Week 26 on MFA

Mon 27th March – Fri 31st March

  • Mon
  • Reading and researching the book The Uncanny by Nicholas Royle
  • What is it about the uncanny which interests me, and how does it relate to my own work?
  • The familiar becoming the unfamiliar – In relation to the found materials I select, and then transform to convey a new meaning, and essentially a new substance /  object after process.
  •   How something once so recognizable has become so unrecognizable – Not to just to the eye of the viewer, but also the eye of the viewer – this recreation appearing through working methods.

-I see my works as little treasures, something that has appeared through a conscious and subconscious process. How a work I produce can resemble essential worth, for me as the artist I have spent much time and care on each form, to the viewer it could be seen as exciting, intriguing, overall a great piece of art, which could one day be in someones home.

A statement from Wittgenstein helps to back up my point above:

  • ‘It is, it’s like a gift in a fairy tale: In the magic castle it appears enchanted, and if you look at it outside in daylight it is nothing, but an ordinary bit of iron. (or something of the sort.)’

The Uncanny by Nicholas Royle P4

  • Something titled The A Effect associated with the Uncanny is something which I can relate to very much.  I am currently researching into this term.

-As Brecht argued The A Effect consists:  ‘In turning the object………From something ordinary, familiar, immediately accessible, into something peculiar, striking and unrecognizable.’ 

The Uncanny by Nicholas Royle P5

  • Tues
  • Seminar with Andrea Gregson – reflecting on the Prologue from the book On Longing by Susan Stewart.
  • Ideas found within the text, and how certain aspects may show a relation to my own practice.
  • Looking at images – How images can help illustrate text.
  •  Object – The minuscule and the gigantic
  • Longing
  • Nostalgia
  • Space
  • How text can be written with a poetic grammar.

 

MA YR 1 Group Show pic 7

The Trio – Towel Trace, Plastered Trace, Liner Trace (Work selected for Venice group show) 

  • Thurs
  • Excited to have been contacted by an arts organisation in Italy.
  • My art website was approached, and the images I have of my current work was liked very much. The reward for this was to be offered a place in an art group show in Venice, Italy in September.

-The arts organisation is called ANIMA MUNDI which means:

According to several historical cultures, religions and philosophical systems, is a connection between all living entities on the planet, which relates to the world in a similar way as the human soul, connected to the human body.

*The exhibition I have been selected for is titled VISIONS – Sep 14th – Nov 26th 2017. 

  • Why do I feel my work relates to ANIMA MUNDI, and what could the VISIONS exhibition have in common with my work?

-ANIMA MUNDI refers to energy, natural and artificial element of the planet, in my work there is energy from the action of transformation during process. The documentation of paint to surface describing this change in form, also highlights an energy of line and mark. Natural and artificial can be identified in the make up of the work, to me I see organic and industrial characteristics. This has been mentioned from onlookers, and something I see in my work.

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Week 25 on MFA

.Mon 20th March – Fri 24th March

  • Mon
  • Artist Research Rachel Kneebone
  • Aspects of her work which for me connect to my own working methods linked to my art practice.

-Intricate methods of working – The idea of renewal – Transformation – Experiencing or inhabiting an association of the body – Working with space – Boundaries between the conscious and the subconscious – The real and the imagined – This idea of making a form and then unmaking the form.

  • Morphing Sculptures – Relating issues to – Change, Growth – Death

 

  • Tues
  • Seminar with Louise Ashcroft & Andrea Gregson
  • Based on 2 texts:

*Essay on – Failure in practice – Related issues & similar attachments to my on working process.

  • Do artists when working in the studio form a resistance?
  • Links a rational & irrational construction – Forming a an art process connected to the not knowing.
  • To see art ideas or makings are not seen as a bad thing: This enables and allows joyful proceedings which may of not been initially thought out.
  • Can Failure in art become a feature within your own artwork? 
  • Applying failure into your practice as a tool, improves the element of striving to get what you want, and improve and embrace.

 

*Essay on – Not knowing in talking and making by Rebecca Fortnum – Related issues & similar attachments to my own working process.

  • The Studio – Is a place not to be seen as a conventional setting: Should not be seen as just a 1 place setting for working.
  • The Studio for me :
  • Building site & the open environment where I find my found materials.
  • Small Room consisting of –  a table – Storage area – 2 walls (Home setting & Institution setting) – where I can test out ideas and start my making.
  1. Constant question which is ongoing – What am I doing?

 

  • Wed
  • The Uncanny – How I see this as a theme which is becoming more connected, to how I see and work with the processes I do.
  • How I read my work at present:
  • Trans-formative
  • Becoming mysterious through construction
  • Materials used become more unfamiliar through process
  • Change of identity and character

From the book: (On Garbage) (John Scatlan)

  • On Garbage – And the Uncanny p157

-Nicholas Royle writes about the uncanny by saying:

‘The uncanny has to do with a strangeness of framing and borders leading to a new experience.’

  • I see my works as these strange creations which evolve through process. It is an unknowing process which makes and shapes my work and causes this happening.
  • How The foundation surface material (The object / Found material) converts on itself transforming itself into something new, but still carrying some awareness of its previous identity.

-Statement from Sigmund Freud p167

‘The experience of our environment forces us to repress that which unsettles, the refuse collectors are the token of this repression. The ‘UN’ in uncanny that makes the familiar foreign.’

 

Unbandaged Trace, 2017, Paulin, Dirt, Plaster bandage, Paraffin wax, Microcrystalline wax, Glass wax, Acrylic paint

  • Have made a conscious decision to change the title of this work from Bandaged Trace to Unbandaged Trace. I am linking in the theme of the Unfamiliar by adding a UN at the beginning of this series of work, by making the familiar become unfamiliar.

Week 24 on MFA

Mon 13th March – Fri 17th March

  • Mon
  • Working on the first stages of BANDAGED PAULIN, 2017, Paulin, Plaster bandage, Paraffin wax, Glass wax, Microcrystalline wax, Acrylic paint.

-The most obvious difference to my previous work  is scale, it is much larger which initially is always a little daunting. However due to working with this process, and having an attached relationship to the materials used, I feel confident and excited to progress, and bring life back into this unwanted surface.

-I am interested to see how each material complements one another. As the work is larger will some of the materials lose their appearance and strength? I very much enjoy working in this way as it is all a discovery. Will the paint hold on areas of the work? For example the bandage which is less tactile. I do believe that the paint will look different in areas, the colour will change, more dense or less controlled.

-I am looking forward to seeing the work develop and transform, at the moment the work is a shell, however in previous works once the paint is introduced, the work starts to evolve and take shape.Thinking about artist Karla black and how she works with materials in a playful way, changing the contexts and descriptions. The materials used in process could be seen as new creative elements. I think my work could reference this idea, will the paint look like paint?, does the bandage change when mixed with wax? Would one suspect that the foundation material is paulin, which has already had a life, a working journey which already holds a history?

 

  • Tues
  • Seminar with Andrea Gregson & Louise Ashcroft
  • Articles related to: The Metaphysical Basis of Wabi – Sabi, – Wabi – Sabi Spiritual Values – The Wabi – Sabi State of mind
  • What is Wabi – Sabi? – It  is a concept in traditional Japanese aesthetics constituting a world view, centered on the acceptance of transience and imperfection. Linking to a Japanese movement of objects and  this idea of the Univerese.

-The idea of the Seminar was to combine or show a connection between Wabi – Sabi and my own art practice.

  • The main question I asked myself was. Does my work have a place in the world, and  will it be accepted as pure appreciation?

 

  • A couple of questions I asked myself in relation to aspects and themes connected to my practice. 

 

  • The submerging of materials – Does this make me a sculptor or a painter? Or a fabricator similar to Richard Deacon?

-I was classify myself as all three, firstly I am a fabricator this is when I choose materials, and start to blend and make up, I then engage materials where they start to sculpt on their own, with a slight assistance from myself, This is where I am the composer. However when I start to map and document with paint, I see myself as the painter where I am bringing the surface to life through illustrating this happening.

  • Could my work reference both death & living?

-The inside of my works are empty, but the surface where the eye meets is architectured, which has a location that can be accessed for exploration. The foundation materials were once dead, but by adding materials restores and transforms. The foundation becomes something again. Similar to how a City or a country which may of been destroyed, starts to rebuild and insert this worth back into the community.

  • Tutorial with Louise Ashcroft
  • An in depth interesting conversation about my work. Talking about where my work is at the moment, and future developments.

-Does my work hold something towards Chemistry? This constant finding out, and experimentation with materials.

-My working method has connotation towards being spontaneous, as well as having this religious connection – Being very involved and having a belief in the process. As well as this creation of form.

-Thinking about working with different gloss’ – Capture my work with shine – referencing this idea of life or this reinstatement of material.

 

  • Thurs
  • Artist Research – From the Slade school of Art – Artists who could be an influence on my own working methods. 

*Sehee Kang – Work which is materialized from random thought, and constructed and made from imagination. Aspects which are linked to both the internal and external world.

-Materials Used: Korean Sambe, Glitter, Paint, Glue, Light heater, Expanding foam, Ice, Dust, Plastic, Styrofoam, Acrylics, Clay, Projection, Light, Glass, Wrapping paper, Knitting wool, various decorative materials.

*Jung Ju Seo – Work which is both welcoming and mysterious. Enclosed spaces which could be inhabited or absent.

-Materials used: Glue from Glue gun, Brown tape, Cello tape, Polystyrene, Newspaper

*Maggi Hambling – Forging an immediate & powerful connection with the subject being drawn. The concept of touch, and a theme of life and death underscore her art.

-Practices used: Sculpture & Painting

Week 23 on MFA

Mon 6th March – Fri 10th March

  •   Tues
  • Seminar based on Cultic cultures, Morgan Quaintance – Reflects on cults and collectivism.  taken by Louise Ashcroft
  • Aspects and issues which were spoken about, interlinked with an art context relating to art practice:
  • Self reflection – Activism – A non taught direction, practice skills which are influenced from one’s own self.
  • One of the most interesting passages from the text, when trying to relate to my own practice read: Statements from all art works are political, because the basis of most contemporary art is self critical, a self reflection. – Could this suggest that my art practice, is a communicator of world activity? As I see my work as contemporary, and having elements of products featured within the world we live in.

 

  • Tutorial with Andrea Gregson
  • A discussion on my larger works, in particular Trapped Paulin.
  • An exciting development moving up in scale, this will enable me to work more with space, and how this can interact with my work.
  • When analyzing Trapped Paulin it was mentioned about the process of wax. Although the use of wax is very important to the process, it needs to be trialed more.  My most recent works Liner TracePlastered Trace and Towel Trace have this surface quality which takes away the idea that it could be wax. I really like this thought, where the viewer may think the work is made up from the use of other materials.   
  • Trapped Paulin currently has lumps of wax covering the surface. This needs to be removed, and the process of wax covering the surface re informed.
  • I aim to cover the paulin by pouring wax over, I will do this in a very controlled manner, allowing the work to have this shinny, thick, skin like quality.

 

Iris Turns exhibition pic 6

The Trio, Liner Trace, Plastered Trace, Towel Trace Iris Turns – Bargehouse exhibition, London

  • Wed
  • Iris Turns – Bargehouse exhibition Private view tonight 6.30pm – 8.30pm (4 day event)
  • Very excited to be apart of this fantastic group show, consisting of both BA and MA fine art students.
  • Accessed information so far about the set up of the show.
  • I will be exhibiting in a room with a scale of 16ft x 5ft x 4ft.
  • The building consists of 5 floors, the surrounding walls are both plain brick wall and white paint coated brick walls.
  • Arrived in the space at 10.30am – I managed to source a wall which had a coating of white paint on it. The most interesting aspect I found about the space was its, industrial and uncleanliness feature. I was excited to see how my work would perform in a space, which already holds this feature.
  • (Lighting) – Working with the same lighting effect and set up to the one I used in the Linear gallery, for the show which was at the end of February. I was able to get lighting shining just above my works. I really felt that this gave my work a real presence and character, fulfilling this idea of the sculptural form having a life.
  • (Formation) – A change from the set up of the Linear Gallery.
  • Left – Liner Trace  Centre – Plastered Trace  Right – Towel Trace
  • I felt that by just changing the line up slightly, it allows a continuous freshness. Even a slight change with how the work is hung, changes the perception and make up of what may of be seen previously.
  • (Conversation) – Throughout the private view  I spoke and engaged, with many of the other artists, tutors and members of the public.
  • In particular I spoke with a young gentleman named Alex, who was fascinated by what I had produced. He questioned: What the work actually meant? What materials had been used in the process? Future developments? It was great to talk like this away from the studio, and with someone who has seen my work for the first time.

 

  • Thurs
  • Reflection on a successful opening to the Iris Turns exhibition. 
  • I have been thinking more about the scale of my work, and about progressing with form and shape in much more depth.
  • The only main concern I have is – TIME – The larger you work the more time consuming. Most likely new works will not be completed until May/ June.
  • (Space) – I want to experiment more with space, the open space where my work will be situated, I want the two to become more compressed and not become detached.  I want my works to interact with every possible dimension of space, the floor, the walls and possibly the ceiling.
  • (Lighting) – Keen to use lighting more in my work, and to try out different effects, ranging from the strength and even possible color usage.
  • Both space and lighting will be something I will experiment more over the next months.

Week 22 on MFA

Mon 27th Feb – Fri 3rd March

  • Tues
  • Seminar (Feedback on MA YR 1 P/T Linear Gallery show)
  • Fantastic feedback from peers and Tutors Andrea Gregson & Louise Ashcroft.
  • Aspects discussed which were seen apparent in my practice with out explanation.

-A relationship can be seen between artist and materials.

-The forms which are produced have this new function and identity. As a viewer you could interpret a different material. There is movement in the artwork which gives it this presence and sense of life. A status can now be seen within the material.

  • New research which could be looked into related to practice.

-The use of light – experiment with this as it gives the work a new dimension. A feature which actually makes the forms more life like.

-This idea that the forms could be seen as shrunken heads, as a human we are searching for something which we can relate too – i.e – A human feature / characteristic.

– Artists – Frank Auerbach – Ben Wilson (Chewing gum artist) – Found objects which can be incorporated into works of art.

 

MA YR 1 P/T Linear Gallery show – (2 Photos documenting the set up of the exhibition) 

  • In the afternoon YR 2 MA students delivered a Symposium – detailing links to the
  • research in their practice.

 

  • Susan Merrick
  • Work which incorporates power. – Trained as a visual communicator and translator – How can this be read and attached as works of art.
  • Issues which involve women – women rights!
  • Work which documents an collaboration between art, dance, language and movement.

 

  • Cate Field
  • Focuses on layers of sound, paint and surface.
  • Images which are scanned for a being or a presence. – This presence coming from beneath the surface to the surface.
  • Working with abandoned places – History’s which are diminished – Natural fears which could create narratives.

 

  • Hilary Champion
  • Issues of fake news – natural humor which could be witnessed in practice.
  • Stimulants of change – Influences, artists who use text and advertising techniques that critique the status quo.
  • Collect news articles which show a relation to the fake! Incorporates own working methods to produce new works which could spark reaction.

 

  • Wed
  • It was a brilliant experience putting on an exhibition with some of the fellow artists I work with. – To discuss working ideas – curating altogether – To gain positives and future working ideas.

(Ideas to potentially progress with in practices)

  • Scale – Work large, but still with the amount of intimacy I use when it comes to mapping out the surface event. – Could the work seem more evolved? Could the works presence in stature attach and enhance more reaction from the viewer?
  • Light – It could give the work more character and presence. – The forms become of high importance. The light shinning on the work gives this status and sense of hierarchy.

-Old surface – Becoming a new surface.      -Non important object – Becoming an appreciated object.      -Garbage / Waste – To reference a new meaning, this idea of nurturing and caring for this waste material, making it become a treasured object.

 

  • Thurs
  • Today I have started working on two new works, which are much larger in scale.

TRAPPED PAULIN – Paulin, Dirt, Paraffin wax, Microcrystalline wax, Glass wax, Acrylic paint.

BANDAGED PAULIN – Paulin, Dirt, Paraffin wax, Microcrystalline wax, Glass wax, Acrylic paint.

  • Process 
  • More time consuming due to the size of surface.
  • Melting down of wax same method used throughout process.
  • Still keeping the essence of the objective surface. – Combining this act of transformation, and a playful collaboration with materials.
  • Both works show this change through application. – The paulin used has already had many uses and functions, used as a material for covering and preserving brickwork. It was on the verge of being thrown away and being completely demolished. However I saved it, and like all materials I work with, I try and install a purpose and a feeling of appreciation back into the object. Making it become and being viewed as a work of art.