – beauty and science; of philosophy and logic; confirmation of the sense of self and disruption of the sense of self.

I can use my statement to  direct the conditions for an experiment for the environment that I am presenting. If it is for the viewer to take away any experience, then it is an experiment  in which there could be two outcomes. Wether they feel that it confirms their sense of self or weather that it disrupts it. I cannot force an outcome, or predict how it will make someone feel, but my statement is used to clarify this to a viewer.


By using the simple title ‘Corridor’, it stops the viewer coming to any conclusions about what is inside before they enter. This keeps a completely level opinion for the viewer as they enter without adding any previous connotations to what it inside which could affect the way a viewer would feel.

As for my statement, I feel that the simpler it is, the better also. There is no possible way I could mention all the important factors into the short paragraph. I have chosen to pick two of the main points that also contradict each others meaning; reflecting the two possible outcomes of the reactions of a viewer. The Haiku and the philosophical quote will cover both factors effectively.

As I talked about Zen and mindfulness and its relationship to the  being present in the moment, this translates to what I wish  my participant to experience – the moment of the drip – time standing still caught in the light of the strobe. To mirror this in my quote, I have chosen to use the Haiku to represent this as it is short and sharp. I hope this represents the drips, the flash of light and the freeze of the moment within the installation.

‘ corridor enter
strobe drip freeze
body exit’

This also suggests a list of instructions to the viewer before they enter. There is nothing to describe the inside, only a list in the  simplest form.

“Sweet is the lore which Nature brings; Our meddling intellect

Misshapes the beauteous forms of things: – We murder to dissect”

William Wordsworth, ‘ The Tables Turned,’ 1798

This chosen quote could allude to a perceptual, phenomenological or philosophic idea .

This quote represents the beauty and the poetic nature of our reality and our life. Our human need for creativity, located back to prehistoric times, is so important to what has become of our consciousness today. The words themselves show how the last surviving mystery of consciousness reflects our human nature to kill and discover.  We feel utterly baffled by the concept, by the need to discover what it is that happens, that we will murder what it is to learn.

Science does not answer all our questions, but neither does philosophy; we can only discover ourselves and our mind through our experiences. I hope that what I present as my final piece offers an experience to a viewer through a moment of pause resulting in a  reflection of their own consciousness. I hope that my installation offers a platform to either ‘destablise’ or ‘stabilise’ a viewer whilst they experience  the environment built upon philosophical theories.

Screen Shot 2016-05-08 at 17.30.10

(‘Corridor’ 2016)

‘ corridor enter
strobe drip freeze

body exit’

“Sweet is the lore which Nature brings; Our meddling intellect

Misshapes the beauteous forms of things: – We murder to dissect”

William Wordsworth, ‘ The Tables Turned,’ 1798


One Comment Add yours

  1. jupiterbeings says:

    All of your links are Broken.


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