Final thesis by tara horan

SPACE PLACE & COMMUNITY Exploring The Benefits of Arts Participation to understand the need for an Arts Centre in Tralee, Co.Kerry

Declaration

SPACE PLACE & COMMUNITY Exploring The Benefits of Arts Participation

Student : Tara Horan Supervisor : Ms Rosie Dempsey; Ms Lisa McElligott Coordinator : Ms Lisa McElligott Internal Panel of Mentors : Ms Lisa McElligott; Ms Rosie Dempsey; Dr Ashley Gaskin; Mr Philip Doyle; Mr Enda Grennan; Mr David Crowly; Ms Kate Palmer External : Dr Brian Coates; Ms Roisin McGuigan

This Media Thesis is presented as partial fulfilment of the requirements for a Degree of Master of Art in Creative Media at the institute of Technology Tralee, in the Department of Creative Media and Information Technology. It is entirely my own work and has not been submitted to any other higher eduction institute, university or for any other academic award here or elsewhere. Where use has been made of the work of other people, it has been fully acknowledged and referenced. Signature: Date: 20 August 2016

ACKNOWLEDGEMENTS

ABSTRACT

rt, like music and crafts, are often shaped by their environment, it is something that is so closely linked to its creative expression that this connection can not be ignored. This is the connection I see between the question of arts participation, together with the topic of Space, Place and Community. The Value of arts and culture can be a significant informant for public policy in assisting decision making. This paper aims to understand the evidential benefits of arts participation. The research undertaken asks the question of what is space and place. What does this mean and how can they influence ones community or inversely how do behaviors influence the space or place. The answers to these enquiries are given through various mediums, including photography, fine art, spoken word and graphics.

2. METHOD 39 2.1 Overview 2.2 The Poster 2.3 Photography as the tool 2.3.1 Photography

1. INTRODUCTION 11

2.4 The art of the spoken word

1.1 Aim

2.5 The decision to print

1.2 Early Stages of Research

2.6 Life drawing, the class

1.2.1 Early Research Questions 1.3 Design Anthropology_____ 1.4 Space Place and Community___ 1.5 Model Making_____________

2.7 Watercolour to digital print 2.8 The gallery space 2.8.1 The Cube 2.8.2 Design of the cube

1.6 Participation in the Arts______

2.8.3 Making of the cube

1.6.1 Life drawing________________

2.8.4 Final installation

1.7 Exploring Technology & Media Outputs 8

13 14 16 18 19 26 30 35 36

2.3.2 Architectural Photography

2.9 The Book

39 42 46 48 49 50 52 55 56 58 58 56 62 64 66

CONTENTS

3. DISCUSSION 70

4. FURTHER WORK 72 5.CONCLUSION 73 6. REFERENCES 74 7. BIBLIOGRAPHY 76 9

above Tara Horan, Forgotten Space #001/09 2016 sketchbook watercolour study

1. INTRODUCTION

an participation in the arts act as a positive contribution to ones community? Building on social inclusion and engagement, this research asks the question of space, place and community and what we perceive this to be. Designers consider aesthetics, form and function, however do we as designers understand the user? In order to consider this, the researcher sets out to firstly to gain an understanding of the perceptions of occupants within the community and secondly, to establish the benefits that an arts centre provision could bring to a local community. The question of space and place is something that has been addressed by many scholars and philosophers; with many arguments. Some suggest them to have a literal definition where others state it is the experience and human behavior that defines a space or place. This topic will act as the basis of enquiry for this research. “Space and place are basic components of the lived world; we take them for granted. When we think about them, however, they may assume unexpected meanings and raise questions we have not thought to ask.”1 To be a part of a community, to belong to something or somewhere is a belief that we understand to strengthen ones community. Can this be created for us? Or is this something we must achieve ourselves. This research seeks to gain a sense of place within the town of Tralee, Co. Kerry, Ireland. To understand how people perceive what space or place actually means, the researcher will take a direct act of arts participation through various practice based activities, whist assessing what effect such involvement in the arts has.

Tuan, Yi-Fu, and Steven Hoelscher. “Space and Place: The Perspective of Experience.” (2001).

1.1 Aim To explore and understand the benefits of participation in the Arts and creativity. Allowing the development of creativity through a designated Space as a creative platform and assessing if this can bring benefits to the individual and a community.

1.2 Early Stages of Research The initial drive for this project was through the Identification that Co.Kerry needed a Community Arts space. The aim was to explore how this could actually benefit a community. Could this ask the question, how could positive impacts be created for a community or group. Initial research observed the field of ‘Design Anthropology’ as a topic. This research project set out to use design anthropology as a positive approach to develop and plan a place within a local area that might possibly reduce the negativity experienced within a community. This was a concept that the author will explore further throughout the research. This piece of research takes the skills of the ethnographer in conjunction with the skills of the designer in order to see how collaboration can be achieved between the two. Through marrying the skill sets of both, this research was able to delve into the heads of users, explore social patterns and translate such findings into design. Through a visual exploration into the town Tralee, Co.Kerry, Ethnographic methods were originally adopted, using photography as the tool. Short courses, such as Art and Photography for people of the community were put in place. The Photography, allowed those who attended to take part in micro-ethnographic studies, this enabled the research to see the view through the eyes of the paticipants. The responses to the various creative activities were documented.

The initial aim for the final ‘artifact’, was that it would take form as a Design that would be responsive to the findings, presenting this through 3d Modeling and possibly exploring the world of Virtual Reality as a platform to present. The Key themes at this stage were Design Anthropology, Arts Participation and Community. Through further reading and continued practice based research, together with weekly meetings with peers and supervisors, the project moved away from being a Design task and looked into first gaining an understanding of the benefits and problems of an arts space within a community. The decision was made, to treat this research as stage one of a project that will be continued through further development. Looking at existing Arts spaces it is evident that they can build on social networks as well as improve economic benefits to a place. This study will identify how existing research informs us. Allowing Creativity to take its own path, whilst using narrative enquiry. The process was exploited to assist me in identifying ‘ A Sense of Place’ in the town of Tralee. “Art spaces may build social capital, the trust, mutual understanding, and collective identity that roots cultural communities to place. Building social capital for individuals may reinforce the social networks that enhance involvement and economic development within a community”2

2 Grodach, Carl. “Art spaces, public space, and the link to community development.” Community Development Journal 45.4 (2010): 474-493.

The research and practice took form as a series of phased exercises. These excersises used qualitative research methodologies, in the form of exploring and implementing Narrative inquiry as a methodology as well as adopting some techniques of the visual ethnographer. Data was collected through Photographs and recorded interviews. There were three groups Identified, with two of the three being fulfilled. 1. A set of twenty self selected participants, approached via social media and email. These

positive. Further analysis of the Images will be done once all the data is collected. 2. The residents of a specific area in Tralee (such as ‘urban terrace’) will take part in a four week photography course and their continuing brief will be to ‘capture’ Tralee through the lens, to give an honest visual narrative as to how they see Tralee. 3. Formulating a teaching module to a group of ITT students, Using this project ( The brief had not been written at this stage) they will use the 12-week module of ‘photography and cinematography’ to

participants initially supplied the research with up to ten photographs. Their guideline was to ‘supply up to ten photographs that YOU feel portray Tralee.’

explore how to visually tell the story to capture ‘ a sense of place’ in Tralee.

Taking samples from residents and employees of Tralee town, then asking them to participate through photography, to try to get a ‘sense of place’ in Tralee. The results from the data (photographs) collected to were not the negative that I had expected. There was more an equal balance of positive and negative, if anything marginally more

In order to get a practice based understanding of the benefits of Arts Participation, I set up a 6-week Life drawing class, for people within the community who had no previous experience of an Art Class or Life Modeling.

At this stage of the process, the intention was to organise an open exhibition to be held in the town centre of Tralee, to display the participants photographs. The full process of this was to be documented on film, to form the content of a film documentary that will act as a VOICE that will deliver a ‘sense of place’. Together with the time frame and the various obstacles in securing a place within Tralee, to hold such an exhibition prevented this being an option. A selection of students work was later exhibited as part of the final exhibition and some were printed in the book, created as a part of the final media piece.

The final topic chosen to focus on, for the purpose of this research is Space, Place and Community. Through practice based research, visual methodologies and narrative enquiry, my aim was to explore the concepts of Space and Community, and to assess the evidential benefits of Arts participation. Photography was used as the tool for exploring and attempting to understand perceptions of space and place through the camera lens.

The technologies considered were, built installation, projection of photographic results and possible moving image. The idea is that the project would result in an immersive experience allowing the viewer to gain a deeper understanding of how to question and perceive space and place. The Installation will also provide an experience of artistic works within the community, displaying what can be achieved through the participation of Arts and how such an exhibition or work can have particular effects within its community, from the perspectives of both the audience and the artist.

In order to understand the influential effects of space, I wanted to understand how shape and form can be changed by Human Interaction. Using Computer generated models of space, we are able to speculate on how human interaction alters space. An exploration of Space and Place was also conducted through a series of watercolour Studies. A small sketchbook was kept to record studies of various locations throughout the town of Tralee. Once all contributing factors of the research were collected, the aim was for them to come together and all materials to be analysed and selected based on their validity to the definitions. The findings from the various of contributors together with my own, were to form the content of the final artifact. The intention was to produce a mixed media installation to be displayed at final exhibition, the exact type of technologies and media that were to be used were dependent on the outcome of the research.

1.2.1 Early

Research Questions

• How do you change and improve behaviors, enhance performance and health through a space or be it an activity? • What is the relationship between people and space and can a space directly benefit people and place. • How do people interact with space? • Can a space have a positive impact on an individual or a community? • How do people perceive place? • How is place explained?

above Tara Horan, Social Space #001/24 2016 Narrative Photography

1.3Design

Anthropology

Design Anthropology, a topic approached in the early stages of this research. A relatively new academic approach to the Design world. “ Design Anthropology moves from observation and Interpretation to collaboration, intervention and co-creation”3 Whilst design anthropology has many of the same qualities as design thinking, the approach is much more about the understanding of the User. In gaining an insight into real-life experiences and the need of the end user. This approach combines the elements of both the designer and the anthropologist, through integrating the strengths of design thinking together with anthropological research. Design Anthropology follows dynamic situations and social relations that are concerned with how people perceive, create and transform their environments through their everyday activities.

to translate human values into design. It is hefty stuff, but the groundbreaking nature of this field of study can only be understood when the historical developments of anthropology are taken into account. Whether fascinated, horrified or detached, observations have always been the primary focus of the field— practicality, on the other hand, has never been high on the priority list.”5 During the process of considering the approach of design anthropology, it was decided not to pursue this line of enquiry with regard to the design of a specific space. However, elements of the process led to the question of how we understand Space and Place, the clear necessity of having a significant understanding of this topic would provide a propitious foundation for future developments.

“Rather than observing it to describe what they see (which would involve seeing literally and objectively) their purpose is a generative and strategic one” 4 Design Anthropology see’s social science and design come together in order to improve the lives of people, through practices such as co-design we can aim for design to play a part in a vision for a a better society. “Design Anthropology, in a nutshell, promises 3 Gunn, Wendy, Ton Otto, and Rachel Charlotte Smith, eds. Design anthropology: theory and practice. A&C Black, 2013. 4 Kilbourn, Kyle. “Tools and Movements of Engagement: Design Anthropology’s Style of Knowing.” Design Anthropology: Theory and Practice (2013): 68-82.

http://designtaxi.com/article/101718/Design-Anthropolog y-A-Coming-of-Age/

1.4 Space,

Place and Community

The intent was to find out the reasons, to explore the place and understand the people’s mindsets. The project, started with taking samples of those people living and working in Tralee town and asking them to participate through photography, to try to get a ‘sense of place’ in Tralee. The results from the data (photographs) collected to date, were not the negative response that had been expected. Rather, an equal balance of positive and negative, if anything marginally more positive. Further analysis of the Images was done once all data was collected. Data was collected from twenty six individuals. (see link to folder, 1.2 Early Stages of Research) This was the beginning of the journey, this led to looking deeper and examining the meanings of space, place and Community. Firstly, the author looks at the definition of space as it is in the dictionary, however specifying that this research is not taking space or place in a geographical context, rather it will be considered that in order to understand the true meaning of the words, space and place will be defined by an individual and their own interpretation and experience of the space or place. Community can be considered a separate entity. However community should be the product of what will come out of a space or place. This is how the people that occupy the place will come together and use the space and place. I look at community as a social practice, how those within it choose to use it.

Supporting the view of the author is the opinion of Artist Andrew Schroeder,

“Spatial Practice is how space is dominated and manipulated by a society to create a sense of specific place”.6 The question of Space and Place is something that has been addressed by many scholars and philosophers; with many arguments as to whether these have a literal definition or is it the experience and human behavior that defines a space or place. “Space and place are basic components of the lived world; we take them for granted. When we think about them, however, they may assume unexpected meanings and raise questions we have not thought to ask.” 7 For the purpose of this research I will define the three words I have chosen to use and these follow through in the practice. These will be used when explaining my project and setting projects for any participants of the research:

Space:

That which is constrained, by the physical parameters of objects. Heavily dictated by architecture and the designers. Whether it is the ‘space’ or the human activity that occurs within it that defines it, it is something only the exploration through the practice-based research can address. Exploring Space Place and Community, through Visual methodologies. Understanding mindsets and exploring, the benefits of arts participation.

Andrew Schroeder, The Dialog of Space and Place in Tran-

sitional Environments. 7

Olwig, Kenneth. “Yi-Fu Tuan: Space and Place: The Per-

spective of Experience.” Geografisk Tidsskrift 79.

This research will look at Space, Place and Community and aim to understand how this is perceived or what this means to different individuals. With the presumption and supporting literature that a Community Art Space would directly benefit a community. For the purpose of this research this will specifically look at the benefits for Tralee, Co. Kerry, Ireland. Through practice based research and visual methodologies, it is the aim that by exploring Space, Place and Community, this exploration will provide the evidential benefits of having arts participation within a community, this aims to demonstrate the need for such a space within the given community. Taking the three headings, I will look at space in terms of what is space? How do people interact with space? And how can a space have a positive impact? With place, How is place defined? How do people perceive place? And how is place explained? For community the research will look to answer, what is the community of Tralee? What are the positives and negatives? What is missing? How do people live their everyday lives and do they feel part of a community?

directed study, together with the visual documentation of how others act, react to space, place and the participation of arts through organised classes to enable such participation. “The theoretical error is to be content to see a space without conceiving of it, without concentrating discrete perceptions by means of a mental act, without assembling details into a whole ‘reality’, without apprehending contents in terms of their interrelationships within the containing forms.”8 We know from existing research that Community based art spaces can have a direct benefit to a community both socially and financially. One example was the study of Art Spaces in Community and Economic Development: Connections to Neighborhoods, Artists, and the Cultural Economy’ by Carl Grodach. The study takes place specifically in the Dallas Fort Worth region, United States. Looking at a number of different community arts spaces, however evidence gathered here could be taken into consideration when applying it to any given community, as much of the referencing has been taken from studies of a similar nature conducted in a variety of locations worldwide. Such as Cultural industries, cultural clusters and the city: The example of natural history film-making in Bristol. Bassett, K., Griffiths, R. and Smith, I. 2002.

Finally, I will look at whether or not the experiences of arts participation set out by the research have changed any of these perceptions before becoming a participant. The exploration of space and place will be conducted with visual observation through self 20

Lefebvre, Henri. The production of space. Vol. 142. Blackwell:

Oxford, 1991.

“Art spaces may build social capital, the trust, mutual understanding, and collective identity that roots cultural communities to place. Building social capital for individuals may reinforce the social networks that enhance involvement and economic development within a community”9 A second example of how such community based arts projects can have direct benefits. This is evident from one practice based study organised by Galway City Community forum, The Community knowledge initiative, National University of Ireland Galway and Galway Community Arts Network, who came together to organise two networking events. ‘Creative Communities’ in June 2013. The first being Creative Communities: People and Places and the second, Creative communities: Community arts / socially engaged arts in practice. “The aims were to provide a space for those interested in Community/Socially Engaged Arts in Galway to reflect on, discuss and map socially engaged arts practices in Galway; we also wished to promote networking between community groups and people working in community arts or socially engaged arts in Galway and artists with an interest in being involved.”10 “They recognised the benefits for individuals and artists; the arts respond to people’s need through 9

creative means and build confidence, promote creative and expressive skills, reduce loneliness and help to break down barriers between individuals and between communities. Artists benefit by developing new insights and skills, working with new groups and in new settings.”11 Existing community art spaces and their success or be it their failure, were looked at in order to justify why such a space could work in Tralee, this was done though literature reviews of others research and case studies that demonstrate clear outcomes. An observational study was also conducted by myself in one of these ‘spaces’ to visually document the responses I encounter whist in such a space for several hours. One example of a community art space within Ireland is the mermaid arts centre in Co.Wicklow, this is one space that was visited as a part of this research. This particular centre would appear to be a great success and directly benefit its community. “Mermaid exists as a place of interaction between artists and the public. Artists and audiences are at our heart and we are a space for fun, entertainment and for making and enjoying art. The Centre exists to enrich the communities of County Wicklow, by providing and encouraging participation in quality artistic experiences as a leading centre for the arts in Ireland.”12

Grodach, Carl. “Art spaces, public space, and the link to

community development.” Community Development Journal 45.4 (2010): 474-493.

economic development. Ed. Michael Rushton. Brookings Institution

Landesman, Rocco. Creative communities: Art works in

economic development. Ed. Michael Rushton. Brookings Institution

Press, 2013.

www.mermaidartcentre.i/about

‘Local arts projects like Mermaid County Wicklow Arts Centre contribute a huge amount to the vibrancy of communities across Ireland.”13 We can see much research has taken place in Ireland alone, to assess the ‘actual’ benefits the arts can offer to ones community. This is something that is not the easiest to evaluate ,therefore many aspects need to be considered. We can understand many benefits and routes of enquiry that have taken place through various professional panels. The NESF report 35, January 2007 - The Arts, Cultural inclusion and social cohesion, provides facts, figures and various reports. Member of the team involved in this report, includes Mr. Jimmy Deenihan, T.D, Ms Margot Kenny, National youth council of Ireland. Ms Vanessa Coffer, Combat poverty. Dr. Martin Dowling, University College Dublin. Ms Emma Kelly, Arts Council to name just a few. The report focuses on the issues of social inclusion in cultural policy and draws on UK experience in this sector. “At the most basic level the arts provide, like many other activities, opportunities for people to gather together … The arts can also offer opportunities to build social capital, since much of the participation

NESF

report 35

Click for full report

is either in making the art as part of a wider group or actually organising the arts events.”14 Two of the main philosophical papers that have been looked at for this study are the production of space by Henri Lefebvre and The Poetics of space by Gaston Bachelard.

“ Its ‘object’ is at least as important and interesting as the aesthetic objects of everyday consumption. We are talking, after all, of the setting in which we live.” 15

This paper discusses the importance of the critique of space and how other studies such as literature and the arts are seen as something to critique, however with ‘space’ we are unable to see this as an object so how can one effectively critique such a thing. As said by Yi-Fu Tuan, what does define a space is ? it the ‘actual’ space or is it the activity that occurs within it. This nature of enquiry, is the route that this research will question and try to illustrate through the use of mixed media, the study will become a voice for those who experience the space and place, for the people who’s community we will look at.

Place: This is for individual interpretation,

depending on the emotional attachment or connection. For a place or space to become a ‘place’ 14

The NESF report 35, January 2007 - The Arts, Cultural inclusion and social cohesion

Lefebvre, Henri. “The production of space, translated by Donald Nicholson-Smith.” Malden: BlackwellPublishing 1974

Deputy Andre Doyle – Irish Independent 30/01/2016

it is because of what those people experience. We can define a place by certain characteristics or perceptions.

Community: A group of people living

in close proximity, that comes together to form a group that can be associated with a ‘place’.

Through practice based research and people participating through taught modules and short community art programs the research looked at the relationships between people and space. How a place can serve a purpose and how can it have a positive impact on its users. To understand space and place through community, the project saw how people live their everyday lives. What were the existing communities within Tralee and how they worked. Do the people within these spaces, feel a part of a community and how do they define the ‘place’. When looking at the philosophy of space. One of my first readings was of Gaston Bachelard, the French philosopher. He published ‘the poetics of space’ in 1958. He looks at space from the context of the house, a home. He looks both at interior and exterior space. Questioning our perceptions and most obvious presumptions. Encouraging you to think what really makes up a ‘place’. Is it based solely on childhood memories? One of his suggestions is that our whole image of place and what that should be, is based largely on our memories, thoughts and attachments of our first home. This is, according to Bachelard in fact how we shape the world we want to be in, the one that will surround us with familiar comforts.

There are many other aspects that he looks at and encourages thoughts of, however this one idea is one that I aim to explore through the studies of this research. “ Finding little to describe in the humble home, they spend little time there; So they describe it as it actually is, without really experiencing its primitiveness, a primitiveness which belongs to all, rich and poor alike, if they are willing to dream.”16 Immanuel Kant said

neither space nor time could be accurately perceived; they are the elements of a systematic framework that humans use to structure all experiences. Kant referred to ‘space’ in his ‘critique of pure reason’ as being subjective.

“ Pure a poiri form of intuition.”17 Kant meaning that space is an unavoidable contribution of our human faculties. from

When reading the works of Henri Lefebvre, ‘The Poetics of Space’. He discusses the way in which we try to define space, the variety of ‘spaces’ that we perceive as space and how the words we use to describe certain actions are in fact just different variations of how we use and perceive space.

Bachelard, Gaston, and Maria Jolas. The poetics of space.

Vol. 330. Beacon Press, 1994. 17

Kant, Immanuel, and Paul Guyer. Critique of pure reason.

Cambridge University Press, 1998.

From the discussions of Lefebvre, he has put together a framework for how he approaches the understanding of space.

‘wildscape’ as a non pace, small overground wastelends forgotten behind the billboards. The emotional response to this film, was that of a

Throughout his writings he is focused on the idea of social space and the relationships between space and the lived experience. The Triad he explains for the framework of his approach is

similar vein to the many ‘forgotten spaces’ photographed in Tralee as part of this research.

“1.Spatial Practice 2.Representations of Space 3.Representational spaces.”18 Having established that the topic of Space and Place is of Justified interest and exploration, the continuation of the research looked into the definitions, interpretations and perceptions of these, together with how these together impacted their community. The explorations took place through a variety of art forms. From putting together small art groups within the community, with space, place and community as the topic of interest. There were also self-studies, through observational drawing studies and use of the camera to document through photographs and video We see examples of other artists looking at the subject of space and place, attempting to narrate the story of what they percieve. Attempts to understand the subject of space and place. Artists, such as Justin Ascott, independent filmmaker. His practice based research looks at the cinematic space and affect, and social interaction. His video ‘Billboard Land’ (see opposite) looks at 18

Lefebvre, Henri. The production of space. Vol. 142. Black-

well: Oxford, 1991.

The Second film from Justin Ascott, comparable with this research is ‘Non Place: Passageway’ screened as part of an academic paper ‘A Passageway to Pleasure: a Creative Re-Working of ‘Non-Place’ the film looks at the at peoples behaviours when moving through such an unassuming space, documenting the actions and attitudes together with the movement through time, such as the light and showdows on surrounding buildings and walls. Ascott identifies Marxist in his paper, as he examines the movement of Psychogeography

“Marxist existentialist politics, seeks to reclaim the city as a site of mystery, to

‘reveal the true nature that lies beneath the flux of the everyday’ 19

he talks of the necessity to record such forgotten space, the space and places in which we take for granted, our consciousnes is not aware of our surroundings, he describers the users as de-sensitised to their surrounding and explains how such recordings of a place is essential in order to “ to promote… a new urban environment that reflects the desires of the inhabitants’.’20

Ascott, Justin. “Locating the Numinous Within the Monumental Built Environment.” Ascott, Justin. “Locating the Numinous Within the Monumental Built Environment.”

1.5 Model

making

To understand Space and Place as architects and designers we need to keep scale in mind at all times. In the process of designing a space , you must remember the ‘use’ of the space, remembering the human scale and the relation to the scale of the space. It is an important part of the design process to be able to place yourself within the space and allow an ability to interact with the space at a primitive level. Models are an invaluable part of this working process allowing both designer and audience to be placed within a space to some extent and understand the scale together with the Design. Models are often used in the initial stages for exploration and review of ones design. They help to give consideration of various elements and how they can sit comfortably together.

Whilst exploring the Model Making of others, the techniques and styles that exist, the physical ‘making’ started of my own, through both familiar and new mediums. Starting with SketchUP – 3D modeling computer program. The first of the two visuals shows an exported 2D graphic of a 3D model made in SketchUP. The second is showing a 2D Graphic from the same 3D model, having been taken from Sketch up and edited using Photoshop to superimpose the human figures. This allows me as an illustrator to give a sense of scale and a clearer understanding of the space, in relation to a person. Using the same techniques this could be developed further by taking it through to other rendering software, such as Vray or Kirkythea etc Attempting to understand how shape and form are changed by human interaction, through the use of computer generated models of space, we can speculate on how human interactions alter space.

As a starting point I looked at a variety of model making techniques used in Architecture and Conceptual Design. Initially a new board on ‘Pinterest’ was set up to have some examples in one place and from that the topic was explored further through practice.

Model Making Inspiration

Here, we see an example of a physical model from Frank Lloyd Wright, showing an exploded view.

On Investigation into the variety of models and techniques used by practitioners, the connection between 3D models and 2D Visualisations becomes almost one, as they are both working towards the same end goal. This is the need to communicate. It is apparent to me, you need to look at them as part of the same, rather than two separates. “drawings present our opinions and visions. These documents have an implicit power that carries with it the potential delusion that a drawing is indicative of the world and not the drafter. However, a drawing’s author modifies and flattens the world until each page records a single architectural statement.”22 Starting to see some of the models and visuals as sculptural or Art forms within their own right, irrelevant to the proposed end result of an ‘actual’ building or just to give a clear visual of a ‘scheme’. This perhaps is more applicable when taking 3D models together with 2D graphics or hand-drawn techniques.

The basswood model takes the house’s components, from its window frames to its innovative copperpiped radiant-heating system and explodes them, so that they seem to hang in midair. “For the design of the models, Situ Studio embraced the space of the Guggenheim as a site in itself, designing each of the pieces to have a unique engagement with the architecture of the museum. The resulting models respond to the geometry of the ramps, grow out of walls and are suspended from the gallery ceilings. In keeping with the theme of the exhibition, from Within Outward.”21 21

http://www.situstudio.com/works/built/frank-lwright-

Taking a mixed-media approach can result in an exemplary piece of art work, with great capabilities of telling the story. Through my own experimentation, the process of conceptual model making with paper or card has reminded me of the integral part of the initial design process that this is. The trial and error of paper models allow for experimentation with shape and form, giving you an immediate sense of space as it could be.

The Draftery (Jesen Tanadi, Athanasiou Geolas, and Thomas Gardner)

Examples of my own experimentation of shape and form through model making, using 300gsm watercolour paper Using models has allowed the exploration of shape and form, enabling creative experimentation with ideas and the ability to present a variety of concepts to clients. As an integral part of the designerâ&#x20AC;&#x2122;s toolkit, we can see that these also allow us to gain a clear visual understanding of the transition of space as a void or sculptural art form into a place through occupation of people within that space.

1.6 Participation

in the Arts

In order to evaluate the need of a dedicated arts venue / space within a community, to understand the benefits that this could offer. We must first look at what participation in the Arts can offer and what this actually means

such practice, on both the artist and its community. Socially engaged arts has been described as the blur between art and life. Success is measured more heavily on the process rather than the finished product.

Socially engaged art, is a demonstration of how art is useful and how it can contribute to society and becomes involved in understands arts government policy.

‘The Arts Council participation to include a broad range of practice where individuals or groups collaborate with skilled artists to make or interpret art. Arts participation is a core value across all areas of the Arts Council’s work, as we are committed to increasing public engagement in the arts in Ireland.’

The topic of space, place and community for the purpose of this research has been influenced by some of the methods taken from the principles of design anthropology, put together in order to establish a subject of exploration for a socially engaged arts practice, to enable this study to directly identify the effect of arts participation. Socially engaged art is a long established practice, having been identified as an art medium between artists and their communities since the early 1990’s, such practices were in existence prior to this, coming under genres such as public art, however it was not until the 1990s that the identification was made.

When looking at the benefits that participation in the arts and a dedicated space for the arts can bring to a community, there is a large body of existing research that can support the evidential benefits that such a space can bring various positive factors to its community. We understand from Dr. Carl Grodach, professor at the school of urban and Public Affairs. Community based art spaces can have a direct benefit to a community both socially and financially. He talks of arts spaces being something that can enhance a community, he studies the links between public space and community development at a variety of arts spaces. ‘including artist cooperatives, ethnic-specific art spaces, and city-sponsored art centers in central city and suburban locations.’24

Together with the explorations conducted as part of this research, we will also look at other projects as additional examples, to enable the analysis of

One study takes place specifically in the Dallas Fort Worth region, United States. Looking at a number of different community arts spaces. Evidence

23 www.artscouncil.ie/Arts-in-Ireland/Arts-participation

24 Grodach, Carl. “Art spaces, public space, and the link to community development.” Community Development Journal 45.4 (2010): 474-493.

and people working in community arts or socially gathered here can be taken into consideration when applying the concept to any given community, as much of the referencing has been taken from studies of a similar nature conducted in a variety of locations worldwide. Such as Cultural industries, cultural clusters and the city: The example of natural history filmmaking in Bristol. Bassett, K., Griffiths, R. and Smith, I. 2002. “Art spaces may build social capital, the trust, mutual understanding, and collective identity that roots cultural communities to place. Building social capital for individuals may reinforce the social networks that enhance involvement and economic development within a community”25 When looking for local examples of how such spaces are providing opportunity to a specific community, we see the example of one practice based study organised by Galway City Community forum, The Community knowledge initiative, National University of Ireland Galway and Galway Community Arts Network, who came together to organise two networking events. ‘Creative Communities’ in June 2013. The first being Creative Communities: People and Places and the second, Creative communities: Community arts / socially engaged arts in practice. “The aims were to provide a space for those interested in Community/Socially Engaged Arts in Galway to reflect on, discuss and map socially engaged arts practices in Galway; we also wished to promote networking between community groups 25 Grodach, Carl. “Art spaces, public space, and the link to community development.” Community Development Journal 45.4 (2010): 474-493.

engaged arts in Galway and artists with an interest in being involved.”26 “They recognised the benefits for individuals and artists; the arts respond to people’s need through creative means and build confidence, promote creative and expressive skills, reduce loneliness and help to break down barriers between individuals and between communities. Artists benefit by developing new insights and skills, working with new groups and in new settings.” 27 In Ireland, we have seen the most significant decade for the arts council, from 2003 developments and funding were under severe pressure and much of the financial support that had been strived to achieve, had been lost. This led to the initiation of a strategic review in 2013. “ The turbulence surrounding the arts and the arts council since 2008 is part of the wider social and economic instability that characterized most aspects of irish life and especially our public services.”28 Independent studies demonstrate many positive effects that such arts participation can give us, are highlighted by Power in her study she looks at ‘creating transformation through art’, she includes case studies based in Dublin and Belfast. Having observed many programs involving community she states 26 Landesman, Rocco. Creative communities: Art works in economic development. Ed. Michael Rushton. Brookings Institution Press, 2013. 27 Landesman, Rocco. Creative communities: Art works in economic development. Ed. Michael Rushton. Brookings Institution Press, 2013. 28 Arts council strategic review 2014

“Art projects can gain involvement, promote cooperation and awareness, can offer a new perspective, and can promote dialogue.”29 We understand from the ‘Assessment of Economic Impact of the Arts in Ireland’ submitted to the Arts Council by Indecon International Economic Consultants in November 2009, that the arts has a financial benefit to Ireland, providing revenue and increase in employment. The report also identifies the benefits that the arts can offer to the country in relation to its reputation with foreign countries. “The role of the Arts and creativity in terms of the development of Irelands relative attractiveness as a destination for foreign direct investment is a potential factor if it helps Ireland leverage the creativity of its workforce to develop its competitive advantage.”30 Groups such as the Voluntary arts network, support participation in the arts and have conducted much research looking at the evidence behind what the arts can offer. They state “Participating in the arts helps people develop their creativity. Creativity involves imagination and the ability to visualize. ‘Seeing’ situations as they might be in the future is a valuable tool for solving problems and changing situations.”31 The following statement comes from the creative city network of Canada, an organisation supporting cultural development and their communities.

“Arts and culture make considerable and necessary contributions to the well-being of communities. Arts and culture are powerful tools with which to engage communities in various levels of change. They are a means to public dialogue, contribute to the development of a community’s creative learning, create healthy communities capable of action, provide a powerful tool for community mobilization and activism, and help build community capacity and leadership.”32 This statement summarises the overall positives that a community arts space could bring to the town of Tralee, Co.Kerry One artists work that I identified with through this time, was that of Candy Chang, an artist based in America, she too comes from an architectural background and has the desire to improve communites through art. She engages communities and encourages a better understanding of their landscapes. She identifies unused places and turn them into spaces to benefit her community to encourage them to participate. This is an approach, I could have used to understand the community of Tralee, I will discuss this more in ‘further work’ as this is a way I see this project continuing. “inspired dozens of remixes that offer new ways to engage with the people around us.”33

29 Power, Katherine. “Creating Transformation Through Art The Role Of Community Arts in a Transitioning Society Ballymun, Dublin and Belfast Northern Ireland.” (2012).

Indecon International Economic Consultants

Voluntary Arts Network, 2005

http://www.creativecity.ca http://candychang.com/work/before-i-die-in-nola/

above Tara Horan, Beauty of Negative Space #001/42 2016 Watercolour study

above Tara Horan, Sketch from Life Drawing Class

1.6.1 Life

Drawing

The aim is to understand community through arts participation. Attempting to understand the benefits that this could provide to individuals whom in turn contribute to their community. I set up a life drawing class, not for practicing artists but for those that may not otherwise have had this type of opportunity. Life drawing was chosen, being one of the fundamental basics of any arts practice. The figure itself offers many technical elements, from form and structure with the many lines and surfaces, you soon disregard the nude body and instead see a series of lines. A natural training for the eye in breaking down the bigger picture into manageable sections. This enabled both models and artists to experience being part of something completely new. Through life drawing, we can understand the importance of observational drawing, enabling us to visually understand a subject. The practice requires one to visually engage with the subject, building on ones cognitive skills. Michelle fava “makes a case for the valuing of cognitive and practical function of observational drawing in art and design curricula.”34 In her study she identifies Dr.David Haley, a senior research fellow and director of Ecology in Practice at Manchester School of Art, he maintains that

“drawing is integral to perception and cognitive understanding”35 Haley’s research looks at the Ecology of Art, similarly he too holds a life drawing class a part of the research, he uses the knowledge gained from the class to understand the cognitive benefits this practice could provide to the participants. “Drawing as a way of thinking, or thinking as a way of drawing, moving on from illustration to interpretation to integration.”36 He talks of the importance of life drawing and the sadness of the decline of this practice, throughought the arts education in comparisson to when he was an art student some thirty plus years previous. One statement he makes, relates entirely to the aim of this thesis. Being the provision of an Arts centre in this community. “Drawing takes time. Drawing makes time and brings about reflection. Time to understand differences and relationships.”37 This research has meandered through various theories of arts practice and the artist, whilst attempting to understamd the various benefits, of particular interest we read in the Stanford Journal of Neurosciece, where the article looks at the relationship between the artist and neurologist, perhaps with reluctance it is identified that “the artist has historically been the prime investiga tor of visual perception. Although not always with reproducible experiments or verifiable results, they intuitively unlocked the secrets of the eye and the visual brain.”38 35 Fava, Michelle. “What is the role of observational drawing in contemporary art & design curricula?.” IDATER online conference: graphicacy and modelling 2010. 2010.

34 Fava, Michelle. “What is the role of observational drawing in contemporary art & design curricula?.” IDATER online conference: graphicacy and modelling 2010. 2010.

36 37 38

David Haley - Draw Attention: Ecology As Art - Nov 2005 David Haley - Draw Attention: Ecology As Art - Nov 2005 Mengfei Huang - The Neuroscience of Art

1.7

Exploring Technologies and Media outputs.

In the early stages of the research, it was anticipated that the end result would be the design of a space, that would provide some type of creative platform. However throughout the research, the decision was made that in order for this to be achieved, the research should focus on the understanding of the user first, as one would if applying techniques of design anthropology . This was done through exploring the space, place and community. With the idea of a Design being created various technologies were explored, The intention of a 3D Visualisation presenting the final design was to be created. A particular interest was to create an Immersive experience through the visualisation. The world of Virtual Reality was explored as a starting point together with possible life size projections. The technologies looked at were the Oculus Rift, Projection and Immersive 360 video. Once it became evident that in order to successfully understand what was needed from the community of Tralee and gain a true understanding of Space, Place and Community through the perceptions of the people and myself. I chose what I thought would give me the ability to understand these concepts most successfully, in order to gain the foundation needed. Photography has long been used to explore ethnographic studies, this would enable the collection of photographs from participants. It would allow for the inclusion of my own explorative photography. Visual Arts and Spoken word were the other mediums chosen to work with in order to tell the story of the findings.

above Tara Horan, Extract from watercolour sketchbook

above Tara Horan, Courthouse #001/37 2016 Narrative Photography

2. METHOD 2.1 Overview

he final exhibit, Project #001 was a collection of works exploring Space, Place and Community. This being the topic of exploration for the practice led research. the intention of these works in addition to gaining an understanding of what these mean to us as and how we visually demonstrate our perceptions was in addition to gain an understanding of what such a project could provide us as individuals and in turn a group or be it a community. Project #001 exhibition consisted of a mixed media installation piece including Photography, Graphic Design, Illustration and Audio. As the final presentationo of the project consisted of various mediums, I will discuss each element seperately.

I strongly believe that art is a medium for dealing with those issues within a society, which cannot be addressed through political or social dialogue. Art should provide a space for the production of individual and collective insights, relative to the canonized worldviews and governing social and individual contexts.39

Jovana Popic, Artist - www.jovanapopic.com

Jovana Popic - Artist - winner of Codice MIA IV Edition MIA Fair, Milano

2.2 The

Poster

The Poster was designed to fulfill the traditional academic ‘poster presentation’ part of the masters. Considering the context of this particular masters this could be configured with creative interpretation, whilst still explaining clearly to the viewers the stage at which the research was at, where it had been and where it aimed to move to next. This Presentation took form as a designed accordion type booklet. The document was put together using Adobe Illustrator and InDesign and presented in print format, wi1.8.th a digital version made available. At the stage of the poster presentation, It was proposed that through the research and studio design proposal, I would look at both the benefits and problems of an arts space within a community. Looking at existing Arts spaces it is evident that they can build on social networks as well as improve economic benefits to a place. This research would continue as a part of my Research and Methodology together with the enterprise development module. Through current literature and site visits was the ability to explore and establish the relationship between space, place and community. Allowing Creativity to take its own path, the process was expolited in order to assist in identifying ‘ A Sense of Place’ in the town of Tralee. The research and practice proposed to take form as a series of phased exercises. Using qualitative 42

research methodologies, also exploring and implementing Narrative inquiry as a methodology together with adopting some techniques of the visual ethnographer. It was proposed that data would be collected (photographs and recorded interviews) from 3 identified groups : 1) A set of ten self selected participants, approached via facebook and email. These participants will initially supply the research with up to ten photographs. Their guideline was to ‘supply up to ten photographs that YOU feel portray Tralee’ 2) The residents of a specific are in Tralee (considered looking at ‘urban terrace’) will take part in a four week photography course and their continuing brief will be to ‘capture’ Tralee through the lens, to give an honest visual narrative as to how they see Tralee. (logistics meant this was not possible within the time frame, this is now an intention for the future) 3) Formulating a teaching module to a group of ITT students, Using this project (A specific brief was written) they will use the 12-week module of ‘photography and cinematography’ to explore how to visually tell the story to capture ‘ a sense of place’ in Tralee. The participants of this, were to become a part of an open exhibition to be held in the town centre of Tralee, to display their photographs. The exhibition was to be curated by myself possibly with the assistance of some of the ITT students.

The full process of this would be documented on film, to form the content of a film documentary that will act as a voice to deliver a ‘sense of place’. Above are some images to show the working progress of my ‘poster’ which took form as a book that can open out to see the visible timeline of my journey to date … Each symbol represents a stage of the journey, they were from sketches that were scanned into illustrator, manipulated and turned into vectors. The idea is that, i could carry the concept of the timeline through the life of the project. These symbols (icons) will become an interactive button to take you to further information on the blog.

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The PLACE in question is TRALEE, Co.Kerry. An overwelming sense of negativity comes across when I discuss this place. Is this the reaction most people face ? ...

READING CONTINUES .... MORE READING AND THEN SOME READING ...

R RESEARCH A D

“Space is neither a mere ‘frame’, after the fashion of the frame of a painting, nor a form or container of a virtually neutral kind, designed simply to recieve whatever is poured into it.” Henri Lefebvre, Production of Space

2.3 Photography

as the tool

Photographic storytelling has a universal language, allowing you to tell a visual story resonating your own perceptions, whilst allowing your audience to form their own.

Photography gives people a voice The photography taken throughout this research tells a story through strong architectural characters. Each photograph not only tells the story of its â&#x20AC;&#x2DC;placeâ&#x20AC;&#x2122; but has its own carefully composed beauty, this comes through in the architectural lines and subtle elements of life and nature that come through in many of the photographs. The Photography sits within the installation in the company of the watercolour studies. The research led to the writing of a twelve week Photography and Cinematography module for the first year multi-media students at the Institute of Technology, Tralee Co. Kerry. The photography will also take the topic of space, place and community and will introduce to the students, the framework as set out by Lefebvre. With the aim to produce a photographic portfolio documenting the findings, together with works for exhibition.

Alec Soth: An American Photographer - Image from collection â&#x20AC;&#x2DC;Sleeping by the Mississippiâ&#x20AC;&#x2122; Link to video interview, looking at the process, philosophy and inspiration.

2.3.1 Photography Photography as a media , enabled a conversation to be opened. Providing a platform to open the dialogue and discussion of the subject. The photographs give the opportunity to see and analyse a situation that we may walk passed daily. Allowing the reflection of a space or place, to be considered. There is no correct opinion, the project looks at perceptions of various individuals. Participants were asked to contribute photographs that they considered represented Tralee as a place, with no direction given as to what this should be. In writing from John Collier Jr, who studies what he names ‘visual anthropology’ he looks at photogtraphy in anthropology and holds experiments where participants assist research through photography. His work states “No matter how familiar the object or situation portrayed may be, a photograph is a restatement of reality; it presents life around us in new, objective, and arresting dimensions, and can stimulate the informant to discuss the world about him as if observing it for the first time.”40 From this we can understand the importance of photography in assisting members of the community to re-evaluate the place they are in . The collection of the particpant photographs was one element. (see appendix for participant photography)

40 Collier, John. “Photography in anthropology: a report on two experiments.” American Anthropologist 59.5 (1957): 843-859.

The second element using photography, was through my own photography, recording Tralee as I perceive it. A selection of my photography was exhibited at the final exhibition of Aspect 2016, printed in a book, placed onto a dedicated Atavist webpage and also shared through social media platforms. In order to get a response, again providing an opportunity to understand perceptions and involve a community to look further at their ‘place’. We will often hear of participatory research or visual research being used as methodologies in the social sciences, although we are not strictly using such methodologies, it bares importance to mention there relevance. Photography is often a tool, in which the social sciences will use, in order to understand a situation from the view of the subject. For example, where participants are asked to submit images as part of a research project. We understand the method of collecting photographs for research is not a new concept, however whilst this project seeks to gain an understanding of peoples perceptions through their images, we also ask for these images to be viewed as an art form or media with the potential of being presented. This was particularly prevalent during the teaching of the Photography and Cinematography module to the specific group of students. This was to allow the students an opportunity to gain a sense a pride in their work, that could potentially become part of an exhibition or printed within a book. This practice in itself was considered a direct participation in the arts, whilst also requesting they

consider the topic of space, place and community, to find a way of their photography to become the narrative tool. When collecting images from the students for example, they were instructed as a part of their brief to consider certain elements of their photograph, being the story telling element, the technical requirements of the camera, the composition and the overall aesthetic of the image. (see appendix for full brief) 2.3.2 Architectural

Photography

The success of the photography for me, being more a portrait photographer. Was being attracted to the architectural elements of the town, the result was a complete contrast of work to my usual portfolio. This was a great period of self directed learning, that happened through experimentation. The processing stage of the photographs was particularly exciting for me, with the results coming through being the success of the colours and composition. From what started as narrative photography, has resulted in some images that through various feedback could be re-catogorised as Architectural or Fine Art Photography.

above Some of the responses recieved through social media.

2.4 The

Art of Spoken Word

Through this research into the subject of Space. Place and Community using the various mediums of arts participation. The subject has been explored through photography, participants Photography, watercolor studies of , drawing, print making and Life drawing classes within the community and model Making to explore space and many other studies together with a lot of reading. The reading opened up the world of Philosophy. With the many questions that camein the attempt to clearly explain the findings and the journey of which the research was taking, I started to write down thoughts and findings, attempting to somehow explain the subject of this study. What started as a written response in order to find an explanation, transformed as a piece of ‘spoken word’. The ‘poetry’ was a medium which enabled a form of communication, as a response in form of a narrative. We can understand from Smitherman’s paper The Power of the Rap: The Black Idiom and the New Black Poetry, looking at the importance of poetry and spoken word within new black poetry, realting to each culture equally.

According to Fox and Wolfe in their study of oral culture in Britain during 1500-1850, “what we say has never been divorceable from the means by which we say it, or from the forms within which we give it expression, though the medium is not equivalent to the message.”42 The study looks at a period when aural communication would have been the primary means and print was just emerging, therefore the importamce of the tone etc was essential in delivering the message. The final decision came after playing the audio within the designated exhibition space, as a result of the critical analysis from my peers and I, it was apparent that the edited version lacked the passion and conviction that the original piece held. Influences from the likes of John Cooper Clarke, Linton Kwesi Johnson, Hollie Poetry. Included is a poem from Hollie Poetry, an example of how we can identify social issues through spoken word.

“It is a well-founded concept of linguistic anthropology that language is a key to understanding culture.”41 I experimented with the recordings, with the style and tempo of the piece. I first decided to go with a slower version of my original take, recording within the studio setting and editing the piece with Adobe Audition and Premiere. 41 Smitherman, Geneva. Talkin and testifyin: The language of Black America. Vol. 51. Wayne State University Press, 1977.

Adam Fox & Daniel Woolf ‘The Spoken Word’ - Oral culture in britain, 1500-1850

he negativity that surrounds is overpowering, the spaces are overtaken the criticism is flowing Do we understand place â&#x20AC;Ś We define place We dictate place WE are the beings that instigate it We are born into place therefore the place is deep, in our subconcious

We attempt to explain place this requires one to step inside to UNDERSTAND our subconcious vision What is it ? that causes us to behave in space that becomes our place.

he repetative questions, persistently occuring Is it the Achitects, the designgers â&#x20AC;Ś

that in fact dictate the place we live we work we breath THEY design the buildings, the objects the skins in which we reside, we occupy. therefore DOES the responsibility lay with designers planners, councilors ? OR

IS it in fact the users ?

he way in which we behave within the space the way in which an individual will use that space

WILL in turn define that space to become a place So is it the social fabric that furnishes a space that is infact the creator of the PLACE

Spoken word response from Tara Horan

What actually happens when we STOP we LOOK we OBSERVE we PERCIEVE 51

2.5 The

Decision to Print

“The act of printing has always seemed to me a miracle, just such a miracle as the growing up of a tiny seed of grain to an ear—an everyday miracle, even the greater because it happens every day. One drawing is sown on the stone or the etching plate, and a harvest is reaped from it.”43 With the initial presumptions being that the presentation of the final artifact would take form as a digital or screen based output. In order to comply with what I had thought, may have been expected or perhaps to be in keeping with the times. With projection, 3D animation and others being considered It became clear that in order to achieve the immersive experience I had desired, i wanted the tangible effect one might get from reading a magazine or book. Having fully utilised the digital capabilities of both my camera and the various design software, the finished artifact was something I wanted my audience to be able to touch and feel. We are in an age where we can display almost everything on a screen, something that will be there, as long as the power is on. By having my artworks hanging, in what could be considered a ‘traditional’ print format, I was able to have elements of the work that would continue its life and change through time, as they are handled, travelled and with the intention that they would be kept, as we would a treasured book. A selection of the photography taken throughout this research was printed for display purposes. Selected pages spreads, consisting of participant photography and quotes from the participants were also printed for display. Additional work was also printed within the book, that was also a part of the final exhibition.

Vincent van gogh

Tara Horan, Image of printed photography from the final exhibition.

Tara Horan, Geometric Figure

2.6 Life

Drawing, the class

A six week life drawing class was organised to understand through practice based research what such a class could offer the participants, both the artists and the model. The class was held in a teaching studio at the Institute of Technology, Tralee. Eleven students attended, from a variety of backgrounds, two who had attended art college years prior and were looking to refresh their drawing skills. Four students from the media arts route (including animation) with no previous experiance lookng to gain drawing skills to benefit their design and media education. The others from mixed backgrounds, whom attended ‘to try something new’ The model, was excellent. A local lady from Tralee, with no modeling experiance but had been a dancer in her youth was capable of holding various poses. She was able to get the students to respond to her well, with her laid back perona. I bought with me al drawing materials, drawing boards and paper, together with worksheets and ‘tip’ sheets, to assist the students and build on their confidence. The first class, as anticipated started with slightly nervous students. Unsure of where to sit, so not to get an inappropriate view, this fear soon faded as they became comfortable with the model and the concentration on the drawings intensified. Poses included 5 minute, 10 minute and 30 minute

poses. This meant the students had a warm-up period as well as the opportunity to get a ‘finished’ drawing. All of the students continued to attend the classes. Positive feedback was given, and requests were made for further classes. The need of such classes was highlighted to those whom attended the exhibition, I shared the models details with another artist, whom is now running a life drawing class in Tralee. This was a direct outcome of this research. As well as teaching the basic drawing skills to the students, I also took some time to sketch some of mine own drawings, utilising the presence of the model. 2.6.1 Life

Drawing to Urban Art

I chose one of my sketches from this class to be a part of the final exhibition. I chose to paint this figure onto one side of the cube. Using a projected image of the original, I used watercolours, acrylics and aerosol paint. Throughout this research, the effect that this experience had on this particular participant (the model) was without doubt the biggest impact to any individual part of this research. 2.6.2 Digital

development of Art

Digital experimentation with some of the sketches resulted in a series of geometric figures that have since been screen printed and used in subsequent exhibitions both in Tralee and Cork City. 55

2.7 Watercolour

to Digital Print

The watercolour sketch book that was kept during thid research recorded abstract perceptions of space and place around Tralee. These small studies were scanned and digitisedm to be printed at large scale for display purposes, they became another means of allowing for individual perceptions.

Tara Horan, extract from watercolour sketchbook

Recording the abstract of our perceptions ... Is the Space the place between ? that what lies between the objects we have placed or created, therefore does that mean we do in fact creat the space ? Is it space or place that holds the beauty ? The place creates the voids that become space, so does this mean they are both equal ? One can not exist without the other

Tara Horan, extracts from the watercolour sketchbook

2.8 The

Gallery Space

Consideration was given to curating the gallery space. What is expected within the gallery environment and how one could display works as part of a collective? The aim was to have some form of installation that could display the findings, yet not dictate the perceptions of the audience. The other requirement was for the installation to sit comfortably amongst the other artists and media practitioners within the exhibition space. 2.8.1 The

Cube

The intent was to have an undefined space, housing the artworks to be presented; the idea of the cube came after much experimentation with alternative architectural forms. My understanding is that the cube is the most basic of 3D forms. Used often as the starting point of many designs, including my own. Throughout my career, the cube was the first 3D shape i learned to draw and was a part of ones initial understanding of perspective and scale. The Cube for me does not dictate any particular behaviours or perceptions for the user. Without manipulating the cubes form, you are allowing for interpretation by the user or curator of that space. These would be some of my initial reasoning’s behind using a cube to house my exhibition. This has led to the readings of many theories that exist around the cube, the aim of understanding its position within both philosophy and architecture.

One of the most notable of writings that looks at the cube are from Brian O’Doherty, who has written ‘Inside the White Cube’ “In my contribution I address the question of the autonomy of architecture by analogy.”44 Brian O’Doherty famously argues that for the visual arts it is the white cube of the modern museum which secures a presumably neutral, yet in fact ideological frame of spatial discontinuity. ‘a space which is absolutely condensed in time, given that it is no longer space as locality or place harboring and disclosing the artwork, but space as absolutely created and defined by the actions, events or things which happen to take place.’45 In relation to O’Dohertys view, this project too aims to observe the movement of this visitors around and within the cube, to see how those interact with the space and how the artworks are observed, the actions of those within the space, will dicate the installation as a place. “As a result, one could state, in Lacanian terminology, that the real of the actual chronotopos and the symbolic of the artwork tend to fuse – precisely without imaginary intermittence.”46

44 45 46

O’Doherty, Brian. “Inside the white cube: notes on the gal lery space.” Artforum 14 (1976): 30. http://isparchitecture.com/the-ideology-of-the-architectur al-white-cube/ http://isparchitecture.com/the-ideology-of-the-architectur al-white-cube/

2.8.2

Design of the Cube

Once the idea of using a ‘cube’ to act as the installation piece and house the research findings, I then proceeded to finalise the design and structure. This process started through sketches and progressed to 3D Models to establish the visual. I worked on animating the cube, using SketchUp. First the basic form was drawn, and Sketch UP to experiment with the faces of the cube and how I might present it. One decision made throughout this stage was to not have a television screen within the space. Something that initially was going to display the Interviews from various participants. No matter how It was placed, it did not sit comfortably. I felt by having a video on a TV screen would draw viewers attention to the screen and therefore would have dictated the behavior of the viewer to stand and view the film. In order to maintain the original purpose of the cube (to not influence one’s behavior) The television screen contradicted what the cube aims to achieve or not to achieve. An undefined space able to be dictated by ones movements and behaviors within the space. For the purpose of the presentation at ‘proof of concept’ stage. I had worked on animating the 3D drawing from SketchUP. This is not something I am familiar with, so this had been a learning curve in itself. This I believe, is a ‘creative media’ within itself and works well in allowing your ‘client’ to visualise what the ‘finished space’ could be like in reality. The presented animation gave a clear view of the what the final result was to be. It also allowed for the analasys and observation, together with my audio piece, to envisage how it might be and to understand how it might work and where it might be refined.

Concept Design Sketches

2.8.3

Making of the Cube

The final installation of the cube was made to the design specifications, 3meter lengths of box section alluminium was used to construct the frame of the cube. The walls were made from 3m x 3m panels of white mesh fabric, the fabric had wire cord at the top and bottom and was connected to the frame with hook and eyes. Two of the fabric panels had the art works painted and embroided directly onto them, The other two interior walls had the printed photography and page spreads. These were hung between four strips of wood, cut to length and held together with wing nuts and wire stretched from top to bottom. One side of the cube had a 600mm x 3000mm panel of currugated iron, representing found matrials to give a sense of place in Tralee. The Structure was easy to assemble and was tested several times before the final exhibition.

2.8.4

Final Installation

Corrugated Iron sheeting representatitonal of Tralee as a place.

Observations made throughout the exhibition, to record the visitors move through and around the space. It became apparent that that it was the younger guests to explore the space more, for example gathering in groups inside the cube, very young guests peeling back the wall and and creating their own entance and exits. The adult guests being more reserved and considered as they entered the space, where some even just peeked their head in or just walked around without entering. Those that did enter, appeared to take being inside much more seriously, observing each piece of work, the type of behaviour one would typically expect from someone attending a quiet gallery space.

2.9 The

Book

The book was made to record a selection of the work created as part of this project. Initially the book was going to be a magazine, however the decision was made to have the document printed as a book. After peer and mentor meetings, various points of view were given and the final decision was that a book would have more of a â&#x20AC;&#x2DC;preciousâ&#x20AC;&#x2122; keepsake feel as opposed to a magazine one might disgard once read. The book was designed using Adobe InDesign, exported as a PDF and printed in both paper and hardback to a professional standard. Consideration was given to the branding of the book, with logo and colour variations. The final design of the logo was taken from a 3D model of the cube installation.

The book was a success and I was pleased with the overall quality and presentation of the finished product, however if it was to be done again, the magazine would most probably be the better choice. As the cost of producing a magazine is much lower, I would have been able to have a larger volume, enabling it to really be a part of the exhibition and something the viewers would be able to take away with them and examine the work further, should they choose.

hilst Continuing the study of Tralee as a Space, Place and Community of Tralee, I used photography to document my findings. I also decided to use watercolours to enable me to understand, in an entirely different way, the concept of beauty as related to space and place.

The little things. #001/18

Careful consideration was given to each individual page spread before it was ready to be a part of the finished product. The Graphic compositon of each element was a carefully executed process.

The book was presented on a bespoke copper tank, another representational artifact of Tralee as a place.

3. DISCUSSION 3.1 Personal

Critical Reflection

n order to reach the goals outlined in this project, it was necessary to adhere to a structured and dedicated schedule consisting of running classes, assisting in photography workshops, collecting data from participants whilst also meeting set deadlines required from a taught masters proved to be arduous at times. Due to the particpatory nature of this research, it allowed for ongoing reflection and tailoring of the specific needs and requirements of the project. In hindsight this opened up many questions and possibilities, some of which had not been identified suring the intial stages. On reflection and after speaking with others, perhaps this would have been less strenuos had I have treated the task differently, for example ‘let go’ of the project in terms of my own input and made it more about the participants. As part of this ongoing research one of the things I have identified with was socially engaged art and particpatory arts. The structure of Particpatory arts would have worked particulary well for what I was trying to do, with regard to involving the community. The installation itself was what I had planned, in terms of the design and execution of the physical cube, the selection of participants perceptions together with my own were successfully displayed in the form of photography and written comments. However, the audio of the spoken word piece was not as I had anticipated. The plan was to have the sound from above, to fill the space with the words and to trigger thoughts regarding the topic of space and place. In reality, the acoustics within the circular exhibiton space meant this did not work, therefore the speaker had to be positioned at ear level. If I was to conduct this research again, I would cosider changing the method to be entirely participatory arts within the community in a designated place. In terms of the book, I would do this again as it was a good way of having a visual record of the process. If I was to re-exhibit, I would aim to have an individual space, where the cube would stand alone as an ‘art installation’ with only the audio playing, to allow the real observation of how people interact. The photography and art works, would be diplayed seperately to this to tell the story of the journey alongside the book.

3.2

Additional Responses to the work

In order to gain some critical feedback, I asked two local artists, to give me a critical response after visiting the exhibition.

â&#x20AC;&#x153;In Tralee we have a huge sense of a hunger to belong to something, seeing what is on your doorstep. I kind of think that is what your project is about ...â&#x20AC;? Rebekah Wall

Artist, Jovana Popic is someones work I have become aware of throughout this research, featured on page 40. I contacted Jovana to request her permission to include her work. She was so kind as to reply. Within the conversation she directly supported what I have set out to do.

“ I really believe that art can change the society.” Jovana Popic

4. Further

Work

I intend to have an individual exhibition, where the cube is the visual experience of space and how people interact with the cube as a gallery space. The the story of the journey, exhibiting the various art work that was completed during the process would then be presented seperately external to the cube. Project #001 - The idea was that this would be the first of many to take place amongst various communities. The aim is for this platform of exploration to travel through various communities across Ireland. In addition I would like to explore the possibilities of ‘Participating Public Art’ in Tralee, acting as the artist that provides the platform. I would aim to look for possibilities of exploring this subject further at PHD level.

5. Conclusion Through the application of art, we have the ability to improve a society, to have a positive effect on a community. We can see that the provision of an arts centre within the town of tralee, could be something the community would greatly benefit from, both financialy and socially. “In ten years’ time, we want Ireland’s international standing as a leader in the arts to be strengthened by our commitment to new generations of ambitious and innovative artists. The vitality of the arts across the country and in our diverse communities will inform national cultural policy and influence the wider work of central and local government.”47 The consideration of providing arts to those within a community, should be an integral part of council policy making. “where local and national politicians, decision-makers and officials in a wide range of departments and agencies recognise the distinctive societal value of the arts and provide for them accordingly.”48 Participants photographs allowed us to see the various perceptions of place and how different people will define this in different ways, from the architectural associations to the cosy bedroom. 47 Coun 48

Leading the Development of the Arts in Ireland, Arts cil Strategy, 2016-2025 Arts Council Strategy, 2016-2025

Displaying the artworks of selected individals gave a great a sense of pride and achievement. Something that can be achieved community wide, were we to have the creative platforms available. There is no correct answer on defining individuals artworks or photography, when asked to explain particular images, each individual gave a different meaning. This gives further example of how individual perceptions differ. Becoming a part of an art class or group, you become part of a small community. This gave individuals a sense of belonging and pride. “ The class gave me the encouragement and I began to believe in myself, this was something I had never done before and it didn’t take long before I felt a part of a group and able to achieve something i never thouught I would. The first week I hid my drawing, by the end of the course I felt like showing them off.” life drawing participant

The installation together with the photography and artworks allowed a platform for conversation, by providing such exhibitions and facilities we allow for our community to deepen their undertsanding of the people and place around them. “Dialogical works can challenge dominant representations of a given community, and create a more complex understanding of, and empathy for, that community among a broader public.”49 49 Kester, Grant H. “Dialogical aesthetics.” Conversation Pieces Community+ Communication in Modern Art (2004): 82-123.

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Deputy Andre Doyle – Irish Independent 30/01/2016

The NESF report 35, January 2007 - The Arts, Cultural inclusion and social cohesion

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David Haley - Draw Attention: Ecology As Art - Nov 2005

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