Mon 23rd Jan – Fri 27th Jan
- ( Art in Nature – As Site Specific Work)
- Thinking about how my work could be viewed in an outside environment. Away from the four white walls of a gallery space.
- Listened to a fascinating interview on BBC Radio 4 with Conceptual Artist Theaster Gates.
- An Artist who makes work from old abandoned run down buildings. He uses these old materials in order to restore buildings, giving an identity and new character back , not just to the building itself but the neighborhood.
- Aspects which I picked out from the interview which I found intriguing, and points which made me analyze my own work, thinking how could my work feature in the outside space.
- Participation not just from the artist but residents within the neighborhood.
- A strong appetite for building and working with materials, scaling up in order to make an impact in the environment.
- The work acts as a function for enriching the status of the Town / City.
- It is very much an industrial practice as well as a fine art practice, there is no divide the two work on the same level.
- (Where do I see my Practice going, and how is it developing?)
- Wax – will always be main participating material, within the working process.
- This is because – I very much like the tactile relationship you can build, as the material is tangible. I also find that the end result is never the same, as the material has an unpredictable nature, which makes every outcome just as exciting.
- Wax to work with – Paraffin wax – Microcrystalline wax – Glass wax. – Very much interested in the different substance each wax holds. each wax has its own property allowing for new finishes.
- Surface material to collaborate with wax – To work with building materials ( adding my other working skill into my practice, this allows my work to become more personal.)
- Building materials – Cement, sand, plaster bags – Tarpaulin – dust sheets – cover sheets. Anything I can get my hands on when on site , but surface materials which will have to change and transform when processed with wax.
- Use of paint – Records and documents the materialization of surfaces. This happening and journey of process. The paint also allows the work to become decorative and appealing but also more ambiguous and intriguing.
- Theory and Method
- My theory and method is – with the inclusion of wax, it breaths life back into these used, discarded building products. The process delivers a new property, function and characteristic. The work will still have this biographical, recognizable look – becoming something new, something which can be appreciated as art.
- A relevant quote from the book – Materiality, Documents of Contemporary Art – edited by Petra Lange – Berndt. Artist – Ilya Kabakov
- On Garbage – : In Conversation with Boris Groys // 1995
- “ The Phenomenon consists of the fact that garbage in art today is presented as treasure – And in the essence, this is the case. Appearing in museums, described in books and discussed, it performs in the capacity of a treasure. Only in the archives does garbage become a work of art. [ …..] Therefore, all of my shouting and work with garbage is hypocritically, you understand, connected with the understanding of the value of what I am doing and the hope that it will be housed in a place where it will be a treasure. [……]
- I work with found already used objects / materials, which have no function anymore. The materials are dead and discarded. By introducing these objects / materials into my working process, I hope I can restore some kind of dignity back into them, make them become exciting to the eye. I want these objects / materials to become a product again, but not a working product, instead a product of art.
Mon 16th Jan – Fri 20th Jan
- Fantastic reading on ‘Imagination in Painting’
- (‘Imagination in Painting) Max Libermann (1847 – 1935) P30 -33 – Art in Theory 1900 2000
- Thinking about the spirit of painting and what this means?
- What is good painting? – ‘A painting which has been executed, and well conceived.’ Libermann.
- What is a picture? – ‘Nothing more than the painted canvas.’ Libermann.
- How can imagination of one self change the ability of viewing painting?
- ‘Imagination can animate the canvas, and it is imagination that must guide the painter’s hand. Although imagination is invisible, it can become visible in every brushstroke. If only for those with eyes to see, only for those who can sense and feel its presence.’ Libermann.
- Below are all thoughts from Libermann on how imagination in painting can change perception and transform all original thought of creation.
I have taken out particular thoughts which I feel have an attachment to my own process of working.
‘Imagination in the visual arts proceeds from purely sensory presuppositions.’
‘Imagination is the possibility of ideal forms for the real appearance of things.’
‘Imagination alone transforms a work of craft into a work of art.’
- How can imagination be seen and captured within my art?
- It is thinking of the forms I create as 3 dimensional paintings. – One question I always ask myself is – Is the application of paint to surface enough for it to be deemed a painting?
- I want my sculptural painted forms to have life. This presence I feed into my work is contributed by the reaction of materials, and this active spirit of the artist within the process.
- Reading article on The Intangibilities of Form.
- Aspects I drew out from the article were – Skilling and de-skilling in art.
- What does this mean?
- I feel it is the difference of craft making within art as a practice. – The skilling of oneself. Or the contributed effort between oneself and machine.
- Also thinking about the contrast of attachment, between making art in the studio and site specific work.
- How has technology affected art?
- It has advanced the process of making, but at the same time taken authorship away from the artist.
Liner Surface, 2016, Liner, Paraffin wax
– (Tutorial with Tom Dale)
- Certain themes which were discussed, and added as an influence to my working ideas.
- Thinking about approaching these sculptural forms as bodily, life like forms.
- Think about moving away from object like materials – Bin Liner – Canvas – Towel and start working with items of clothing.
- Maybe identifiable clothes (Branded) – It gives this recognizable aspect to the work, but the art has such an abstracted quality it becomes something new.
- This idea of the clothing being fixed in motion. – Fixed by the covering of wax. Something that was once light and airy becoming solid and set.
- A very relevant reading from the book Materiality, which relates very much to my own feeling of my work.
- ‘When I started working with black wax, I remember thinking black is like darkness, you feel much better when you can no longer see the things you fear. The tactile qualities are the only thing that determines the materials I use, and black allows me to concentrate on this in a way that I can’t with colour. Soft materials feel alive…….And because the wax was hot and malleable I mixed it with other materials, and the forms were coming out by themselves – It’s like a dance, a dialogue with the materials…….They are not really objects in the classic sense….You have to take care of them. They are fragile-if you touch them, they have a quality of their own. They change with the heat, with shock, they have something to do with life, with animals, insects, plants or fruit.’ Materiality (The Alchemist’s workshop 1997) (Chohreh Feyzdjou) edited by Petra Lange – Berndt (2015) Whitechapel Gallery Ventures Limited.
- What relations did I build from this text
- (Wax) – I like the tactile quality and effect that you can portray on the substance.
- The continuous thought of change of material.
- The expressive attitude you can implement and contribute to the possibility to new possibilities.
Mon 9th Jan – Fri 13th Jan
- Tues – How am I going to develop my practice further? – What avenue do I want to go down?
- Sculptural Painted objective forms is how I would see my work.
- Working with everyday object like material surfaces and changing the context and property of what they are. Making it become art! – I see by working in this way I implement a new life and being in to these materials. Making them become valued and appreciated. How you would when viewing a painting or a sculpture.
- To experiment working larger in scale. – To ignite this gesture.
- Reading great texts from books – Materiality edited by Petra Lange – Berndt (2015) Whitechapel Gallery Ventures Limited.
- Art In Theory 1900 – 2000 An Anthology of Changing Ideas edited by Charles Harrison & Paul Wood (2003) Blackwell Publishing.
- Object. Painting by Andrew Benjamin (1994) Published by Academy Editions.
-More depth at looking at artists – Angela de la Cruz and Karla Black – How much work with combing aspects of paint and sculpture and the theory behind their creations.
- Wed – ‘Art is difficult to contemplate ‘in itself’ because although it becomes a separate entity, it has not always been one. The mark or form is instead a part of an experience that makes it.’ (Black, 2010) – Karla Black (It’s Proof That Counts) (2010) Modern Art Oxford. P167
- Quote by Black links to my practice – The growth of each form has come apparent through the experience I have had handling and building a relationship with the material.
- Marks, Actions and gestures all play apart within the process of my work. Without the inclusion the object material would not form a new existence and instead would still be in its inception.
- What is it about mark making, performing an action and creating a gesture which is so important in my work.
- It documents an experience and it allows for change introducing new and exciting possibilities.
‘ Can’t we first be unconsciously creative, and then invite our conscious minds in at a later date.’ (Black, 2010) – Karla Black (It’s Proof That Counts) (2010) Modern Art Oxford. P168
- This is what I do!
- Working with a subconscious process
- The act of allowing material and material to collaborate. – The artist is out of the equation unconscious during this stage. A new language starts to materialize which is then read and then acted upon by the creator.
-A great quote I found which underpins the conscious thought of art making is.
- ‘If there is only proof of consciousness and not of bodily knowing in art, then marks and forms not only ‘know’ nothing, but are nothing and cannot be appreciated because they do not contain their own origin, their own nature.’ (Black, 2010) – Karla Black (It’s Proof That Counts) (2010) Modern Art Oxford. P169.
- In other words if the work has to much control from the artist it looses it’s identity, it becomes less organic and real, and instead more processed.
- ‘When a man realizes that he has two lives. An abstract one for his mind and a concrete one which is also for his mind, he ends up like a madman, who out of fear, hides one of his lives and plays the other as a role, or like the artist, who has no fear and who is willing to risk the both of them.’ (Michelangelo Pistoletto) – translated by (Henry Martin, 1989) – New York: Rizzoli (Exhibition catalogue Pistoletto)
- Love this quote as it references the theme in my work which is man becoming an artist and produce of work without any fear, and who is willing to take all risks. My work can be seen as being centered around change and experience with association to the transforming of an object.