Erin | Final Project Statement

This work addresses concepts surrounding(mis)navigation, presence and absence, and transformation from one state to the next. Through the gesture of lighting a match and holding it above a lens, a sequence of panels containing drawn moth carcasses appear and dissolve behind the panes of a window ending in dust. This gesture and the context of an altar-like experience intends to evoke connotations of investigation, ritual, memorial, and passage. The moths depicted are all found and collected as a result of their attraction to light.

I’m most interested in poetic intersections:

• Why do humans and moths share an attraction to flame and light especially in darkness?
• Can the illumination 
• How does the act of lighting a match to reveal a narrative of dissolution involve us in an act of immolation as defined as (1) to kill as a sacrifice, (2) to kill (oneself) by fire, and (3) to destroy? 

• Can the moth's attraction to flame be an effective metaphor for our need to investigate mystery?

• Can this work serve to evoke scientific as well as spiritual investigation?

• Does investigation of this nature help or hinder our individual journeys?
• I'm borrowing a bit from comic conventions as well by using the window panes as panel sequences. There is a story to be told. What are the viewer's limitations both in terms of attention and the span of a burning match threatening to burn oneself?

Though the work functions well enough now there are several points that need fine tuning. 

1. Affordance: The class was primed to know how to approach the work, but others who I’ve had interact with the work are not. How can I better indicate an affordance? Two things I’m considering is using a larger lens and creating a shield around it which will help direct people and the matchlight more appropriately. The lens is more compelling than a candle though I'm a little wary of pushing the precious altar-ness too much. Can an empty jar work better? Should I indicate there is an end to reach? What might be the possible solutions? 

2. Light quality: Something both Orlando and Katerie pointed out was the light has a sense of lightening bugs rather than moth associated flame. I’m seeking to hack warm light LEDs from Xmas lights and changing the code to flicker more. It’s requiring a bit of stare time as I find the slower fade more contemplative and I'm not yet convinced flickery-ness isn't too distracting and slow for the length of the match. 

3. Presentation of the work: How to light a work that needs darkness to perform, but is still formally important? This is my greatest concern at the moment. Should the floor of the work be lit? Should I shade the gallery lighting so the window is only in shadow? Should the spotlight be replaced with a lower wattage?

4. Construction: Still haven’t fully embraced whether I should hide the light sensor wire or embrace it by extending it looped on the floor2. The level of surprise of the newly initiated is pretty satisfying, so I’m considering letting it be magic. 

4. Working Title: Navigate/Immolate  (directive, definitive)

Previous related work:

http://sculptress-studio.blogspot.com/2007/09/drawn.html

A number of years ago I made a series of fragmented drawings of insects drawn to my porch by light where they found their death. 

Progression to the next work:

I’m considering making a moth light trap trap and drawing the silhouettes of the moths that land on it. 

This will be documented properly over the break.