Dreamer, based in the Printmaking studio, makes objects, performance-works and video, according to a long-term strategy constructed around preoccupation with her own eventual fate.
The topic of this artwork is the Seven Deadly Sins, inspired by the sins of mankind: Pride, Envy, Anger, Sloth, Lust, Wrath, and Gluttony. In today’s materialistic society, people are living their lives in their own ways, and losing their sensitivity to society and their surroundings. I created this set of disguise artworks to express my thinking on human nature and an evil world. My final piece is a performance-based video, based on an installation comprising a huge golden birdcage and the seven masks, and it expresses my ideas about death. I designed a magnificent funeral for myself as the conclusion to a recurrent dream of death which has driven my practice.
Jasmin is from Kenilworth in Warwickshire. She attended Foundation at Warwickshire College. She is fully bilingual and joined the Japanese Society to meet up and speak in Japanese. Last summer she worked for Teamlab in a digital art museum exhibition in Japan in the summer.
She has built her recent practice around the Torii gate, the traditional Japanese entrance to sacred spaces, inspired in particular by the Fushimi Inari Taisha in Kyoto, a shrine with more than 200 entrances, a tunnel of gates around a whole mountain. She has experimented with the form in the bookable space, in front of WSA, on the moors, outside Kenilworth Castle and on the beach. The photograph is part of the work.
Key themes in my practice are identity, materiality, repetition and relation between object and human. Developing from a painter into a sculptor has broadened my approach from the visual to the tactile, becoming increasingly interested in the power of object-hood and creating an autobiography relating to my surroundings. The manipulation and repetition of Japanese iconography is an important aspect of my practice through changing site, materiality and size.
. As printmakers the creative act is largely undertaken in the print studio. A space with specialist equipment, established procedures, exemplars of process and perhaps expectations of what we mean by printmaking! Nevertheless, beyond the studio and in our daily lives we continually engage in printed performances and repetitive behaviours. One might say our homes and routines are embedded with graphic happenings, acts that leave imprints of our existence as practice. . The Challenge The accidental printmaker is not overly concerned with the conceiving of an idea in print or the proceeding association with mastery of technical process. The dissociation with some disciplinary conventions is not to devalue established practices, but to revaluate printmaking as an expanded practice. This particular expanded view borrows from the ‘readymade’ as a means to nominate the overlooked. Here the disciplinary led ‘nomination’ and repurposing of an artefact should draw our attention to interactions with surface and / or repetitive procedures. In this context the compulsion is to create in the name of print, where the accidental is to make visible the incidental. Remember, the aim is to re-engage with, or comment on printmaking – so no actual (conventional) ‘printmaking’ please. . Challenge Guidelines This challenge requires you to use photography or film as a means to document the incidental imprint, repetitive act or graphic remnants that exist beyond the studio. The recording of these expanded print practices may include subtle interventions or presentation methods that enhance our ability to see ‘printmaking’ anew.
