CONNIE HOPE

My process has become a sort of disjointed rhythmic event.

It also seems through my automatic making of the paper cut outs I’ve lost the ability to analyse or predetermine the shapes I am cutting out.

I deliver automatic reactions to the paper with my my body. When or how can I free myself of this? Or is it already free?

The importance of shadow interplay and the dependance on light within my works appearance/documentation could resemble how the body is dependant on the vitality of our organs, but our organs do not depend on us.

An origin story has been lost as I have remained still in my process, not moving forward. I need to refocus on bodily items. It needs to be more identifiable. More grotesque more surgeon table, more bloody more alive. More absent. It needs to beat without a body since it’s vacated its former vessel.

I feel as if I must now form a more clear representation of a living abstraction and extraction.

By remaining process driven, I seem to have stagnated in whiteness. I now realise that the paper cut outs lack so much texture and so much colour that they remain in abstraction. But in this blank space is a vast nothingness, linking them only to what we know. I want to render subjectivity futile. This thing is moving out into an external world.

I don’t want to leave room for phycological interpretation. I want things to be abundantly more visceral.

To address a desire to be acknowledged by the viewer regarding the shapes and what they mean – I am now considering cutting more recognisable symbols into my work. Simon Periton introduces this sort of detailing in his paper cut outs. His scale is also something that interests me.