25 Drawings
It has been decided that 25 square drawings all individual; all
unique will be produced
and given away for free in the exhibition Transition, the number 25 in Occultism is symbolically held as being the number of rebirth, during the research into the numbers it was considered to either create 25 or 86 drawings, 86 being associated as being symbolic for the notion of eternal life, but through consideration and thought, 25 were decided in the effect that the person who has taken the piece has given it a new life, therefore it has become reborn into a destiny that I no longer have any control about.
Spiritual immortality is the unending existence of a person from a nonphysical source such as a soul. It is a belief that is expressed in nearly every religious tradition. In both Western and Eastern religions, the spirit is an energy or force that transcends the mortal shell, and returns to either the heavens or the cycle of life, directly or indirectly depending on the tradition.
Photographs by Simon Cruickshank
Private View of Transition Exhibition
Life After LifeWithin the parapsychologist Raymond Moody's life after life publication, he came across a common ground of happenings that the case studies informed him off. An example of an overall view of the narrative collected by Moody's case studies describes how the person hears the doctor pronounce them dead, while they start to hear a buzzing noise or a load ringing while he feels himself moving through a dark tunnel. The person has a body but one of a different physical appearance, they then encounter other people, deceased friends or relatives, then they see a person made of light, a question is then asked by the being of light that makes the person evaluate their life, and a scene of images are also seen, to help them relive the memories they have acquired during there conscious life. Apparently a barrier or border dividing the earth life and the afterlife then appears. Overwhelming feelings of joy and love flood through them and they are resistant to return. Life after life highlights near death experiences that are similar in narrative, although all slightly alter in the happenings but similarities run through each, the book has brought about new research understanding of the secret of what may lay within the future of the afterlife and by no means does Moody want to completely say that life after death is a certainty, but like myself is looking for all possibilities that it may actually exist somewhere out there.
The images have seen a development from being produced on canvas to bare oak wood and onto
MDF tile pieces. the drawings were produced while listening to music and letting the sound take over the hand, and become a very conscious act of producing.The work of Felix Gonzalez-Torres was researched through his replenishing of art works that the audience were encouraged to take for free. Felix Gonzalez-Torres concerned himself with the avenue of death through a aids related illness that took the life of his lover as will as himself in 1998.
Consciousness Continued were developed over a period of four months and a variety of presentation outcomes were explored with the initial idea being inspired by the Rules of the Game exhibition proposal. The idea were to secure the pieces to a wall with mirror plates and allow the audience to unscrew the pieces and take them home with them. With my own practice being concerned about the actual process of making the pieces, a short film documentation of my own hand drawing the images were documented and made into a short film, the idea was then to project this image onto the blocks. This idea was experimented with in the black out room within the university.
April 2007With consideration to gift giving the thought is to highlight the aspect of the giver (me). It has been decided that the video accompanying the installation art work will involve the aspect of producing the pieces, although not every detail of this process. The painting of the blocks and the tedious aspect of having to get the edges perfectly defined as been long and drawn out. Various methods of paint application were applied and it was found that the most appropriate was white emulsion due to its absorbency with the gel pen used for creating the images. The drawing is to be the only part that becomes shown within the film footage as it is this what is mostly created sub-consciously.


The filming of the work is to be done at home and the camera position with full focus and myself and the blocks. the blocks are to start piled on top of each other at the side, slowly being laid out in front of me. The presenting and audience interaction of the piece is being reassessed as the idea of the viewers getting that involved may be limited, so to make it more accessible a grid frame is being made to hold the pieces; allowing them to slide out of the top and creating a grid similar to tic
tac toe.
March 2007with the intention to have physical audience interaction it is being
considered in which way would this work best,
Glenys Hodgeman and
Felix Gonzalex-Torres make it as easy as picking the gift up and walking away, with wonder of how involved people will get, an art
experiment as been created within an installation room within the University.

The blocks were piled up in a row on the floor and the projected image were positioned close to create a image that focused on the first block, creating an effect of blurring the image when the final final block is removed. after reflection on the set up of the exhibition and the fact of health and safety within a gallery environment it has been decided that this is not suitable and is not portraying the avenue of the process of the art as much as anticipated.

A variety of different methods of using the projected image were explored before I reassessed the piece and decided the hand image was not one that highlighted the process of the pieces. The publication by Roland Barthes, Image Music Text were also being read during this period and The Death of the Author essay within this book gave a whole new way about thinking of my work within a gallery setting. The notion that the work is no longer yours and becomes the viewers with their own interpretation inspired the practice and this led to the creation of an animation of myself producing the art work.
Documentation of Video Projection.