Making some cosmos for meiklian mind gazing
This concept of questioning the self from a confrontation with trusted structures of knowledge resonates with a conceptual aim I hope to acknowledge through my degree show. As Blake said “man has closed himself up, till he sees all things thro’ narrow chinks of his cavern.” Cavernous limitations of passively accepted cultural realities. The worst mistake is to see any cultural perspectives as true, for they are the invisible ropes that man has anchored himself to make order and meaning from cosmic chaos.
I am attracted to use the museological effect in this way, as a tool to facilitate in the viewer a personal experience. Utilising such methods, many artists have assumed this take “rather than being directly critical, they tend to be more interested in making viewers aware of rigid systems of interpretation , thus encouraging them to question rather than passively accept the official version of things.”
The museologicla aesthetic: Tu Wei Cheng, Taiwan
In December 2010 I had a profound and exciting experience, which caused the Meiklian Project to fully form when I was in Taichung Modern Art Gallery, Taiwan. Tu Wei Cheng’s ‘Bo Num Civilisation’ was a mock museum with dark gray walls and spot lights coming down from above, the ambience was dramatic and serious. Around the large space were massive stone works, I was convinced that they were from an ancient culture like the Egyptian or Mayan.
I was admiring the symbols in front of one piece which from afar had looked like the Mayan stone calendar, when I realised I was looking at a ? symbol immediately my head reeled. I looked more intensely for understandable symbols and sure enough letters and symbols from world cultures were subtly enmeshed within the un known engraved texts. I immediately started looking for some kind of explanation, however Taiwan occasionally provides no English description. When I returned home I couldn’t help but Google the current exhibition and of course, it transpired that I was looking indeed looking at art and not artefacts.
Going beyond the actual content of Tu Wei Cheng’s work, a major impact factor was the environment in which the work was installed. I had transitioned from a fairly busy modern art gallery into a formal and loaded space where the works confronted me with an alluring intensity. I had been slapped in the face by the ‘museological’. The dark gray walls, spotlighting and glass cases gave the installation a strong sense of authority for ‘a museum confers on objects an aura of importance and authenticity, endowing whatever is presented with a sense of significance.
Tu Wei Cheng’s statement affirms many of my own perspectives and his work, “When reality can be imitated, falsehood can become truth, and at the same time objects can be replicated, information infuses past, present and future, conviction follows the material object of faith, naturally the self becomes lost in self-searching”.
 Putnam, J, Art and the Artefact, London, Thames & Hudson, p34
Back to the Scottish Museum Early Peoples display systems. This time with an emphasis on bone display and spiritual stuff.
Today I got out my screen prints with the hang and realised that they dont go together, sad but they are too graphic and so they will be in a print rack through the show
I was in the Innvocations show in dundee. about invoking magic and states of otherness. I had the drawing Aya Teacher Omnipotent Endurer there alongside some of my power objects acquired on asian travels and scottish experiences.
Spotlit effects of the Chapman brothers in Tate Britain.
How to display things in a museum , thats the question.
Evolutions of the display case.
Druid Stone. 2nd of April
I went off to find this circle I had seen on a map but never in person. it was snowy, cold, tiring and bleak, these things contributed to the vibrations of this decimated circle. An old ruined cottage sat quitely beside this monument. the largest stone (must have been 8ft) was on the northward curve of the circle, rather odd as all large stones are south west facing.
Things were getting holy, God Heads of the fairy faith were enchantingly close to physical dimensions.
This was a scale up of a sketch in my book. Ive put this image up because it doesnt exist anymore, I couldnt continue to commit to these large scale grafting works. Lucy Stein pushed me into realising such things and that was a worthy teaching. To dance the jig of a jazz soloist, is a way I can also make work and it took a while but I worked out how to do it big. This picture is now the biggest landscape work of its kind of mine and im enjoying where wandering in those spaces takes me.