Mariya Takeuchi www.wix.com/tiamariya/1

Mariya Takeuchi Fine artist

Mariya  Takeuchi  &  Jesse  Gallup.  I  am  here,  not  what  I  look  like  there  /2011  Video  s;ll.    

Contents

I am here, not what I look like there. Collaboration with Jesse Gallup.

Video Projected onto wall. 302 x 172 cm Duration 13:26 mins (No audio)

Tea Ceremonies. Collaboration with Sarah Perry.

Video displayed on monitor. Duration 12:43 mins (No audio)

The Third stage. Performance. 09.03.2011 Seminar room, Portland road.

Digital photo documentation. 15.2x 10.2cm

A Cuppa tea Ceremony. Performance. 27.01.2011

Studio space, Portland road.

Video displayed on monitor.

Duration 9:48mins (No audio)

Pigment grind.

High quality Digital print. 101.6 x 76.2 cm

Video projected onto hanging screen. 127 x 85 cm Duration 1:07:21mins (No audio/ Looped)

Right:  Mariya  Takeuchi  &  Jesse  Gallup.  I  am  here,  not  what  I  look  like  there.  /2011  Video  s;ll.  

Mariya  Takeuchi.  A  Cuppa  tea  Ceremony.  /2011  AAer  the  performance.  

Reflective Statement  

My personal complex of identity and dualistic nationality had led me to question ‘authenticity’ in terms of art from the standpoint of a commonly multicultural world; a matter I investigated during my dissertation. As a result my practise has changed greatly and lead me to a deepened understanding of performance as a form of expression and the potential of video art to explore these issues.

Moving into performance was a big stepping-stone in my practise, stemming from a perceived self that I had built up over the years and the need to challenge that. When I performed I learnt that it wasn't nearly as daunting as I expected, in fact it was more a kin to acting- entering an atmosphere separate from the audience (a safe bubble) much like the feeling when meditating. A successful performance then, was possibly when the audience was drawn into the atmosphere of the performer. During my collaboration with Sarah, our mutual interest in the communication and importance of audience lead us to our discussion session after the performance; a chance for people to ask questions and discuss the issues brought up. Getting people like ourselves who tend to stay quiet in group discussions was dealt with by a simple origami swan and asking everyone to write a few words they felt appropriate. By using these as a conversation starter, all the people who stayed behind contributed to the discussions and created a relaxed yet insightful atmosphere.

The main problem I encountered working with performance was the struggle between documentation and audience experience. For our collaborative performance the placement of the camera was discussed and moved around for hours as the decision of whether to sacrifice a good documentation shot to not get in the way of the audiences view (be distracting or in the way) or to have it in the optimum place for recording and ruin the atmosphere of the performance for the audience was a difficult one. We decided to prioritise the experience of the audience as they had given up their time to see our performance, where as a recording is only to document that the event occurred and for us to learn from it. That being said, when we recorded our performance without the audience in order for us to watch back, the potential for the footage to be considered a piece in its self was recognised.

My progress with ceramics has been very beneficial to my practise, developing the way that I perceive the work I am creating. It became an outlet to contemplate on the issues and concepts running through the work but not stand alone pieces to publicise at the end. They instead featured in my other works as props. Merleau-Ponty speaks of how we perceive our peripheral surroundings as part of our perception of the whole, which meant expanding considerations towards all details included within and around a performance. There are a few pieces that if I were to execute again, I believe the detail and time I put in wasn't enough and would have to consider again such as the surroundings and documentation of ‘The third stage’.

Through conversations with tutors, guest lectures and peers, the interesting and varied observational points perceived brings to attention the advantages of a collaborative project. When working on your own it is easy to go from one perspective and not develop. Therefore one of the perks in a collaboration, is that you can’t help but discuss issues, deliberate and debate. It is a chance to notice notions taken as obvious and think about things differently. This process I enjoy with Sarah and we plan to develop our artistic relationship further with a continued collaborative project after my graduation, expanding more on the concepts we have been tackling together till this point.

Mariya Takeuchi www.wix.com/tiamariya/1

Mariya  Takeuchi  &  Jesse  Gallup.    I  am  here,  not  what  I  am  there.    /2011  Video  projected  onto  wall.  302  x  172cm.  13:26mins  (No  audio)  

Mariya  Takeuchi  &  Sarah  Perry.  Tea  Ceremonies    /2011  Video  played  on  monitor.  12:43mins  

Right/LeA:  The  Third  stage    /2011  Performance.  Digital  image  prints  15.2x  10.2cm  

A  Cuppa  tea  Ceremony.  /2011  Performance.Digital  image  prints  15.2x  10.2cm  

A  Cuppa  tea  Ceremony.  /2011  Video  displayed  on  monitor.  9:48mins  

Pigment  grind  /2011  Video  projected  onto  hanging  screen.    12:43mins  

LeA:  Pigment  grind  /2011  High  quality  Digital  print.  101.6  x  76.2cm    

Installa;on  view  2011  

Mariya Takeuchi

K0831953 07904180389

tia.mariya@hotmail.com