Over the course of the last three weeks, my investigation of “the backyard” has enabled me to re-interpret my understanding of the existence of spaces in genral and the meaning that they hold. Throughout this process, the referential materials allowed me to draw links between my lived experience and the artistic inquiries undertook by Perece and Varda.
Using process as my guiding framework for Perec, I find that his method of questioning, under the umbrella of “practical exercises”, resonates deeply with my own approach to investigation. Perec tends to utilize “questioning” his surroundings as a significant tool for exploration. In my attempt to explore the backyard, the first method of investigation that I employed was note-taking which was a process congruent with asking myself questions and trying to develop cognitive understanding of the space. For instance, as I documented the interactions between the trees in my backyard, I followed Perec’s lead by isolating elements of the space and examining their relationships. We see this in Perec’s approach of examining the components within a neighborhood, where he tries to unearth hidden significances by asking probing questions about their interconnections (Perec, 1974, pp. 46–56).
Turning to Varda’s The Gleaners and I, I found theme as be a common aligning element of examination for how both Varda and I document our experiences through visuals. Varda’s film utilises a method of video documentation of her exploration of space and its transient nature. Her reflections on various sub-sets of topics, ranging from discarded items to the routines of gleaners, provide a richer understanding of the relationship between people and their environments. My method of investigation of video-graphing the backyard over an extensive period of time follows the same approach. In my project, I also tend to focus on the routines of those who share my backyard, capturing moments such as the old woman who disposes of her trash and children playing freely. Both bodies of work provide the viewer insights on the fleeting passage of time and the interactions that it gives birth to which define our experiences in certain locations. Similarly, Varda’s emphasis on the invitation of discarded objects to her film also struck a chord with my connection to the backyard. Just as Varda found meaning in the painting and believed that it had beckoned to find a place in the film, I too realised that the backyard had truly beckoned to me to become my space of interest for this project, inviting my reflections and encouraging a deeper investigation into its understanding.
My personal experience of investigating the backyard alongside the referential material have allowed me to develop a nuanced appreciation for how spaces are imprinted with profound substance, if one were to lend their attention and time to it. Holistically, both Perec and Varda’s works pave the path for a deeper inquiry into the layers of significance present in everyday life, which lead to the shaping of one’s own narrative and engagement with the backyard.
References
Perec, G., 1974. Species of Spaces and Other Places. Penguin Classics, pp. 46–56.
Varda, A., 2000. The Gleaners and I. [Film] France: Ciné Tamaris.
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