Katya Petetskaya:
My art process is about uniting meditation, stored unconscious memories and artistic expressions.
This is its description…
Meditate.
Any mediation technique would work. Use meditation to expand and liberate your awareness from its fixation on the outside world – allow yourself to slip into inner-awareness.
If you do not have a preferable meditation technique I would recommend trying yoga nidra (state of dynamic sleep). During yoga nidra the consciousness is suspended for a few moments periodically, which means it alternates between the subconscious and unconscious state. Yoga nidra teaches to relax consciously. It is a systematic method of inducing complete physical, mental and emotional relaxation. In yoga nidra, the state of relaxation is reached by turning inwards, away from outer experiences. And that is what you need for this art process!
While meditating, become aware of inner-energy reactions. Allow yourself to free your body. Allow yourself to free your gestures.
Meditation will help to release tensions and obtain relaxation in your body. Now you could close your eyes and let your body move slowly. It is up to you – you may try gentle movements of your hands and fingers or may try moving the entire body in dancing. Notice all the changes that occur within your body with every new move. Follow your feeling. The idea is to free your body, to prepare it for your art work.
Become conscious of the potential of the material you use.
Look at it, touch it, smell, taste? Feel.
The material has innate qualities to which you can choose to respond.
Now you are ready to make your first mark.
Respond to the inner-energy reactions with the immediate physical manipulation. This is your first mark. And your first mark has to be unconscious.
Your next mark is your response to the first mark. It is your reaction to the first mark. Listen. Feel. React.
Respond to the inner-energy reactions with the immediate physical manipulation. This is your first mark. And your first mark has to be unconscious.
Your next mark is your response to the first mark. It is your reaction to the first mark. Listen. Feel. React.
Your personal responses come from ‘seeing’ and feeling.
In the process of finding your next mark from the previous, try to allow your unconscious memories to unveil themselves.
Keep adding each new individual mark to the collective all.
Gradually, the sensual qualities of your marks will become crystallised in the collective all.
In this collective all of your marks you can encounter your personal symbols.
At this stage you can try to…
Gradually, the sensual qualities of your marks will become crystallised in the collective all.
In this collective all of your marks you can encounter your personal symbols.
At this stage you can try to…
emphasise the directions you like and defuse other directions that you have no response to
define forms that you feel need to be defined
pull and set back attention to individual unique symbols that resonate with your inner sensations
underline relationships between symbols within your work.
Now you can experience the final piece!
Sensual qualities of the final piece are achieved by recognising particular sensations within yourself; and thus individual marks and the final piece may evoke sensations associated with your unconscious memories.
Gianni Wise:
KATYA worked with GIANNI'S written process to make her work:
Sensual qualities of the final piece are achieved by recognising particular sensations within yourself; and thus individual marks and the final piece may evoke sensations associated with your unconscious memories.
Gianni Wise:
GIANNI WISE
5.9
Digital video with audio, laptop, digital projector
5:19 loop
KATYA worked with GIANNI'S written process to make her work:
Gianni Wise:
I respond to a theme that is offered to me.
A number of things happen to generate the process.
1. If I am working collaboratively, I speak independently to the artists I am working with. We talk around the theme without really discussing our work. Ideas flow between us – opening up other thoughts that generate possibilities – rather than concrete possibilities.
2. I go away and search for information, images and materials I can work with. Sometimes the material drives the idea, sometimes the reverse. Actually, the two alternate early on in conceptualizing. Relevant to the particular material I am working with, I need remain aware of limitations of my imagined ideas.
3. I meet with the curator of the show - we imagine how we could combine our work.
4. I usually start drawing (sometimes I work with collage, sound or video), to go beyond my initial response to an idea. Constructing – specializing – a visual manifestation that could work – multiple versions on the same page – adding tones and giving light – theatrical space with details emerging as I see them through my rapid predictions – moving in on what could be possible.
5. I take these sketches to various stores/suppliers to give them meaning in the external world. I act out my ‘intent’.
6. The final part of the process is installing the work in the gallery. I see this space as being no different in many respects to any theatre/stage – lighting and props etc. I finalise the work in the space – in a group environment where all participants are willing actors in the imagining – where the art work finds its final resolution in the actual coming together (onstage - under lights - within the white box etc). Here’s where the final decisions are made – where all have the opportunity to respond to each other, in that we bring ourselves through our work to the venue, and the process of refinement happens in its interrelationship.
Katya Petetskaya:
Katya Petetskaya:
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| KATYA PETETSKAYA There is not a theme here Acrylic, brass gold and ink on paper 78 x 58.5cm |
