Claire Virgona

ARTIST STATEMENT

This artistic practice addresses the traditional notion of the photograph as a faithful record of reality and the role of the viewer in the democratic co-creation of the artwork.

Phenomenological theory, prioritising the embodied perceptual encounter and Walter Benjamin’s concept of the ‘loss of the aura’ via mechanical reproduction is addressed through my artistic process: the creation of authentic, unique, photographs/sculptures; digitally manipulated to create the final metallic C-Type/inkjet prints.

The audience is encouraged to question the vulnerability of their own perceptual encounters and boundaries of observation through the tension acquired in the process of artistic creation. Via manipulation and abstraction of the authentic primary photographic image or physical object to the final digitally constructed, reproducible image. The subjective nature of reality, the destabilized notions of authenticity & production and sensory anesthetizing of the viewer, all warrant questioning to support enhanced visual awareness.

The ‘Observing Self’ Project

DBT

This body of work illuminates the artist’s experience throughout treatment, travelling through the destruction of depression and obliteration by intense anxiety; the depletion and severe limitations from the identity diminishing eating disorder. The power of mental illness to relieve one’s own essential life force, purpose, direction, and energy. Being trapped, obscured by an internal frozen precipice to reviewing the outer-crust protecting past trauma; excavating intense, raw, unknown, emotion through to distanced observation of thought and emotion and onto acceptance of living through uncomfortable, radiating pain. The creation of contorted abstract body-scapes during the process of eating disorder treatment acknowledge the foreign, mailable physical form of the embodied figure. They support ultimate regrowth and acceptance of functionality over form. Through the momentum for healing an unfamiliar self-compassion is also ignited, presenting a kind space for the self through the soothing and cathartic creative process.

This most recent series of work employs a stark new role, presenting the artist as dislocated observer of the self. Clarity of the present connected moment, allowing mindful encounters with the surrounding environment, has granted internal distance and space for the observing self to develop. Experiencing and identifying emotions, thoughts, sensations and validation of these new data sources combine to more effectively translate the interaction. Now colliding with prior core beliefs, questioning unhelpful thought patterns, challenging the voices of disorder and reclaiming control of thoughts and actions. Offering this increased attention allows for circumnavigation of destructive behaviours and to reassess needs and explore creative expression from the expanded viewpoint rather than fused with the intensity of an entangled experience.

ACT

Employing curious observation of the thoughts, emotions and sensations of connected experience allows for expansion of the mind and concepts and in turn, the consequent fluid artistic production. The illusion of control employed by manipulative cognitive automation is countered by witnessing, unhooking and diffusing the loaded thoughts to release their power over action. Acceptance of the futility of resistance to ongoing internal conflict has supported the conscious retreat into the security of the role of passive observer, allowing the conflicting to be recognised rather than engaged in and expressed through artistic outcomes. Continued expansion of the observing self through refocused, concentrated meditations and intentionally mindful experiences continues to fuel the production of creative content. Elimination of often misplaced layers of judgemental sediment deposited over the encounter and acceptance of prior lived experience allows for disruption of previously entrenched neurological pathways. Through noticing the mental ‘errors in programming’ and inaccurate cognitive associations the exploration of consciousness continues to illuminate and translate the authentic reality of the human experience.

Refocusing energy into the artistic digestion of the concepts addressed throughout treatment and observing the spectrum of experience has provided the space for interpretation and contextualisation of the emotional education. In highlighting and clarifying personal values to support productive, committed actions and effective living it has provided hope for the future and a meaningful life.

In addressing the Melbourne community, this body of work both acknowledges our image saturated environment and the unquestioned acceptance of the veil of manipulation. The social isolation and distancing measures of 2020 has allowed each person to feel the impact of mental isolation and the challenges associated with mental illness and physical isolation of hospital admission. This work addresses both the artists personal experience and these shared, uncomfortable experiences throughout the creative output of the recovery process.

THE ‘INTEGRAL ECOLOGY’ PROJECT

A/R/TOGRAPHY

Throughout this project the reconnection to my grounded, embodied artistic practice was prioritised. It became the visual evidence of my creative processing of new information and emotion in mindful connection to place.

Connection: Deep listening in connection to the self, community and spiritual connection to Country arose as the primary theme of this project. By moving slowly, listening deeply and remaining open and curious to offer space for all that arises. The new learnings were translated into the body of 30 unique artworks, each made on or about sites of significance for historical or personal learning and rejuvenation visited over the course of the fellowship.

This creative processing allowed translation of key ecological learnings in the hopes of awakening others' interest and deepening our shared connection for care for our common home.

Understanding connection over immediate visible productivity has led to the greater goal of approaching both personal and global transformation from a place of gentle, purposeful motivation rather than my instinctive, energetic passion. This project has offered me the opportunity to perceive time in a different, relative, manner. I aim to be an active participant in hope: radically open, having faith in the unknown, able to take opportunities as they arise. By embracing a deliberate, decreased pace of life and work, the path forward is paved with small, consistent steps forward to support continual growth and longevity within both a creative, professional and ecological capacity.

Art can be a bridge between people, a shared connection, or the impetus for conversation. As such, the ‘Integral Ecology’ Series has been presented in a range of formats to offer access to a wide audience.

• Online Exhibition in the Gallery on the Artists Website

• 40 page Art Book (available digitally and hard copy) with accompanying artist statements linking the work to the influential elements of the fellowship material that the works reference. Which are also available online Blog/Writing

Additionally, this fellowship introduced me to evolution-ary activism. I have embraced my role as a planetary custodian, and have taken the first steps into Creative Ecological Advocacy to embrace my work in service of the planet, for all children, for all species, for all time.

THE ‘A/R/THERAPY’ PROJECT

A/R/TOGRAPHY

This project documents the personal experience of gently observing internal energy in motion; communicating embodied encounters with the past, present and future through the process of Art Therapy. It has evolved the key learnings of deep listening for what arises, connection to self, place and moment and time and pace from the ‘Integral Ecology’ project into a personal therapeutic context. Documentation is published on the artists website blog.

Supported by a personal lived experience of ACT (Acceptance Commitment Therapy), DBT (Dialectical Behaviour Therapy) and Trauma Recovery in addition to a background in meditation, this project continues to grow through my own daily challenges and new learning. Internalising the understanding that we are all energy in motion, that our embodied experience is all energy in motion, all emotion can be broken down into its elements has been essential. The knowledge that our pace affects all it interacts with has been key to the successful decrease in pace, as it has been directed internally. This is seen through the automatic process or material driven production, fluid nature of projects, self referential experiences and material use in addition to the deep internal connection required to participate successfully in the art therapeutic process.

The spiritual ‘Head. Heart. Hands’ reflective approach, often used in eastern spiritual teachings, is employed to reflexively participate actively and insightfully throughout the entirety of the creative process. Honouring the now, the present moment, and dropping down to connect with the self requires the pace your bodily experience occurs to slow with your breath. As this process is enacted, even if the therapeutic journey is physically and emotionally challenging, it is done deliberately, in small steps, staged over time to allow for continual growth, complete with as many pauses as necessitated along the way.

Embracing vulnerability and authenticity has enabled this creative, therapeutic process to be brought into my art classroom. Sharing the challenges and successes of the creative process with learners echoes their own triumphs and frustrations. This window into my own artistic and wellbeing journey offers learners the opportunity to share in the open creative dialogue.