Following several months of group discussions a body of work is emerging in response to this text, of the same title, by Susan Thomson. In the text Thomson self-reflexively examines her identity as an author and questions whether or not she is the author of the text, using forensic linguistics and stylometry to attempt to answer the question.
Diana Caramaschi is preoccupied with the question who am I today? Her personal investigations fell on a parallel line with Susan Thomson’s text, taking as her starting point Rita Carter’s book titled Multiplicity, which examines the concept of multiple personalities within the individual. These personalities defined by Carter as Major and Minor are conceived as part of a normal daily function of the brain in order to adjust, survive and relate to other people and situations.
In the book, Carter illustrates the Major and Minor personalities within the human psyche in loose vaguely circular shapes. Employing and testing Carter’s theory Caramaschi has embarked on process of drawing and painting, within a circle, everyday, for a month. With this she hopes to reveal, the disparity of her daily personalities. The accumulation of drawings, produced one-per-day providing an opportunity to compare, find similarity or perhaps obsession and repetition, within her coexisting personalities
At the end of the month the drawings used t make an animation. The animation brings the time-based quality of the daily drawing process, narrating the layers that exist underneath each finished drawing.
Monica Flynn's response to Thomson's thinking on authorship has been to consider notions of an authentic self, the self in earliest childhood when according to Jung the ego as an aspect of the psyche is still at one with the self, in a state of wholeness and potentiality
As part of this project she has chosen to make portraits of her fellow artists at a young age exploring multiple drawing styles to suggest more than one artist's hand. The source material for these drawings are family photographs, in drawing from them she hopes to examine and reveal gestures or expressions of herself and her fellow artists as naive ‘selves’. Selves as yet unformed by experience and unencumbered by self awareness or the need to perform as personae.
Colleen Lambe’s response to Thomson’s text is based on her practice of deciphering visually based analogical systems. In this new work she attempts to decipher the given text using the philosophy of semiology, her experience as a socially engaged arts practitioner, and personal memories.
Drawing on a rich source of semiotic material researched and inspired from these areas, she engages the work through a layering process of additive and subtractive means. Colour, tone and line create a visually abstract and ambiguous language that elicits several readings from the viewer.