FMP: Making Week

A rough sketch of the initial idea

Final idea, storyboarded

For the making week the group came together and discussed each of our projects and trying to discover a common ground conceptually, which proved near impossible. Therefore, we decided that the process of making would tie each of our projects into this piece. We decided to play with the term "Put a sock in it", which brought us to the concept of female oppression. Our film consists of plastic bottles, each with their own voice, being placed into a box and then stuffed with socks to block out the sound. Whilst this is happening the expression "put a sock in it" is being projected onto the box. After each bottle has been stuffed, examples of misogynistic rap lyrics are projected, scrolling across the box. 

If we had a longer time to complete the film, we would have edited it more to shorten the playing time, made the film brighter and changed the scrolling lyrics to a single line format to make them more legible. However, I feel as though the message is felt and the the sound, which we recorded on garageband using our own voices, works effectively in creating mood, but also serving their metaphorical purpose.

In regards to my personal project, it made me think about reversing the idea of escapism. The idea that a dream may in fact become the oppressor, rather than reality. Perhaps the dreamer experiences a great sense of freedom when awake and fears the trapped feelings that may swamp them in their dreams. the making week has also further confirmed my desire to create something more suggestive and obscure than literal, as it definitely risks becoming boring or obvious.

Tate Modern, Energy and Process: Review

(Emin, Hate and Power can be a Terrible Thing, 2005. Author's own photo, 2013) 

Tracey Emin’s piece, ‘Hate and Power can be a Terrible Thing’ (2004) illuminated the room, casting the other works in shadow at the Tate Modern’s Energy and Process exhibition. Situated in the room entitled ‘Homeworkers’, curated by Ann Coxon and Valentina Ravaglia, was a series of textile-based works all produced by female artists, playing on the outdated idea of female domestic work and gender stereotypes.

Originally, Margaret Harrison’s piece, ‘Homeworker’ (1977) was supposed to be the main attraction of the room, commenting on the exploitation of female labour in resent pasts. However, Emin’s piece completely overpowered the room, grabbing everyone’s attention. What first drew me in was the ironic juxtaposition of unnerving words such as, “THERES NO ONE IN THIS ROOM WHO HAS NOT THOUGHT OF KILLING” (Emin, 2005, Hate and Power can be a terrible thing), which were stitched onto a pink quilt, an object usually used to comfort it’s user. Emin’s angered lines stitched over floral patterns, which usually stimulate tender thoughts, further employed this contrast in mood.

As viewers we can pick up on this passionate fury through error in grammar, for example, “GUESS WHAT THE WORSE I COULD DO IS BETRAYE” (Emin, 2005, Hate and Power can be a terrible thing). Here there is a lack of punctuation and a spelling mistake, “BETRAYE”, which makes it hard for us to comprehend what Emin is trying to communicate. These two points could signify that in her blind rage Emin was completely consumed by her emotions and unaware or careless of any grammatical issues.  

The heavy use of text was present in both Emin and Harrison’s work, a compelling attribute that connects visually art with other art forms, something that I am very keen to work with in my own practise. Interestingly, Harrison opted for more handwritten text, perhaps to further install the idea of hard work, harmonising well with her repeated illustrations of hands – a “hands on” approach. Alternatively, Emin stitched each letter into the quilt. You can just imaging Emin sitting there with a needle, thread and murderous look in her eyes as she stabbed wound upon wound into the quilt in an attempt to exert all of her negative energy. ‘Hate and Power can be a Terrible Thing’ certainly sparkled up a multitude of thoughts within me, especially when compared to ‘Homeworker’ as a more recent, contemporary piece. The works are similar in medium and content, as both are trying to express negative feelings towards certain injustices, but with separate moods. Whilst Harrison uses hand-scripted text, browns and reds I feel a sense of militant, political purpose, perhaps relating to feminist posters, and Emin uses softer, gentler aesthetics, producing an uncomfortable, ambiguity due to all of her piece’s clashing attributes. Perhaps, it relates to the stories that inspired the piece, posing as something safe and inviting, but when the viewer acquaints themselves with it, it becomes something monstrous; ”A mother who Reiked [sic] of Power CRAZY Hate and Fear”(Emin, 2005, Hate and Power can be a terrible thing).

Bibliography

Exhibition Visit

Emin, Tracey. Hate and Power can be a Terrible Thing, 2005, Tate Modern, Energy and Process.