shifts in perception within a performance thesis

  SHIFTS IN PERCEPTION BETWEEN THE NEWLYN SCHOOL    OF PAINTING AND THE EMERGENCE OF IMPRESSIONISM         ON THE CONTINENT DURING THE PERIOD 1884 TO 1930

AND BEYOND

Performance at the Newlyn Art Gallery on November 14th 2007 at                                   8pm in the education studio.
Booking for places is necessary as audience numbers are limited to 25.

The performance in the form of a live painting concerns itself with the Rustic Naturalism of the colony of artists painting in Newlyn, Cornwall, and the developments concurrently in painting of the ëImpressionistsí such as Monet, Seurat, Signac, Vuillard, who were also dealing with the Natural world, but in a very different way on the Continent. Perception as explored in the performance is not only one of technique in painting, but also how the eye and the mind work together in their reflective function.
To the audience it is an invitation to step into the newly built education/studio room to encounter an artistís view of the changing nature of perception, through the visual evidence of the performance.
You might say that our thesis in performance is based on the idea of transcendence and the subjectivity of the artist. This would be correct, as during the performance it will, amongst other things, become evident that in terms of perception we feel that it is necessary to start at the beginning, wherever that point of beginning might be. As Phenomenology itself has determined the philosophic basis for the project of deconstruction so it is apparent as a science of beginnings performatively.

The performance thesis project was initiated by Turner with important support from: Whitaker [performance thesis] (researcher and performance/lecturer in radical performance), Yon (dance artist), Wahl (music performance), Mallinson (music and film).
Recorded voices in performance of Alison Bevan, Melissa Hardie and Bob Devereux
Norman Garstin in 1886 said:
"Everyone of us is condemned to solitary confinement in himself for the term of his natural life. The arts serve to tell him that as other men see, hear and feel the same as he does, then it is possible that his sensations are mere illusions. That sense of companionship in sensation is the satisfaction of the arts; it is the means by which we look into one another’s souls and minds".
Merleau-Ponty in 1967 said:
"Sight, hearing, touch. birth. death, are all alien to personal life, they remain anterior. Perception cannot be encapsulated in the first person singular, it is never an individual who sees, touches, it is the whole species as such one sees, one hears, one touches, it is a generic biological endowment. Language is also social, we all share speech".
"However it is only through language that progress can be made in one’s individuation."

 

Performance at Newlyn Gallery Penzance November 2007