‘Unless those engaged in acts of communication, in this case visual, understand the expectations of their audience, unless they have carefully considered who their audience might be, unless the are aware that they are in fact engaged in a complex dialogue, then the objects they create will have a resonance for themselves but not necessarily for others.’- Christopher Crouch

You’re at your opening. You’re looking at the crowd judge your work. You’re part of the audience but you couldn’t be more distant from them. You’re observing how they truly react to your work, which is a surreal task especially if they don’t know you’re the artist. You haven’t slept, you’ve sunk buckets of blood, sweat, tears and money into your art and you’ve endlessly, desperately searched for the perfect materials. You skulk around (usually exhausted) and observe the various levels in which your creations are appreciated.

This project focuses on this exact situation we all find ourselves in when we exhibit; figuring out the levels of engagement between your work and the audience.

Talk is cheap. Artists often talk alot of BS. Audience members can often give very cryptic feedback. Words said in solitude like 'Congratulations,' or 'Thanks,' 'Interesting' what do these things mean? These are polite words said at openings when the audience doesn't know what to say about the work but feel they should say something. They are nice things to say, but how do the audience really feel?

If you aren't getting much feedback a good way to get some would be by inserting a spy camera in your artwork and having a good hard look at the footage. I tested this out in Perth, Undergrad 2002 after my first performance art piece where I tried it out in person. I hid behind a large minimalist painting, viewing the audience through a tiny peep hole. You should have seen some of the faces people pulled, and that was the half that took a split second to look at it. A much more honest reaction to the work than if I wandered around as usual, engaging in small talk for the night. Towards the end of the night, one man pulled down my painting, exposed me hiding behind it, looked me dead in the eye and slowly opened the drawbridge of his mouth to say 'Wow.............deep.' in the most sarcastic tone your mind could fathom. I can hear it now, and see him in my head with all his goth makeup and many, many, many buckles. That was such a wonderful potent moment. That intrusion and degredation was so intense. And who did that guy think he was, I'd seen his work before, he just made detailed pencil drawings of skulls! I could say 'Wow....... Deep' back to him x1000 but I didn't say a word, I just put my work back in position and continued with the show. For me, it was the audience that was on show and this man had scored a leading role.

The artists in this exhibition will not, shall not skulk around, socialise or become one of the audience members. The artist will exist directly with their work. The audience will have to engage the blinding stare of the artist, or the shy aversion of the artist, bluntly, the physical appearance of the artist, in order to view the work. No hiding, it's all there to see, the artists, the artwork and the audience, all the visuals you need, all quietly feeding off of each other.

The artists will be wearing their most commonly worn items of clothing and they will show their most common art piece. The audience and artists are not permitted to talk.

This project is Artist vs Artwork vs Audience: gouging social interaction with audiences on opening nights. It’s simple; No talking to the artists, no artists defending their work with their usual spin, art wank and smooth prescribed pseudo intellectual art propaganda. No audience members small talking, networking the night away or giving artists cryptic comments in the gallery. This is visual art, and the concerns are the visuals. The only way these artists are allowed to defend their work is by physically existing in front of it. The audience must attempt to judge the artwork in unison with the appearance of the artist. The opposite also holds true: the audience will feel the artist’s judgement upon them.

No artwork exists in isolation or an intellectual vacuum. Face your desire for the artist, your repulsion, your warmth, your awareness of their discomfort/comfort, your awareness of their status, their bodies, their garb, your acknowledgement of their sensitivities when gazing into their art and their person. Sorry Barthes, the author is not dead here. In this exhibition, the artists and their work are served to you on a plate.

These artists have courage, they represent themselves and their work.

How clearly will the artists read the judgements written on the audiences mute (literally mute) faces? Is it mostly hidden in a self conscious polite facade of quiet gestures? Gestures and facial expressions which can provide/avoid that revealing stare that travels inside the artist and their work in an attempt of disection.

In sacrifice, the artist will give their work new life by the offering of their own life.

- Danielle Freakley

photo credit - Nick Meadows

opening page drawing and website - Danielle Freakley