Delicateinquisition’s Blog

Creative Elasticity: A Propositional Inquisition

Posted in Uncategorized by delicateinquisition on May 14, 2009


I propose an interactive installation piece, which is made up of six rooms, one leading into the next.

I should mention that the integral motivation behind this piece is for the most part derived from my curiosity with the creative process and how humans come to have ideas, as well as why and how they some of us choose to believe we are not creative; for whatever reason. The title of this proposed piece is: Creative Elasticity: A Propositional Inquisition.

Although, like any artwork, the entire piece is open to interpretation, it has been designed upon the basis that creativity is a natural inhabitancy of human beings and that in some cases; it must be nurtured and also provoked in order to be properly embraced.

. Since discovering these methodologies, my creativity has been running completely wild and I have discovered a newfound confidence qand enriched perspective within both my creative and daily life. I have allowed this extensively researched body of knowledge and curisosity with the natural creative in all of us, to transpire into the accessible, structured and provocative context of this piece, in order for it to be accessible and experienced by the average person.

Each room in the installation acts as leverage for the creative mind and represents a journey towards enabling creativity. Each room serves a different methodology and purpose but all rooms co-exist and depend on one another. The entire work is inspired by the concept that all human beings are creative and if they inquire, they have the ability to open up their creative landscape to varying extents.

This work is a manifestation of my prolonged internal battle with the notion that my creativity is being impeded by the constant discovery of bodies of work that I find superbly overwhelming and put me into a state of almost frozen and self-doubting awe. This work is designed to both inform and empower its audience through an extremely intimate and challenging language.

Part of the work includes the audience members will receiving a package of information one month after their visit to the piece. This including a video recording of part of their experience, an information booklet on methodology used and a survey form that will be compliled for research purposes.

Each room acts as leverage for the creative mind and represent as journey towards enabling creativity. Each room serves a different methodology and purpose but all rooms co-exist and depend on one another. The entire work is inspired by the concept that all human beings are creative and

This work is a manifestation of my prolonged internal battle with the notion that my creativity is being impeded by the constant discovery of bodies of work that I find superbly overwhelming and put me into a state of almost frozen and self-doubting awe.

I have emailed a variety of creative companies and galleries, mainly for feedback on their perception of my idea and its potential. A friend good friend of our family has shown extreme support for my idea and has a few investment properties in Richmond and a large, modern and empty storage space at Docklands that I could potentially use for a month or so.

For my own exploration of the idea and the potential notion that I could make it happen, I have begun recording sound samples of music and voice with my partner’s equipment.

This piece acts as a subversion of this notion and is targeted at others looking for that amplified time and spice to intensely provoke and or access their creative landscapes. The piece is essentially a series of rooms and each room is based on a particular methodology.

Audience: 18+

Admission: Adults $15, Concession/Students $8

Theoretically, this piece has been given rise by the inspiring methodology that I have come into contact with: that of Deborah Hay and Margaret Cameron. Nicolas Bourriaud’s theory of “relational aesthetic” also resonates throughout my idea. I have drawn up a proposal for both Margaret and Deborah in order to receive permission to reference some of their work.

Each room acts a progressive amplifier and road to discovery of self-awareness and artistic ego. The piece aims to un-do the concept of “knowing” and external influences, temporarily and allow for endless possibilities to arise. The piece looks to empower people to be their own audience, to be their first audience. It subverts the notion that a piece of work’s meaning is limited to the artist. By being a part of this piece, the average person becomes the artwork, and sparks that relational aesthetic I mentioned earlier. This in itself bridges that divide between audience and artwork, which can be extremely wide for people who are painfully comfortable with spectatorship and who feel a sense of urgency to shift from this mode.

This piece represents the time and spaces that people have the ability to manifest in their daily lives, in order to be develop a comfortable and creative mind state. I have discovered that accessing this state is an extremely intimate and imperative part of creating raw and apprehensible work. This piece of work has become more than an assignment for me and I wish to continue developing it and pursue it in the future. I certainly don’t have the magical answer to awakening creativity, but I feel that this piece and its content will at the very least provoke, inform, challenge and help steer its audience; all of which are wonderful things in my opinion.

I’d like to now walk you through the piece as if I am admitting you to the piece.

1. You enter into room one. Three tasks are to be completed. There is one task assigned to each wall.
· Wall One: You are asked to put on a white jumpsuit on top of your clothes. You choose one of the five sizes provided.
· Wall Two: you are asked to put all belongings into the large container. (Bag, mobile phone, etc.)
· Wall Three: A large peel-able sticker sits within a wooden frame on the wall. There is an oversized black marker on the floor.
Hello my name is: ________ and I am a creative human being.
· Wall Four: One door. A series of post-it notes that proclaim: “You have now un-done “knowing” and you are now able to now access endless possibilities within your creative landscape.”
2. You enter room one. Five boxing bags hang from the roof and are covered in five famous works of creativity from five different mediums. Two boxing gloves lie underneath them on the floor.
· Music: “Concerto in g minor, op. 8, no. 2 “Summer”
*Aspiring creative subject is given the space and the energy through the declamatory music to inspect and even vent their frustration onto the famous works, as they appear in the form of boxing bags.
3. You enter room two. You follow arrows to a Mat on the floor like a traditional welcome mat that states: “what if there are no rules?”
Audio: Voice over of clear instructions of to be choreographed by your body, based on Deborah Hay’s experimental choreography.
Actual meaning:
Meaning in action:
4. You enter room three
There is a microphone on a stand and a spot-light projected onto the floor with a text outlining the light’s circumference as follows:
“If there were no rules and nobody is watching, what would you say?”
5. You enter room four
Onto the wall, film with sound taken of your experience within Room one with the boxing bags is projected onto all four walls.

Actual meaning: This room is a literal representation of self-awareness. Being your own audience, being your first audience. I have discovered this is an extremely intimate, important part of creating raw and realised work.

Preferably the final door leads out into a garden, where their personal belongings wait on a doormat that says “FIN?”

The entirity of the subject’s pace through the piece is monitored by myself and two other volunteers. I would be in charge of organising the final quad-projection in the final room, the other is to organise the repositioning of the subject’s personal belongings. I.E. THEIR KNOWING. And the other volunteer would be allocating the appropriate sound samples of both voice and music in relation to the subject’s pace through the piece.


I certainly do not think I have the answer to birthing creativity, but at the very least I feel that this piece has the ability to provoke and challenge and INFORM it’s subject – essentially offering a NEW EXPERIENCE, within this propopisitional installation which plays with the nature of ART and CREATIVITY within.


L I G H T B U L B !

Posted in Uncategorized by delicateinquisition on May 12, 2009

My idea seems to have come to life based on my avid interest in the notion that all people are able to explore their own creative landscape, if willing, combined with my internal struggle to easily establish concrete ideas of my own, due to the comfort I feel in a position of speculation and analysis of other work. But I have a sense of urgency to be more proactive with my creative potential.

I have acknowledged that bodies of work that I find provocative not only encourage but impede my potential to properly pursue ideas.

An embrace of my inner struggling artist has recently been achieved and I want to nurture this concept through my final enterprise idea.

I have acknowledged that creativity is phscyologically innate and human beings have the ability to tap into it if willing. I intend to formulate a space that acts as an artwork and an interactive installation.

Since my retreat manifestation last week, I’ve felt compelled to refine the idea down to something more specific and truer to my own creative taste, as I just didn’t have the fiery passion for this idea that I have now sought and found! Since letting go of that idea as a whole, I’ve let the core ideas behind my initial idea evolve into a different context. This is a way of presenting my idea that I feel more passionate about, which I feel actually promotes a stronger level of innovation and inspired perspective. I am currently formulating a proposal, in order to plan it succinctly and know every single little angle inside out and satisfy my intention for the enterprise and the pitch.

The struggling and overwhelmed artist within: An embrace

Posted in Uncategorized by delicateinquisition on May 7, 2009

I’m constantly moved by many different mediums of creative work and cannot help but be both inspired yet discouraged. As a younger person, I think I mistakened the feeling of discouragement for jealously. Furthermore, I have developed an understanding that the feeling and is moreso a feeling of overwhelming awe for artists that inspired me. When I find some work that is provocative, I my stomach literally becomes tense and I am inspired and awe-struck – not jealous! But this constant exposure and research of artwork seems to at times be like a form of torture: it seems to impede my ability to formulate succinct ideas. So essentially, admiring work that is wonderful in my own opinion not only plants this sensation of awe, but it seems to impede the development of my own creative enterprise or project. This is possibly why I enjoy working with words over any other creative medium; because they are directly accessible and I don’t have to think about the way they are written, but all my attention is paid to what they are saying. So in terms of an artwork that I would like to pursue, I have many ideas but feel overwhelmed by the endless ways to present them.

This overwhelmed-awed-struck feeling towards creative work that inspires me feels so inbuilt into my creative make up. Although until recently, I considered it a problem, but now accept it as more part of my complex creative process – compared to it being a detriment to my persona or my ability. I trust that I will persue different artistic mediums in my own time and at present am very content to play with and embrace the idea of the struggling artist or more specifically: the average person struggling with creativity.

I feel so strongly about this particular perspective and as it inhibits me with such fervour, I have decided I will explore this attitude through my enterprise.

My attitude towards my own creative journey brings to mind the statement of Deborah Hay’s that has been resonating throughout my mind often since hearing it. Playing out possibilities or questions or ideas with “loyalty and disinterest”.

At times, I become so loyal internally to the work of others that I admire, yet I try to remain slightly disinterested in order to generate my own individual aesthetic or ideas. This statement is like meditation for me. I like the idea of incorporating Hay’s propositional performance methodologies into my pitch.


Image from Deborah Hay’s website

paper at its most eloquent…

Posted in Uncategorized by delicateinquisition on April 9, 2009

My passion for non-fiction literature has not diminished, but seems to have more recently been channelled very directly into the medium of the zine. Essentially, expressive and unfiltered text aids the flourishing of my own ideas. I see the zine as a very literal extension of creative ideas, in some cases. Zine collecting and reading serves my creative landscape very well and I would like to incorporate the beneficial nature of the zine as a medium for both creator and audience into my pitch, but more specifically, how it serves its creator. I’ve been finally putting together bits and pieces of my own writing and beginning the foundations for my own zine, incorporating both text and image.

The Body is Power

Posted in Uncategorized by delicateinquisition on March 27, 2009

I am interested in a variety of artistic mediums. In particular, the realms of performance, art and prose have always been avid interests and practices for me.

As of late I find myself compelled by both early and more recent work that is considered: A V A N T – G A R D E.

In addition to this, since commencing my performance subject here at VU, (Ground, Self and Others: embodied ethics) I’ve been increasingly interested in the role or the power of the body and or human form in art and performance. Its also evident below that most of my ‘button pusher’ extracts and various artists below are generally concerned with the human anatomy…

I have come accross the interesting term “Effervescent Body”….

Nicolas Borriaud

Posted in Uncategorized by delicateinquisition on March 27, 2009

FINE READING + A fine new muse/inspiration/methodology to admire and consider

Borriaud’s term: Relational Aesthetics – “the evolution of art practices out of a social context as opposed to an internal directive.”

FANTASTIC. {originally published as separate essays but brought together and published as a collection in 1998}

Took Nicolas to bed last night and had superb dreams about my potential final idea.

Take me Nicolas, TAKE ME to paris and to the finest cafe and let me into your mind full of ideas about relational aesthetics and the art world. I take my hat off to you SIR.



button pushers…

Posted in Uncategorized by delicateinquisition on March 25, 2009

The following are artists/work that I feel provoked by aesthetically and similarly by their artistic ideals/ messages.

Claes Oldenburg
“I am for an art that takes its form from the lines of life itself, that twists and extends and accumulates and spits and drips, and is heavy and coarse and blunt and sweet and stupid as life itself….I am for art that is put on and taken off, like pantsm which develops holes, like socks, which is eaten, like a piece of pie, or abandoned with great contempt, like a piece of shit….I am for art covered with bandages. I am for art that limps and rolls and runs and jumps….I am for art that coils and grunts like a wrestler. I am for art that sheds hair. I am for art you can sit on, I am for art you can pick your nose with or stub your toes on. I am for art from a pocket, from deep channels of the ear, from the edge of a knife, from the corners of the mouth , stuck in the eye or worn on the wrist….I am for the art of sweat that develops between crossed legs…I am an art that is combed down, hung from each ear, that is laid on the lips and under the eyes, that is shaved from the legs, that is brushed on the teeth, that is fixed on the thighs, that is slipped on the foot.”

– Claes Oldenburg, Store Days (New York, Something Else Press, 1967), pp. 39-40, 42


His view of art was firmly rooted in human anatomy and I identify with this immensely, through my interest in self-exploration – within performance and within the human form. Its evident that Oldenburg’s idea of art is firmly rooted in the human anatomy and I can’t help but appriciate this. I really enjoy the imagery that this passage creates for me; a character that is so raw and unpretentious, sloppy and almost erotic. Although he is mainly known for his work in sculpture, I can draw comparisons between his ideas of art and my own. It is one of the most simple and provocative texts that I have ever come across.

Anastasia Klose

What an eye opener coming across this absolutely cutting edge young lady and realist. Since being exposed to her through ArtScape, I’ve truly not been able to stop researching her and her work and am checking out her exhibition tomorrow at Tolarno Gallery. She is both a visual and performance artist, using herself as the main topic matter. I am extremely fond of artists like Anastasia channelling their ideas through themselves as subject matter. I can only begin to imagine how dismantling and similarly riveting some of her feats would have been to pursue. After visiting her exhibition, ‘the happy artist,’ I left beaming and provoked. I long for the brutal honesty evident throughout her prose in particular. I essentially identify with her struggle as an artist…her struggle to find ideas and her struggle dealing with being an artist in society and dealing with the pages of stereotypes that trail behind her passion so consistently. I am yet to find the courage to intentionally display my ideas through a medium beyond text. I’m having alot of trouble. I identify with Anastasia’s artistic troubles, although lucky for her, the manifestation of these ideals have been projected into a successful body of work…

“…her work explores a particular “aesthetic of the pathetic”. Klose’s self depreciating artistry reveals a superb talent for the manipulation of her filmic medium. Her dry, apathetic sense of humour is both consciously ironic and holistically human. Klose’s work is not merely provocative irony but an exquisitely intristic view of people – our strengths and our failures.”
– By Jo Higgins, Australian Art Collector (magazine), Issue 43, 2008




The King Pins

A fantastic example of my fondness for the subsersive and the outrageous. I am in awe of their sheer exploration of persona and their brilliant portrayal of the avant-garde/experimental performance/mixed media in contemporary society….B R I L L I A N T. Feminism with a giggle, performance, colours, exploration of unknown territories, I’M ENVIOUS. AND IN AWE. Can these girls get any more creative? Can they possibly be more witty? More intelligent? WHAT A GORGEOUS COLLABORATIVE GROUP OF ARTISTS.

“The Kingpins play with the gaps in and between with an infinite series of transgressive drag acts. Coming out of Sydney’s drag scene, the female foursome utilize an aesthetics of remixing, with elements taken from mainstream media, pop culture and art history, to comment on issues of gender, sex, public space, consumerism and corporate branding. Their performances play with music, video and costume, and are presented as public interventions, sometimes in the form of ‘surprise’ actions, as well as gallery installations with posters, projections and soundtracks. Humorous, spectacular, grotesque and colourful, their work engages the audience in a subversive politics of pleasure.”

-Manray Hsu, 2006

From Current Exhibition: “No Problem I’m A Material Girl In Touch With Life”



Deborah Hay

W-O-W. Through Margaret Cameron, Deborah Hay’s study and practice or more specifically her methodologies of performance have turned me on my head and I have not quite managed to stand upright ever since……I’d like to utilize Deborah Hay’s work in my pitch and hopefully get my hands on Margaret’s paper which she read to us in class.

I have not heard something so provocative that subverts most of my current ideals about performance IN A VERY LONG TIME.. or..ever.

“give audience”

Posted in Uncategorized by delicateinquisition on March 12, 2009





i’m still trying to figure out what margaret meant when she said that, but at the very least, it inspired me to look over one of my favourite bill henson photography collections, The Paris Opera Project.

(images 1 + 3, by Bill Henson. Images 2 + 4 google images)

this blog / search for button pushers

Posted in Uncategorized by delicateinquisition on March 12, 2009

Throughout my research for this progressive blog (that is essentially a brewery for my pitch) I intend to: broaden my current horizons of creative knowledge and explore unknown territories of others work, as well as enhance my own internal creative landscape….in order to achieve an end result that is succinct and full of zing. To pitch a thrilling idea for others be inspired and amused be. To pitch an idea that reflects my inquisition into what it is that really pushes my buttons…..

first attempt at defining creativity; under construction

Posted in Uncategorized by delicateinquisition on March 8, 2009

I think that creativity begins long before we are conscious of its presence. but i feel that an “act” of creativity is a form of bridging the divide between formative ideas/thoughts and the physical form of creation itself. Creativity revolts from within. Each act of creativity is tiny revolution.


this piece, by Richard Coleman came to mind when i was conjuring the above definition for creativity……i admire the overall composition think if i had to pick a piece that represented the emotion and energy involved with creativity – or more specifically – a CREATIVE TRANSACTION – then this would be the current image.