Contained Information #2

Thursday 01st November, 2018

 

Contained Information #2 - pic 1

Contained Information #2, 2018, Glass, Natural pine constructed frame, Paulin, Tanking slurry, Plaster, Stain varnish, PVA admix adhesive, Matt paint, Enamel paint 

During the making of this work I was focused on the theme of processing. What it means to process, and what happens to the subject when it is put through a rigours formula.

What does process mean in generic terms? – (A  series of actions or changes), (A method of doing  for producing something) (To handle or prepare something by using special methods in order to manufacture). – Podbielski, John. (2000). Features of the dictionary, P437. Collins Pocket English Dictionary. Publishers: HarperCollins. Printed in Great Britain

What does process mean in art terms? 

Process art

  • The term process art refers to where the process of its making art is not hidden but remains a prominent aspect of the completed work, so that a part or even the whole of its subject is the making of the work.

 

  • Process became a widespread preoccupation of artists in the late 1960s and the 1970s, but like so much else can be tracked back to the abstract expressionist paintings of Jackson Pollock. In these the successive layers of dripped and poured paint can be identified and the actions of the artist in making the work can be to some extent reconstructed.

 

  • In process art too there is an emphasis on the results on particular materials of carrying out the process determined by the artist.

https://www.tate.org.uk/art/art-terms/p/process-art

 

By researching into the term process from the dictionary and from an established art site, I wanted to find out, firstly whether or not the two given descriptions hold any similarity, and then secondly whether or not my work shows any connection to the two descriptions, giving my work the right to be deemed process art.

  •  For me both the dictionary and art site descriptions hold a connection and a similarity. Both describe about a progression within the material or materials used, and this action used to construct and make. The inventor/ constructor or in my case the artist has the job to select and compose, carried out by creating methods and disciplines. This then enables the subject to evolve and change from its original state.

This made me think about the instructions I compose in my work.

What do I actually do in order to create and produce, and what relationship do I hold with the materials I use.

My work explores the relationship between artist and material where I transform readymade, pre used objects into new painted sculptural artworks. I convert found objects by using a process of unravelling, where new beginnings are created from art and building materials. 

The term I use is not just process but something called an ‘Unknown Process’, this is because my labour and work deals with unpredictable and chance happenings, by combining art making with construction work.

Functioning in this format instills an approach to making, which is playful and exciting, as I constantly wrestle with materials and elements. Pushing and pulling techniques are used in order to create a tactile bond between me and the work.

Systems and operations are put into place to give guidance to my making. Information is imprinted to the reformed surface of materials by devised algorithms, and understanding and knowledge is established to what has occurred.

 

Contained Information #1 (Close up – photos)

 

 

 

 

 

 

 

 

 

 

 

 

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Contained Information #1

Friday 5th October, 2018

Contained Information #1 - pic 2

Contained Information #1, 2018, Glass, Natural pine constructed frame, Canvas, Oil paint, Cement, PVA admix adhesive, Matt paint, Enamel paint

This work is the first from a series which highlights upon the themes of collaborating, processing and value.  

What does collaborate actually mean? In it’s most general term it means to – Work with another on a project or to cooperate with an enemy invader.  – Podbielski, John. (2000). Features of the dictionary, P106. Collins Pocket English Dictionary. Publishers: HarperCollins. Printed in Great Britain 

What does collaborate mean in terms of art?  Collaboration is another word for teamwork. It is an art of merging two or more creative minds together. Collaboration is more than getting together to fuse your creative energy into a large piece of work, it is more about getting it right, whether this is the scale, colour or active description of the work. – http://artbistro.monster.com/benefits/articles/12120-the-art-of-good-collaboration

So how does collaborating or collaboration feature in this body of work?

  • First and full most all of my artworks are primary, they have solely been made by me and just me. This is very important because I want to be able to say ‘I made that, all me, without any help.’ All energies consumed within the surface are pure as they come from just one source, where no other connective interaction is made, where no possible disputes are made from other sectors.

So if I don’t team up with other artists during the creations of my work, how is collaboration infused? 

  •  Teamwork in this project is made up of the surface, materials, supplies and elements interacting together. It is this which formulates the idea of collaboration, informing the idea of collaboration through a new guise. For me this example of collaborating is spontaneous, where instructions are loose and ideas constantly shift and evolve through different avenues.

 

  • I am aiming to construct a whole new meaning to the word collaborate, or another way of displaying collaboration through a visual interpretation.

 

  • Art supplies and Building materials are purposely put together. Constantly setting up my own collaborative experiment, where nothing is concrete until the process has been followed through to its logical conclusion. It is not until then when I know if the two have built a relationship of harmony or a relationship of disgust. Either way I store it, frame it and then contain it.

 

  • Normally I see collaboration as a means of connecting and gaining some kind of support, in order to get the job done. However in my work I am imposing the opposite, where I only give myself the right to perform and where a connection of all involved could become a temporary approach to collaborating . I see it as a game of intriguing value, firstly for me as the artist and then the audience.

 

Is it right for me to put art supplies and building materials together? 

 

It is this question which keeps me inspired to produce and create.

It is this question which ignites passion and installs in me a means to carry on and find out.

 

 

Contained Information #1  (Close up – photos)

 

MA Degree Show – 2018

Sunday 02nd September, 2018

Saturday 01st September, 2018 marked the end of what has been a most enjoyable and fantastic 2 years!

 

                      Photos which show the Private View evening at Farnham UCA                      (Thursday 30th August, 2018)

A CONNECTED ACTIVITY BETWEEN A HABITUAL ENVIRONMENT AND A PARTICIPATORY EVENT

An interesting aspect I connected to this event, was the composed configuration between the formal architectural structures (The building / space / area), colliding with the anti – formal (The 3 works on show), propelling against active participation (The audience).

It was this suggestion of viewer participation which intrigued me most. I was interested to find out what role the viewer had when it came to engaging with my works.

  • The most important themes I try to ingrain into the curating of my works are Experience, Meaning, Origin and Ephemeral nature. If the viewer goes away from my works and can still remember a key component the following day, week, month or year, than I can feel happy and positive that all has been achieved and complemented one another.

 

  • During the Degree show I kept on thinking how much the viewer became an integral part of the work. From the moment of experiencing the work for the first time, too informing an understanding of how best to navigate around space.

 

  • I definitely felt that the viewer became an active part of the art. By creating an environment which carried installation qualities, it allowed and invited the audience into the work where they could then start to process then own energy. This was achieved deliberately where movement had to materialize, but also this hidden energy where a very personal moment is calculated between viewer and work – ( Where a theoretical understanding starts to evolve).

Primary Scientific Time Data (PSTD) #3

Saturday 18th August, 2018

A systematic operation focused on the evolvement of form, space and environment

Primary Scientific Time Data (PSTD) #3
2018

Cotton polyester, Cotton mesh, Polyurethane silicone, Linseed oil, Tanking slurry, Plaster, Mortar plasticiser, Concentrated sugar soap, Beeswax, PVA admix adhesive, Varnish, Gloss, Emulsion paint, Matt paint, Acrylic, Gloss paint

A brief overview into connected themes and the structural concepts for this work

Experimentation – stood for the stage of processing when performing a scientific procedure, similar to a scientist in a laboratory, when trying to determine something. In relation to Primary Scientific Time Data #1, #2 and #3 the processes and techniques infused are very similar, as the construction of the works took place in the studio, and in outside environments. These places acted like a laboratory where much risk taking took place. Although the techniques and methods I used are familiar, new materials elements and surfaces were introduced, meaning different possibilities were informed. The mixing, dunking and pouring techniques and processes were the main event in this work, as it was less about the finished article and more to do with the progressive nature of how the work evolved.

Time spontaneity –  represented a spontaneous process in a system of time-evolution, an act of releasing free energy which moved to a lower, more thermodynamically stable energy state. I was interested in constructing cases  which included  isolated systems, where no energy is exchanged with the surroundings, as spontaneous processes are characterized by an increase in entropy. All previous works in this operation have been built around a structural regiment system. This work strips away at the conformed and becomes less obedient. Although a time record sheet was introduced, it did not figure as a critical component in the exercise, as it just acted as a record of interest and a concern for disabling, disconnecting and deconstructing time.

A Rebellious action – suggested the opposition of me in authority, against an unsuccessful defiance of resistance. In terms of processing this work, the configuration  aimed to display a dismantling and deconstructing of material, element and surface.  I achieved this by breaking up, deconstructing and causing conflict, within a mode of activating through applying and removing. I also saw this as a way of expressing a certain amount of anarchy into each product.

 Improvisation – was included as something that inserted spontaneity into a process of designing and working,  where plans could be altered in the hope of stretching my imagination. Sparks between myself and work heightened, as spontaneity led to unforgettable performances. This also symbolized an exaggeration into new possibilities, where the unpredictability started to become more visual. A willingness to challenge, test and understand  became more intensive, as a contrasting range of composing materials and elements with opposing surfaces materialized.

 

 

Photos which show documentation from a production of layering, mixing, dunking and imprinting information

 Time Cycle

From Wednesday 01st August to Friday 10th August – This was the time period accounting for the mixing process, and dunking and pouring technique, drying stage and the investigation phase capturing and recording a performance of informing (data information). – Working exercise (Investigating, Capturing and Recording (Informed Data) of the reformed surface – Time cycle (In conjunction with PSTD #1 & #2) Time Structure spontaneous– Monday, Tuesday, Wednesday, Thursday and Friday With a 1 Hour break, again not set and structured.

(Investigating, Capturing and Recording (Informed Data) of the reformed surface after the (Unknown process) had been disconnected – An act of applying and removing was the main objective. A mix, dunk and pour to be included at the end of each working day.

This was achieved in my Farnham studio at UCA.

Time record sheet

Wednesday 01st August – Friday 10th August

The initial materialization of the (Unknown Process) – (The Mixing process, Dunking & Pouring technique) + Imprinting of understood Information = ( Data process Square & Purple Gloss + Bright Yellow gloss) & Documentation (Carried out in UCA Sculpture space = Final Degree show space – Farnham, Surrey)

Wednesday 01st August – 09:54am – 10:00 am – (Mixing process, Dunking and Pouring – process / technique)
Wednesday 01st August – Documentation stage Starts at 10:37am and ends at 10:43am
Thursday 02nd August – Start of exercise at 09:30am – End of exercise at 13:30pm (Data Process Square informed on reformed surface)
Thursday 02nd August – Documentation stage 1 Starts at 13:37pm and ends at 13:40pm
Thursday 02nd August – 16:45pm – 17:16 pm – (Mixing process, Dunking and Pouring – process / technique)
Thursday 02nd August – Documentation stage 2 Starts at 17:20pm and ends at 17:26pm
Friday 03rd August – Start of exercise at 09:21am – End of exercise at 11:30am (Concave shifts informed on reformed surface)
Friday 03rd August – Start of exercise at 11:30am – End of exercise at 13:30pm (Projected shifts informed on reformed surface)
Friday 03rd August – Documentation stage 1 Starts at 13:35pm and ends at 13:39pm
Friday 03rd August – 16:55pm – 17:19 pm – (Mixing process, Dunking and Pouring – process / technique)
Friday 03rd August – Documentation stage 2 Starts at 17:21pm and ends at 17:25pm

Saturday 04th August – (No work achieved) – Studio at UCA closed for the weekend
Sunday 05th August – (No work achieved) – Studio at UCA closed for the weekend

This extract gives an insight into how methods, processes and techniques were performed and activated

Mixing, Dunking and Pouring (Process, Technique, Stage)

 Carried out at the end of each working day, unless stated otherwise.

Drying Stage

At the end of the mixing – dunking – pouring process and technique, the surface was left to dry before providing investigated information.

 The application stage of providing new information (Data) –  Was from Monday to Friday at (Farnham UCA) without using a time constraint (Unless stated otherwise – This referred to any potential interruption, for example when I am on the building site instead of working in the studio, or if I have an engagement I could not avoid.)

Application Process
Raw Data and Historical Data (Past Time)

Media used during Mixing, Dunking, Pouring process technique
Version 1
Tanking slurry, Plaster, Mortar plasticiser, concentrated sugar soap, Varnish, Gloss
Version 2
Matt paint, Emulsion paint, Acrylic, Beeswax, PVA admix adhesive

 

Media used to Imprint Information
Square process symbol – produced from Matt paint

Stored Data modifying to Raw / Historical Data (Present Time travelling into Past Time)
Media used for amplifying Projected and Concaved shifts

Gloss paint from a tub, applied with a size 3, 6, 10 and 30 brush

Purple Gloss Finish

Bright Yellow Gloss Finish

 

 

Photos which displays (PSTD) #3 in a finalised position

 

 

Primary Scientific Time Data (PSTD) #2

Friday 17th August, 2018

A systematic operation focused on Primary themes such as Science / Experimentation, Time and Data 

Primary Scientific Time Data (PSTD) #2
2018

Paulin, Dirt, Sand, Cement, Tanking slurry, PVA admix adhesive, Concentrated sugar soap, Varnish, Gloss, Emulsion paint, Matt paint, Gloss paint

A brief overview into the exact avenues I took in order to integrate methods, techniques and processes into the production of these works

Time Operation Series   stood for the activation between the elements of chance and the unpredictable. I was interested in this idea of temporal characteristics emerging through undetermined processes and techniques, where the overall formulation of the work was not fully understood, until a record of investigation and information was exerted. This was achieved through the passage of time, where all 3 modes were visually represented – (The past, the present and the future).

Unknown Process – Raw Data & Historical Data – represented a reflection upon  consistent conversations, as this enabled me to see and find out what had occurred. It started to become less unknown and foreign and more insightful. Key aspects which were addressed from this creative process were intuition, inspiration, working processes, refining, and presenting, firstly to me and then the audience. The original unknown attachment started to generate a consideration, making the process and system more informative. (Raw Data), is data which is not fully processed, where it is still in a state of transformation and flux. In my practice this is the (Unknown process) where all surfaces, materials and elements are still in operation, and yet to be fully examined and explained. (Historical Data) is broad findings which have been collected over time, but again not fully processed and stored. In this series it is when original information has shifted, not completely stored and fixed due to the ongoing working of the (Unknown process).  I work with paint to describe and give informative awareness to this change within the surface. I try to display all transformations made, where the materials and elements have reacted with the surface, and this suggestion of a happening occurring through a particular moment of time. The work acts as a broadcast to the audience as it displays what went on from this unidentifiable event. (Stored Data) suggests data which has been processed, where data is grouped or symbolised in order to give meaning.

To portray the meaning of (Stored data) and the (Unknown process)  it displays a disconnection from the operation and system. So the paint used in (Stage 3) can be presented as stored and fixed data. The surface goes through no more transformation period, so all information selected stays and can be seen as (Factual data) displayed as concrete (Visual data).

 

Photos which show documentation from an initial introduction stage, and the working period of stages 1 & 2

Time Cycle

From Tuesday 26th June to Friday 10th August – This was the time period accounting for the mixing process, dunking technique, tying and the drying stage, the investigation phase and the capturing and recording performance of information (data). – Working exercise (Investigating, Capturing and Recording (Informed Data) of the reformed surface – Time cycle 10:00 am – 18:00pm – Wednesday and Thursday, 10:00am – 19:00pm Friday and 10:00 am – 17:00pm Saturday.

(Stage 2) With a 1 Hour break at 14:00pm.
This was achieved during the Art show Affiliate at Safehouse 2 in Peckham, London.
(Investigating, Capturing and Recording (Informed Data) of the reformed surface after the (Unknown process) has been disconnected.

Time cycle sporadic, worked with as much time possibly allocated to me – Monday, Tuesday, Wednesday, Thursday and Friday. (Stage 3) With a 1 Hour break at 13:30pm.
During (Stage 3) Time was uniformed and set accordingly to (PSTD #1) and (PSTD #2) – One working day on this work with the following day on one of the other works from the series.

This was achieved in my Farnham studio at the UCA.

Time record sheet

Tuesday 26th June – Friday 10th August

The initial materialization of the (Unknown Process) – (The Mixing process, Dunking technique & Documentation stage) – Integrating the materials and elements – Paulin, Dirt, Sand, Cement, Tanking slurry, PVA Admix Adhesive, Concentrated Sugar Soap, Varnish, Gloss, – Stage 1 (Data) – (Carried out at Safehouse 2, Peckham, London)

Tuesday 26th June – TBC – 10:00 am – (Mixing process, Dunking and Tying technique) + (Documentation stage)

Tuesday 01st May – From 10:00am – 09:30am Wednesday 02nd May (Drying Stage)

The start of recording and amplifying all (Projected) + (Concave) Shifts made to the reformed surface – Cupcake and Celtic Dream Emulsion paints used for informing the (Projected shifts) and Brilliant white Matt paint used for informing the (Concave shifts) – Stage 2 (Raw and Historical Data Information) – (Carried out at Safehouse 2, Peckham, London)

Wednesday 27th June – Start of exercise at 10:00am – 11:12am (Stopping the exercise because Daniella, Director at Rossi Asiaghi arrived at the show). 1 Hour break 13:30pm – 14:30pm – End of exercise 17:30pm (Concave shifts informed on reformed surface)
Wednesday 27th June – Exercise resumes at 12:00pm – 1 Hour break 14:00pm – 15:00pm – End of exercise 18:00pm (Concave shifts informed on reformed surface)
Wednesday 27th June – Documentation stage Starts at 18:00pm (1st stage) lasts 5 minutes – (2nd Stage) lasts 4 minutes
Wednesday 27th June – Mixing process, Dunking and Tying technique starts at 18:05pm and ends at 18:27pm – Drying stage starts and ends when exercise resumes on the next working day
Thursday 28th June – Start of exercise at 10:00am – 1 Hour break 14:00pm – 15:00pm – End of exercise 18:00pm (Projected shifts informed on reformed surface)
Thursday 28th June – Documentation stage Starts at 18:00pm (1st stage) lasts 6 minutes – (2nd Stage) lasts 5 minutes
Thursday 28th June – Mixing process, Dunking and Tying technique starts at 18:06pm and ends at 18:30pm – Drying stage starts and ends when exercise resumes on the next working day
Friday 29th June – Start of exercise at 10:00am – 1 Hour break 14:00pm – 15:00pm – End of exercise 19:00pm (Concave shifts informed on reformed surface)
Friday 29th June – Documentation stage Starts at 18:01pm (1st stage) lasts 5 minutes – (2nd Stage) lasts 4 minutes
Friday 29th June – Mixing process, Dunking and Tying technique starts at 18:36pm and ends at 19:00pm – Drying stage starts and ends when exercise resumes on the next working day
Saturday 30th June – Start of exercise at 10:00am – 1 Hour break 14:00pm – 15:00pm – End of exercise 17:00pm (Projected shifts informed on reformed surface)
Saturday 30th June – Documentation stage Starts at 17:00pm (1st stage) lasts 6 minutes – (2nd Stage) N/A
Sunday 01st July – (No work achieved) – Studio at UCA closed for the weekend

This extract gives an insight into how Stages 1 & 2 were performed and activated

Mixing, Dunking and Tying (Process, Technique, Stage)

 Carried out (On the Tuesday) during the installation of the work at safehouse 2 for the art show Affiliate, then after each working day during (Stage 2), Wednesday, Thursday and Friday but not Saturday. Then one last time before the (Unknown process) was disconnected, before the operation moved into its final stage (Stage 3).
Connected from only 3 points during this stage. Firstly carried out during the Affiliate show in Peckham, before being transferred to the Degree show space at UCA.

Drying Stage

At the end of the mixing process, dunking technique and tying stage on the Tuesday at (Safehouse 2), the surface was left to dry for the remainder of the day, before starting the recording exercise the following day.
The surface dried again after its last inclusion to the (Unknown process) before being moved into (Stage 3)

Investigation, Documentation and Recording System – Also known as storing new information (Data)

Application stage of providing new information (Data) – From Wednesday, Thursday 10:00 am – 18:00 pm, Friday 10:00 am – 19:00 pm and Saturday 10:00 am – 17:00pm at (Safehouse 2) – Affiliate show in Peckham. (Unless stated otherwise – This referred to any potential interruption, for example when I was on the building site instead of working in the studio or if I had an engagement I cannot avoid.)
Application stage of providing new information (Data) – From Monday, Tuesday, Wednesday, Thursday and Friday at (Farnham UCA), In a time structure which was sporadic, what was most important was how I used available time well,  each day during (Stage 3). (Unless stated otherwise)

The objective I  set myself was to try and find new changes made within the reformed surface by amplifying every Projected and Concave shift. This represented (Raw & Historical data) for stage 2, identifying every Projected and Concave shift which represented (Stored data) for (Stage 3) . This was done within the set time frame I set for each working day, when in (Safehouse 2) which was linked to (Stage 2). This was completed on alternate days – For example, in this work Wednesday 27th June started with informing new Concave shifts, with the following day Thursday 28th June informing the Projected shifts and so on. If there was a day I had to surrender for this operation the next available day was  issued to either the Projected shift or the Concave shift.

I allowed myself an hour’s break during each working day. This would be when I would take lunch, linking this to my life as a supporting builder. I was not able to set the exact time frame which is 13:00pm – 14:00pm, because of having to amend my working cycle, however I was still keen to work with an 8 hour working day, so a lunch break for this work commenced at 14:00pm and ended at 15:00pm for (Stage 2). This did not include Tuesday 26th June because this was dedicated to just the mixing, dunking, and tying process, technique and stage for (stage 3) the documentation process was slightly different as all images taken were designed to just show the progression of data being stored onto the surface.

As well as documenting my own imprinting of primary sourced data information by highlighting and amplifying all (Projected) and (Concave) shifts found on the reformed surface I also embedded recognizable data symbols which fitted in with the operative system for these works.

Start Symbol – Also known as the Terminator symbol, this symbol represented the start points of a data document. In reference to this work the information was carried out marking the starting point of the reformed surface. I used Brilliant White Matt Paint which was a media used during the first stages of imprinting information – When the operative system started. Gloss paint was added to mark the end of the operation.
Process Symbol – Also known as the Action Symbol. This symbol represented the first insertion of this data symbolization, before it got taken over by the Stored data symbol. It also referenced the (Unknown Process), as all action which materialized was before any investigation . I Used Brilliant White Matt Paint as a media, as this was used during the first stages of imprinting information – When still in the system of processing.
Stored Data Symbol – Also known as Data Storage. This data symbol was used to display the act of non-removal, fixed data. This was carried out using both Purple Gloss and Bright Yellow Gloss paint. This was only added after the inclusion of the process symbol, in order to show this act of a data symbol which has a higher status which cannot be removed.

 

Photos which show documentation from Stage 3

Application Process
(Stage 2)
Raw and Historical Data

Media used for amplifying Projected shifts
Emulsion paint from a tub, applied with a size 3, 6, 10 and 30 brush
Cupcake
Celtic Dream

Media used for amplifying Concave shifts
Matt paint from a tin applied with a 3, 6, 10 and 30 brush
Brilliant White

Application Process
(Stage 3)
Stored Data

Media used for amplifying Projected and Concave shifts & Data Flow Symbols
Gloss paint from a tub, applied with a size 3, 6, 10 and 30 brush

Brilliant White Matt paint

Purple Gloss Finish

Bright Yellow Gloss Finish

 

Photos which displays (PSTD) #2 in a finalised position

Primary Scientific Time Data (PSTD) #1

Thursday 16th August, 2018

A systematic operation focused on constructing Time in all its modes (The past, present and future) captured through informative recordings of data

Primary Scientific Time Data (PSTD) #1
2018

Cotton mesh, Wood stain, Tanking slurry, Mortar plasticiser, Varnish, Gloss, Emulsion paint, Masonry paint, Acrylic, Matt paint, Gloss paint

A brief overview into the designed titles for this work and (PSTD) #2 & #3

Primary – stands for information found and collected by the investigator who has conducted the event. In this case me as the artist I am the author and the conductor. I have organised, devised and structured this operation, and it is me who imprints and ingrains information to the surface.

Scientific – represents information collected using specific methods, for exact purposes of studying or analysing. In connection to this work information is collected under specific and rigorous methods and guidelines, all of which are structured under a devised plan and operation, linked to a cycle based from the notion of time. How much data is found within the allotted time for the day. This is recorded in a Time Record Sheet which documents how many working hours has gone into the gathering and measuring of data for a specific day. All my works evolve from an experiment where materials elements and surfaces are put through a process which are attached to foreign and unknown formulas. Whatever enters the process is instantly taken away from its original function, and put in a system which opens up new approaches into investigating, documenting and recording. Aspects of chance, the unpredictable and unexplained possibilities are heightened during this stage in the process, as I am never sure what will happen, if it will work and even if it will last.

Time – suggests the conceptual framework in this work, which originates from the constructed Time Record Sheets. The aspect of time guides the operation and helps support each staged process. This idea of time arrived from my life as a supporting builder, where everything on site is done to clockwork. I wanted to feed the same working ethic into this system which is built around much organization. The Time Record Sheets can illustrate this theory and can also relate to something known as Real – Time Data, which is when data is recorded and tracked in a graph or data sheet as soon as it has entered the system – or in this case implanted onto the surface.

Data – is information that has been translated into a form that is efficient for movement or processing. The units of data which are collected are measured and continue to grow as each amount of data stored continues to evolve in the system. This work tries to inform through a description of findings which are constantly in a state of developing, this is achieved once the given surface has undergone a process of mixing which reforms its original consistency. It is at this stage when data is picked up through the medium of paint which highlights and amplifies any given change. This shapes a visual form to the surface, all built up from lines, bars and patterns of colour. The information found gives knowledge to me, as I have to firstly investigate to understand what has happened, before adding my own transcription of informed data. This then gives the viewer an account of what has materialized and developed, as well as depicting a link to constant advancements over time.

 

Photos which show documentation from an initial introduction stage, and the working period of stages 1 & 2

Time Cycle

From Tuesday 01st May to Friday 10th August – This time period accounted for the mixing process, dunking technique, tying and the drying stage, the investigation phase and the capturing and recording performance of informing (data). – Working exercise (Investigating, Capturing and Recording (Informed Data) of the reformed surface – Time cycle 9:30am – 17:30pm – Monday, Tuesday, Wednesday and Thursday.

(Stage 2) With a 1 Hour break at 13:30pm. (Investigating, Capturing and Recording (Informed Data) of the reformed surface after the (Unknown process) has been disconnected.

Time cycle sporadic – work with as much time possibly allocated to me – Monday, Tuesday, Wednesday, Thursday and Friday. (Stage 3) With a 1 Hour break at 13:30pm
During (Stage 3) Time will be uniformed and set accordingly to (PSTD #1) and (PSTD #2) – One working day on one work with the following day on the other work.

This was achieved in my Farnham studio at the UCA.

Time record sheet

Tuesday 01st May – Friday 10th August

The initial materialization of the (Unknown Process) – (The Mixing process, Dunking technique & Documentation stage) – Integrating the materials and elements – Cotton mesh, Wood stain, Tanking slurry, Mortar plasticiser, Varnish, Gloss, – Stage 1 (Data) – (Carried out in UCA studio, Farnham, Surrey)

Tuesday 01st May – 09:30am – 10:00 am – (Mixing process, Dunking and Tying technique) + (Documentation stage)

Tuesday 01st May – From 10:00am – 09:30am Wednesday 02nd May (Drying Stage)

The start of recording and amplifying all (Projected) + (Concave) Shifts made to the reformed surface – Ivory black acrylic + Brick red & Buttercup Masonry paint used for informing the (Projected shifts) and Brilliant white Matt paint used for informing the (Concave shifts) Stage 2 (Raw and Historical Data Information) – (Carried out in UCA studio, Farnham, Surrey)

Wednesday 02nd May – Start of exercise at 09:30am – 1 Hour break 13:30pm – 14:30pm – End of exercise 17:30pm (Projected shifts informed on reformed surface)

Thursday 03rd May – Start of exercise 09:30am – 11:20am (Stopping the exercise at this time because I am supporting Marija Rudgalvyte with her photography project.) (Concave shifts informed on reformed surface)

Thursday 03rd May – Exercise resumes at 12:15pm – 1 Hour break 13:30pm – 14:30pm – End of exercise 17:30pm (Concave shifts informed on reformed surface)

Friday 04th May – Documentation stage Starts at 09:30am (1st stage) lasts 4 minutes – (2nd Stage) lasts 5 minutes
Friday 04th May – Mixing process, Dunking and Tying technique starts at 09:42am and ends at 09:55am – Drying stage starts and ends when exercise resumes on the next working day

Saturday 05th May – (No work achieved) – Studio at UCA closed for the weekend

• Sunday 06th May – (No work achieved) – Studio at UCA closed for the weekend

Monday 07th May – (No work achieved) – Studio at UCA closed due to today being a bank holiday
Tuesday 08th May – Start of exercise at 09:30am – 1 Hour break 13:30pm – 14:30pm – (Had to stop exercise at 16:25pm due to tutorial with Tom Dale.) (Projected shifts informed on reformed surface)

Tuesday 08th May – Exercise resumes at 16:35pm – End of exercise 17:30pm (Projected shifts informed on reformed surface)

Wednesday 09th May – Start of exercise at 09:30am – 1 Hour break 13:30pm – 14:30pm – End of exercise 17:30pm (Concave shifts informed on reformed surface)

Thursday 10th May – Start of exercise at 09:30am – 1 Hour break 13:30pm – 14:30pm – End of exercise 17:30pm (Projected shifts informed on reformed surface)

This extract gives an insight into how Stages 1 & 2 were performed and activated

Mixing, Dunking and Tying (Process, Technique, Stage)

Carried out (On the Friday) at the end of each working week, unless stated otherwise.
Connected from 3 points one week, and 5 points the following week, this created a unique transformative suggestion within the surface.

Drying Stage

At the end of the mixing process, dunking technique and tying stage on the Friday, the surface was left to dry for the remainder of the day and into the weekend (Saturday & Sunday) when the studio was closed.
The exercise of investigating and recording new information (data) is activated again on the Monday of the following week.

Investigation, Documentation and Recording System – Also known as storing new information (Data)

Application stage of providing new information (Data) – From Monday, Tuesday, Wednesday and Thursday at (Farnham UCA) between 9:30am – 17:30pm each day (Unless stated otherwise – This referred to any potential interruption, for example when I am on the building site instead of working in the studio, or if I had an engagement I could not avoid.)
Application stage of providing new information (Data) – From Monday, Tuesday, Wednesday, Thursday and Friday at (Farnham UCA), In a time structure which was sporadic. What was most important was how I used all time available each day (Stage 3). (Unless stated otherwise – This referred to any potential interruption, for example when I am on the building site instead of working in the studio or if I had an engagement I could not avoid.)
The objective I set myself was to try and find new changes made within the reformed surface by amplifying every Projected and Concave shift. This represented (Raw & Historical data) for stage 2 and gave indication to every Projected and Concave shift which represented (Stored data) for (Stage 3). This was done within a set time frame for each working day when in the studio at UCA for (Stage 2). This was completed on alternate days – For example, in this work Wednesday 02nd May started with informing new Projected shifts, whilst the following day Thursday 03rd May I informed the Concave shifts and so on. If there was a day I had to surrender for this operation the next available day was issued to either the Projected shifts or the Concave shifts. This would be the same for (stage 3) but without any set time structure.

I allowed myself an hour’s break in each working day. This was when I would take lunch linking this to my life as a supporting builder, however I was not able to set the exact time frame which is 13:00pm – 14:00pm, because of having to amend my working cycle. However I was keen to still work with an 8 hour working day, so a lunch break for this work started at 13:30pm and end at 14:30pm. This did not include Friday because this was dedicated to just the mixing, dunking, and tying process, technique and stage.

As well as documenting my own imprinting of primary sourced data information by highlighting and amplifying all (Projected) and (Concave) shifts found on the reformed surface I also embedded recognizable data symbols which fitted in with the operative system for these works.

Start Symbol – Also known as the Terminator symbol, this symbol represented the start points of a data document. In reference to this work the information was carried out marking the starting point of the reformed surface. I used Brilliant White Matt Paint which was a media used during the first stages of imprinting information – When the operative system started. Gloss paint was added to mark the end of the operation.
Process Symbol – Also known as the Action Symbol. This symbol represented the first insertion of this data symbolization, before it got taken over by the Stored data symbol. It also referenced the (Unknown Process), as all action which materialized was before any investigation . I Used Brilliant White Matt Paint as a media, as this was used during the first stages of imprinting information – When still in the system of processing.
Stored Data Symbol – Also known as Data Storage. This data symbol was used to display the act of non-removal, fixed data. This was carried out using both Purple Gloss and Bright Yellow Gloss paint. This was only added after the inclusion of the process symbol, in order to show this act of a data symbol which has a higher status which cannot be removed.

 

Photos which show documentation from Stage 3

All of these symbols will collaborate, correspond and collide with my own transcription of unique data coding!

Application Process
(Stage 2)
Raw Data and Historical Data

Media used for amplifying Projected shifts
Acrylic tube paint, applied with a size 3, 6, 10 and 30 brush
Ivory Black

Media used for amplifying Projected shifts
Masonry paint from a tub, applied with a size 3, 6, 10 and 30 brush
Brick Red
Buttercup

Media used for amplifying Concave shifts
Matt paint from a tin applied with a 3, 6, 10 and 30 brush
Brilliant White

Application Process
(Stage 3)
Stored Data

Media used for amplifying Projected and Concave shifts & Data Flow Symbols
Gloss paint from a tub, applied with a size 3, 6, 10 and 30 brush

Brilliant White Matt paint

Purple Gloss Finish

Bright Yellow Gloss Finish

 

Photos which displays (PSTD) #1 in a finalised position 

 

Artist talk by Jonathan Parsons on his work ‘Fossil Ocean Floor’

Saturday 14th July, 2018

fossil ocean floor installation for Jonathan Parsons pic 5

‘Fossil Ocean Floor’, 2018

On Tuesday 10th July in the beautiful setting of Leith Hill Place artist Jonathan Parsons delivered a fascinating talk about his latest work ‘Fossil Ocean Floor’ and the wider concepts of his art practice.

The work was a contribution towards the Surrey Unearthed project which featured 9 other artists, whose objective was to create outstanding works which engaged with the wonderful natural landscape.

Jonathan’s talk began with his interest in occurring images, whether this is something we portray deliberately or something which occurs through a spontaneous approach. A phenomenon which attracts our sole attention where we start making sense from what is given to us, which constructs questions like:

  • How do we make an image?
  • How do we understand an image?
  • How did this image emerge?

 

Could an image originate from a wider experience, like a painting or drawing?

Remote Imagery is an important component involved in the process of creating, as the acquisition of information found in an object or phenomenon without making physical contact with the object draws contrast to on-site observation.

This then follows onto Jonathan’s concern with a sensory experience.

Sensory comes from the Latin word sentire, meaning “to perceive, feel.” When you include an experience as well this sense heightens where you start to evolve outside normal sensory channels.

In relation to ‘Fossil Ocean Floor’ an individual sensory experience is firstly achieved from Jonathan as he impacts with the surroundings. The use of white in the work is inspired by ancient chalk hill figures, and the discs representing the texts inform the microscopic coccoliths that make up the sedimentary layers of chalk to which the work ‘lamina’ refers. Although this is an in depth account with meaning, the beauty this work gives is a chance to inherit your own experience forming passages to new theories and conversations.

‘Fossil Ocean Floor’ remains installed until the 31st August 2018, so an opportunity is still open to encounter your own sensory experience.

Affiliate at Safehouse 2

Sunday 01st July, 2018

(Time Operation) work 4 (Temporary Title) Stage 2 - Day 4 - pic 1.JPG

Work 4 (Temporary Title) – Stage 2 (Day 4)

• A really exciting opportunity to have my work featured in a group show, which was contained in your not so ordinary gallery setting. This for me was a chance to have my work showcased through a new procedure, of challenging myself further in terms of environment setting and work production.

• The space I was to compose in was called Safehouse 2 an old derelict vacant house. The aesthetics which were offered really connected to my work, in relation to how I construct through the means of building materials and appliances. An ambiguous unfolding of something being created, in a place which needs to be restored.

• The operative system / Time Record Sheet for this beginning of Work 4 (Temporary Title), was going to alter slightly. Firstly Stage 1 and Stage 2 will be executed over 5 working days with all-time restrictions changing, due to the amount of time given for some of the working days. My day would begin from the moment I wake up, as this is me preparing for the day ahead. I would travel religiously for these 5 days, making sure that I always get the 7:44am train to arrive at the destination at 9:30am, 30 minutes before I start carrying out the exercise. I did not see this as an endurance test, but a description of what routine, ritualization and obsession may look like. All three subjects which are fixed within my art practice.

Analysis of work 4 (Temporary Title)

Tuesday 26th June, 2018 – Marked a full day of installation – Arriving at 12:00pm and finishing Stage 1 – working (Unknown Process) and instalment at 17:00pm.
New materials to be activated but a through a similar process used in Work 3 (Temporary Title).
• The first aspect I had to discuss with myself and the other artists involved in the show was a decision on space. I wanted a good largish space, with great lighting. The outcome on chosen space was brilliant and was perfect for what I intended to do. Situated on the 2nd floor and with all requirements included.
• The (Unknown Process) materialized really well, and was fascinating to see this working collaboration between surface, materials, elements and working space.
• The Drying stage was to take place from 17:00pm on Tuesday 26th June, 2018 through to Wednesday 27th June, 2018 at 10:00am (Proposed time of starting to imprint all Concave shifts found on the reformed surface – Brilliant White Matt paint to be used for this.) With (Cupcake and Celtic Dream Emulsion paints used to imprint all projected shifts found). Only to be achieved during the allotted time given.
• The system of time will be illustrated on the wall – A pencil format document of a constructed Time Record Sheet).

 

Stage 1 – (The Unknown Process)

 

Stage 2 ( Day 1 going into Day 2)

Wednesday 27th June, 2018 – Understood that I was working on a learning curve. Not was I just getting used to working in a new space, but I also had to get my head around this new operative cycle I had set. Start Time had changed – End Time had changed – The (Unknown Process) was to be included on a daily basis and not a weekly basis. The Time Record Sheet was modified. One key element I was seriously learning was this matter of TIME! This one major attributes which dominates and dictates my work. I am learning to respect time, what I mean by this is how best I work with time, using it to the best of my ability. Every tick I can hear when I am working is an indicator to time passing. Although I have not designed a system where I have to cover the whole surface, and if I do not I have failed, I still want to achieve good results, and this is seen by the amount of information provided each day. For this work I found I was working much loosely with the paint, much more painterly where I was almost gliding the paint across the surface. The most obvious obstacle I have to deal with is having shifts within shifts, meaning avoidance has to take place otherwise the results are not factual.

 

Stage 2 ( Day 2 going into Day 3)

Thursday 28th June, 2018 – An introduction of Emulsion paints – (Cupcake) – A joyous playful vibe of delicious pink imprinting this reworked, deconstructed, reformed surface. A real collision between the organic, with the earthiness of dirt, infused with an industrial constructive aesthetic of slurry mixture and cement, washed down with this manufactured purposely designed emulsion. A recipe of a mashed up experiment. The emulsions used gave the work a distorted feel, but with a deliberate approach to amplifying an investigation. Working mush more freely with the emulsions compared to the matt paint, as the surface area of informing the projected shifts is far greater. Thinking about the flooring and the residue which came away from the surface was very interesting. Big shaped like rocks breaking away, giving a feeling of a mass collection of nature taking over. It made me think of this work evolving in its own habitat, similar to how happenings are carried out. Where the viewer becomes part of the work, and takes on a direct connection.

 

Stage 2 ( Day 3 going into Day 4)

• Friday 29th June, 2018 – An interesting essay I have been reading is Allan Kaprow’s – (The Blurring of Art and Life) in particular (Happenings in the New York Scene) 1961. The most interesting sections I found were on happenings and chance encounters. What Work 4 tries to generate is a feeling which is non purposeful but carries intentions from both. In terms of happenings, the simple appliance of action which pushes something to happen, where this emergence is something produced out of nowhere, the form is open ended where failure is non-existent. In chance it’s the moment of spontaneity, where elements are pushed through risks and non-fear components. I find I constantly challenge myself and the work, a playful but intense approach proven by the strains each is put under. On this day I worked as normal, still in Safehouse 2 and in my working area, but I did slightly alter the cycle in order to gather more viewer participation – In connection with the Private View which took place between 18:00pm and 21:00pm.

 

Stage 2 (  Day 4)

• Saturday 30th June, 2018 – The Private view was a fantastic event as not only was it a chance to activate my working process and skills to an audience, I also had the opportunity to discuss, and take on new developments from who saw it. Working in the space like I did tested the mind of an art beginner. For example two visitors even questioned whether I was an artist in the show, or a construction worker refurbishing the house. Work 4 (Temporary Title) definitely displays a work which is in progress. Having an in depth conversation with MA Fine Art Lecturer Andrea Gregson brought new enquiries to the system I have created. One idea I am keen to develop and change is a new mixing procedure for the (Unknown Process) which can be brought in during Stage 3. I am hoping this could bring more emphasis on the applying and removing technique I have incorporated in these recent works.

 

(Time Record Sheet & Documentation of imprinting application)

 

Solo Show titled Sculptural Painting Configurations at The Royal Marsden Hospital

Saturday 16th June, 2018

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Sculptural Painting Configurations – June 2018

This was an opportunity which had been in the making, since May of this year to be precise when much liaising and discussions were materialising.

The event was stimulated by Daniella Rossi who is the Director at Rossi Asiaghi, an arts organization which I am involved in. Daniella’s objective is to promote all emerging artists who are connected with the programme. To be involved in such a fantastic scheme is amazing, as Daniella is brilliant at connecting and trying to source available opportunities for artworks to be seen and profiled.

I received an e mail from Daniella back in early May of this year saying that a possible event had come up and if I was interested in taking it. My one rule is to always take what is given to you, as chances are often few and far between especially for an artist. So to receive this email filled me with much excitement and I immediately said yes.

The event / occasion in question was to have some of my works featured in a small solo show at The Royal Marsden Hospital in Sutton, Surrey. To find out that my work would be featured as a solo display was fantastic news, as I had only ever once showcased my works in this format, and this was in connection with my MA Fine Art degree so to have an external solo show was amazing.

Ben Hartley who works at The Royal Marsden Hospital as a project manager was keen to have my work on show, as he liked the abstract input each work has installed within the surface. Originally he only wanted 3 works displayed but as it turned out I was able to include 2 more pieces during the installation. I was happy about this as not only do all the works have a connected history together they were all produced from the same series which is titled the Chance Series.

The installation process took a considerable amount of time, as this was due to the many unforeseen circumstances which conjured up. Normally this is something which I relish as working with chance and unexpected happenings within the materialisation of the works, is also something I don’t mind formulating within the setup of the works during a display for a show. However this time was different as I wanted my works to look right and to be held in position which I knew would be secure.

After 3 hours of much debating and trialling different connectors, the work was set and installed in position. I wanted to create as a composition which gave a uniformed configuration, but with an added inclusion of uncanny elements relating to the scale, positioning and colour patterns.

Daniella and Ben were brilliant during this period as it can often become a tense time for all involved, but what was great was we all came together as a team, and exchanged thoughts and ideas which could provide the best outcome for a finished layout.

Overall I am very happy with the overall result and am very excited to find out how my work will be received. One important factor for me is that I hope they bring some kind of joy to the patients and families who may come in contact with them.

The show will be on all through the summer of 2018, where I also hope to deliver an artist talk at the hospital about my art practice and the processes which have gone into the making of these works.

 

Artist statement provided by Rossi Asiaghi and featured images of Untrialed Paulin, Ungreened Paulin, ‘Cemented At Last’, ‘Aggregated Through time and ‘Challenged At The End Of The Day’ 

Supported Artist Jonathan Parsons with the installing of his work ‘Fossil Ocean Floor’

Saturday 09th June, 2018

‘Fossil Ocean Floor’ – First Installation from Jonathan Parsons project titled – ‘Horizons’

A brief summary on the project ‘Horizons’ taken from the website

https://www.surreyunearthed.org/horizons/

Horizons

By Jonathan Parsons

Horizons is a series of site-specific interventions in the chalk landscape of the northern Surrey Hills. The works use the colour white, which is inspired by ancient chalk hill figures and is visible from a far distance. Installations, text pieces and projections will align in the landscape, with letters composed of a matrix of bright discs and scribble forms displayed on a monumental scale.

The project takes its name from the distinct soil layers of the earth, known as horizons. The chalk of the Surrey Hills – the ‘R’ bedrock horizon – was laid down on a tropical seabed roughly 90 million years ago. It is composed of the disc-shaped skeletal remains of phytoplankton called coccoliths. They fell as microscopic snow to the ocean floor over millions of years forming layers of silt kilometers thick. This gradually compressed into pure white calcite limestone: the chalk we see today.

Horizons will reflect structures and uses of the chalk at different scales through poetic associations. The discs making up the text pieces represent the microscopic coccoliths. Scribble forms evoke a substance that can be manipulated at the human scale. Alignments of works in the landscape embody the shapes and location of the chalk hill escarpments. Horizons will also engage with ideas of landscape as an artistic genre and the landscape as something that can be viewed as an image.

  • On Tuesday 15th May, 2018 I had the pleasure of having a tutorial with Jonathan Parsons. I had not seen Jonathan for over 4 years, the last time was when I was studying Fine Art on the BA programme at the University Creative Arts, Farnham.

 

  • Although the time I had with Jonathan was very short, what came out of the tutorial was amazing. Firstly a great discussion on my current works filled me with new ideas, and secondly I was given new artists to research on, in order to gain more influence in the area of where my practice is moving. The highlight came at the end and this was when I asked him what he was currently working on. He told me that he was working on a project titled ‘Horizons ‘which was in connection with Surrey Unearthed.

 

  • He then invited me to his studio in Deptford, and asked if I would be interested in supporting him on the installing of his work ‘Fossil Ocean Floor ‘which was to be the first installation in the project. I did not have to think twice about this opportunity, it was an immediate yes please.

 

  • So on Thursday 7th June, 2018 I made my way up to Deptford where I met Jonathan at his studio. It was really great to see how the space was used, however during this time the studio was full of components which made up this monumental installation which was ready to be installed. My first job was to support Jonathan with carrying each and every part of the installation in to the van, which was hired out for this event. When all parts of the work were packed and secured correctly, we made our way down to Dorking, Surrey where the work was to be installed at Milton Court Farm.

 

  • On the way travelling down to Dorking Jonathan picked up Mario who is a very educated technician who was a great addition with the constructing of the work. We started installing the work between 12:30pm and 13:00pm and finished at 20:30pm. So it was a very time consuming and patient approach to drilling, levelling, fixing and carrying when installing. For me though it was an absolute fantastic experience, and one where I learnt so much. It was also brilliant to build more of a connection with Jonathan and also connecting with a new artist in Mario. Hopefully more opportunities with Jonathan could materialize in the future.

 

Images of ‘Fossil Ocean Floor’ at Milton Court Farm, Dorking Surrey

Installed on Thursday 7th June 2018