Week 21 on MFA

Mon 20th – Fri 24th Feb

  • Mon
  • Preparation for MA YR 1 P/T Group show in the Linear Gallery. – Very much looking forward to this opportunity of presenting my work in a new space, and in an exhibition context.
  • Will be interesting to work alongside my peers, all works are different in their own right, symbolizing each artists practice.

-The work I am thinking of including are:

 

  •  PLASTERED TRACE, 2017, Paper, Plaster, Paraffin wax, Microcrystalline wax, Acrylic paint.

 

  • FIXED DUST, 2017, Sheet, Dust, Paint, Glass wax, Paraffin wax, Microcrystalline wax.

-The reason for choosing the works above, is because they are my most recent works, will be great to see them for the first time in a show.

-I am hoping my work can show all themes related to my practice including, Materiality, Change, Transformation, Process and this intimate relationship between material and artist.

-I am thinking of taking a space in the gallery which, has a sculptural setting, something which can add a platform to my work.

  • Tues
  • The setting up of the show and the collaboration with my peers was a enjoyable experience. – Each artists work complements one another, even though each practice is diverse, the show I feel looks and will be a success.

-Personally I am very pleased with the installment of my work. Whilst being in the gallery and analyzing the space I had, new ideas for presenting my work came about.

  • Instead of working with the 2 sculptures, PLASTERED TRACE and FIXED DUST, I choose to work with three of my works, and works which had a more finished outcome. For me this is when I map out and document the process of materials infusing together, which is not so recognizable in FIXED DUST.
  • The three works I choose to show were, TOWEL TRACE, 2016PLASTERED TRACE,2017 and LINER TRACE, 2016. Titling the piece THE TRIO. I originally thought about hanging the work, by fixing each piece to the wall. However I wanted to get this sculptural quality, so I used large screws as a fixing, and this enabled each piece to have this relief like quality. As if the work was coming out from the wall, with this character of saying I am of high importance.

-I used three positioned lights as a marker for where each work would go. This brought a new dimension to my work and an effect which was not intentional. What the light does is bring through another image of the work, by illustrating the shadow of the form. This use of light then became a factor into the work. I feel it makes the work stronger and more intriguing.It maybe something I will explore with in the future.

  • Thurs
  • Currently reading a book which has certain attachments to my own practice. The book is On Garbage by John Scanlan.
  • Attachments which I have taken from the book are themes on, waste, Imperfection and disorder and contamination.

Waste – How is waste seen? Does it just become an exhausted remainder of something once before. How does one have the opportunity to question the thought, of what waste is, and what is meant by recycling or re – production?

  • In relation to my practice – By taking a surface which has already had a history, or been used to its full potential . I re – work this life and sense of purpose back into the chosen surfaces or objects I work with. This becomes an event of materializing old into new. By still carrying a tracing of a previous life, it now has developed into a context of art, which can be viewed and read into.

Imperfection – Interesting quote from Freud – ‘The uncanny is ‘nothing new or alien, but something which is familiar an odd – established in the mind and which has become alienated from it only through the process of repression.’

  • Could my work have an association with the uncanny? Or something seen as alienated?
  • – My work is about materializing objects which once had a recognizable identification. However By processing with materials and active inputs from me as the  artist, a process of transformation allows the object to become something else. A substance which which now needs to be classified and understood. What has it become? How has it got here? What is it’s purpose in the world?

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Week 20 on MFA

Mon 13th Feb – Fri 17th Feb

Reinstate, 2017, Bronze, Wooden base (Close Up’s) 

  • Mon

(Reinstate, 2017)

-Today I aim to finish reinstate. I need to think about the inclusion of color, and to think about the particular patina I will go for.

-Personally I want the work to look like a bronze piece of art, so I am not going out to achieve a finish which may take away the idea that it is bronze, and could be something different.

-Aspects I am trying to include are.

 

  • Transforming – An original to a new meaning.
  • Texture & Resistance changes.
  • Color & Authenticity changes.

-Like my wax works, I am trying to achieve the same theoretical issues. These include:

  • Product changes.
  • Characteristic changes.
  • New Languages.
  • Use of processes,in order to materialize new possibilities.

 

 

  • Tues
  • Visiting art Galleries in London
  • The Koppel Project Show – Artists – Lucia Quevedo, Wils Alix – Tabeling & Justin Fitzpatrick

 

  • Show title – The Bloody Chamber, Is a title from a collection of re-imagined fairy tales by Angela Carter. The story is based on the tale of Bluebeard, the protagonist can go anywhere she wished in her new husband’s castle, with the exception of just one room. When she finally discovers whats behind the door, the Bloody chamber reveals itself in a grotesque scene of mutilated bodies.

-Each of the artists tried to incorporate themes associated from The Bloody Chamber. This included.

  • sexuality
  • An influence between humanity and animality.
  • The constant metaphorical potential in living bodies, and the architecture and landscape that surrounds.

-The artist which excited me the most in the show was Lucia Quevedo

  • Working with Silicone in a fascinating way, with contributions of shape, From the substance of material and light used in the space.
  • The work looks playful, but is disguised by this essence towards violence.
  • The color deters your mind away from the obvious thought of blood, as the color of silicone used is green and blue.

 

  • The Camden Arts Centre
  • A group seminar which questioned what it means to be an artist.

-My thoughts associated with the role of the artist.

  • Thinking and understanding the appreciation of art.
  • Accessibility and engagement with audience allows you to grow as an artist.
  • Approach and be pro – active as an artist. – This leads to new audiences and new adventures.
  • As an artist always use your mind. It is an important tool, no different to a tool which you may use to sculpt and make art with.

 

 

  • Thurs
  • Plastered Trace, 2017, Paper, Plaster, Paraffin wax, Microcrystalline wax , Acrylic paint

-What does this piece suggest? And what meanings I am creating?

  • It is an event of materials, interacting with one another.
  • I am most interested with processing with materials. I want to first see a reaction between just materials. I then include myself into the process by mapping out this change, this documenting of transformation.

 

-What languages are being read? And what can be read on the surface?

 

  • Overall the appearance of the work illustrates a transformation,which can be seen on both the inside and outside surface.
  • It brings a new language of characteristics forming, through the process. Each material performs and has the ability to adjust, which ignites something new within enabling this change to happen.

Week 19 on MFA

Mon 06th Feb –  Fri 10th Feb

  • Tues
  • Analyzing my bronze piece titled ( Reinstate) (2017)
  •  What was the main ideas, or objectives behind this piece?

-1st – How to get the substance of cardboard into a bronze work. Will this work or will this fail. I think for me firstly this was an exciting experimentation, of developing further with the make up of materials, and secondly if the results were a success, I know it could be a medium I could include more into my practice.

-2nd – The idea of the original soft & Fragile characteristic, transforming into a solid and refined object.

  • I was also combining theories which I have looked at, which I feel shape my own practice. Ilya Kabakov’s idea of taking a product which is recognizable to us, but changing its properties by including new aesthetics to it, to make it become treasured and seen as a work of art.
  • For me working with a mundane material like cardboard, gave me more of an opportunity to forward a status to it, allowing it to become something other than just a piece of cardboard. I feel it now becomes something intriguing, and thought provoking when now viewed.

 

  • Wed
  • Today I was researching more in depth into the works and ideas of artists Gavin Turk and Tony Cragg. 
  • Firstly what is it about the aspects and connotations behind Gavin Turk’s work, which have an impact on my own practice?

-I think it’s mostly its behind the context behind the meanings of his works. This idea that at some point the artists artwork could become someone else’s. Also this suggestion that in Turk’s work it is about looking, but how and where we look.

  • A great quote from Turk is from the book (Gavin Turk Collected works 1989 – 1993) ( Jay Jopling, London)
  • The particular text is from artist Robert Morris. ‘Blank Form’ Robert Morris 1969/61

‘So long as the form (In the broadest possible sense: situation) is not reduced beyond perception, so long as it perpetuates  and upholds itself as being an object in the subject’s field of perception , the subject reacts to it in many particular ways when I call it art. He reacts in other ways when I do not call it art. Art is primarily a situation in which one assumes an attitude of reacting to some of one’s awareness as art.’

  • Why do I think the text above has a relevance to my own working?
  • I like to take an object but whilst still keeping the essence of the object, I am very much interested at changing it’s identity, by including wax, surface material and the authorship of myself the artist. Through the application and means of constructing, the object becomes a subject. Like Morris has stated when is, or how can art be addressed? My work is consonantly questioned with this, is it still the object it always was, or does it now become something else which can be called art?

 

  • Thurs
  • Working on new work – (Plaster Trace, 2017) (Paper, Plaster, Paraffin wax, Microcrystalline wax, Acrylic paint)

 

  • How would I explain the notification of new languages, identification changes and characteristic changes in my work?

 

  • I would say it is notified by the morphing of shape, a sense of being brought to the particular surface. The first initial process of wax and surface material composing with one another, and then the introduction of myself the artist. Secondly this playful journey of discovering new transitions through process, capturing the event by documenting any expression made to the surface. Each mark which is highlighted not only enhances this transformation which has been made, but each mark has it’s own job shaping its own suggestion. Each mark is different, never the same, but all play a vital role in adding something to this process of transformation. The mind and eye are constantly guessing the existence of product, hidden behind the make up of application.         

Week 18 on MFA

Mon 30th Jan – Fri 02nd Feb

  • Tues – Quote from the book (Materiality  – Documents of Contemporary Art, Edited by Petra Lange – Berndt )

(Vilem Flusser – Form and Material // 1991 – P 211)

” What is at issue is the concept of in – formation. In other words, imposing forms on materials. This has been apparent since the industrial revolution. A steel tool in a press is a form, and it in – forms the flood of glass of plastic flowing past it into bottles or ashtrays [……] The criteria for criticizing information are now more with sculpture like the following questions: To what extent are forms being imposed  here capable of being filled with material? To what extent are they capable of being realized? To what extent is the information practical or productive?”

-How does this extract relate to my own practice?

-Well what striked me most was this idea of imposing, could my work be about imposing materials? Do I do this to create and form a new identity and language in my work?

-I would not say that my practice is directly about imposing materials together. However it is about materializing of materials, and changing an original context into a new being.

-In my work the form could be seen as something like  Canvas or cloth, and the material being the wax.  There has to be an inmate connection between the two for the process to be successful. Almost like a love affair  forming into a n attachment an obvious relationship.

-For me the word imposing means confronting. This does occur in my practice or process, but I see more of a lustful entwining of materials connecting, rather than just being put together to get on.

  • Wed
  • Thinking about my new wax work – (Plaster Trace)
  • Materials used in this work – Plaster bag – Excess bits of plaster – Paraffin Wax – Microcrystalline wax.
  • Thinking about processing with more industrial materials, hence the plaster and the bag representing this.
  • I find that my work at present is worked very intricately, but worked on a very delicate fragile surface.
  • I still want to work in a very fine way, but this time round on a much rougher, hard wearing surface. I am interested about combining different, textures and marks within my work, so by experimenting on different surface allows new meanings and contexts to come through, new characters forming each time.

 

  • Thurs
  • Quote from book ( Art In Theory 1900 – 2000 An Anthology of Changing Ideas)
  • Benedetto Croce (1866 – 1952) ‘What is Art?’ P 102

“The question as to what art is – let me answer it immediately and in the simplest manner: Art is vision or intuition. The artist produces an image or picture. The person who enjoys art turns his eyes in the direction which the artist has pointed out to him, peers through the hole which has been opened for him, and reproduces in himself the artist’s image. ‘Intuition’, ‘Vision’, ‘Contemplation’, ‘Imagination’, ‘Fancy’, ‘Invention’, ‘Representation’.

  • How does this wonderful explanation about what art is, refer to my own workings?

-Well I try to implement all of the above within my works. I do this by creating art which looks inquisitive and appealing at the same time.  Something which looks interesting, but where you have to unravel what you are looking at, to form an explanation of you own. To me this is what great art is.