Unbandaged Paulin

Wednesday 24th May, 2017

Unbandaged Paulin, 2017, Paulin, Dirt, Paraffin wax, Microcrystalline wax, Glass wax, Acrylic paint

  • After 8 grueling weeks of constant concentration through a regime of documentation, Unbandaged Paulin was finally complete.
  • First Impressions / Feelings

-Excitement – Relief – Proud – Intrigue – Questioning

Unbandaged Paulin, Week 5, Side 2

  • Having used a wooden board as a support mechanism, (Can be seen to the right) for this journey of completion, I was ready to see the work as a hanging sculpture. (The two photos shown above).

-I wanted to see a visual transformation within the work, by having it hung on my studio wall, for me this would change the perception and dimension, making it become more sculptural.

  • Due to the work having a delicate formation, I had to be calculated with not only the handling of the work, but the choice of hanging attachments.  I chose to work with 12.5cm Wire nails. The reason for this was:
  • 1. – The nail was dense in appearance, meaning it would carry the weight of the work
  • 2 – I was hoping it would enable the work to be seen from all angles. As the nail is long in length it would give a certain amount of relief, within the framework of the composition. (The photo on the right just below shows documentation of this).

Unbandaged Paulin, 2017, Studio pic 4

 A few Words, Captions, Themes which I feel connect to Unbandaged Paulin

  • Sculpture
  • Painting
  • Drawing
  • Abstract
  • Surrealism
  • The Uncanny
  • Materials ( Materiality )
  • Objects – Found objects
  • Transformation
  • Converting
  • Manipulating
  • Processing
  • Documentation
  • Surface layering
  • Craftsmanship
  • Work ethic ( Intense Labour)

Unbandaged Paulin, 2017, Sudio pic 7

Unbandaged Paulin, 2017 – Close Up Documentation

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Clay Bagged Reformed, 2017 & Dead Canvas? Refigured?, 2017

Tuesday  9th May 2017

Clay Bagged Reformed, 2017, Liner, Air dry clay

  • The proposition I set myself was, to take existing work featured in the outdoors and embed it within the space of the indoors.
  • I was in intrigued to see how different it may look, and how each material may react differently when composed in the surroundings of a more enclosed setting.
  •  I was interested to work with the confinement of my studio, make it become an arena where my work can perform, Inhabit a place and make it become there own.

Clay Bagged Reformed, 2017, speaks for itself as I added it to the original process I set it up with, when creating its first existence titled, Clay Bagged, 2017.

-This included watering down Air dry clay in order for me to allow the liner to infuse with the clay. The first aspect which sprung to mind was the difference in water, I was not using the water from a pond for this process, it came from the sink, already a natural organic technique changed to an industrial one.

-The process was no different to before, or to how I construct my wax forms, it is a deliberate action by myself, where I transport the foundation surface into the active material. This is when the event happens, the end point is when I relieve the Liner from the Clay. It has now taken shape, morphed, transformed into a new component. It is no longer a Liner and Clay, it is something new which needs documentation, which entitles a new relationship between author and work.

      Dead Canvas? Refigured?, 2017, Canvas, Oil paint, Natural clay, Air dry clay, Mould

  • For Dead Canvas? Refigured?, 2017, I did not perform a new or existing process, I was more fascinated by what could of happened to the work, when it has been removed from the outside environment, left for a month and then brought back to life through a presence in the studio.

– The most noticeable difference in the work, was it’s shape in form and the texture and quality of the materials which had been used.

  • The work looked old (carrying a history) (Something which was once wanted and now abandoned and of no importance).
  • Crumpled
  • hard and stiff
  • Materials decaying – ( Resulting in mould growing on the surface).

-I applied no serious action in terms of re figuration, The only response was the composition of presentation.

Clay

Themes discovered through curating

  • The use of negative space becoming positive.
  • Inhabitation
  • Marks and traces left ( Enriching connections too – History, Time, Event, Active process).
  • A performance between the choreography between how the work is curated to the participation of the viewer.
  • The viewer may not be seen as just a spectator but instead a live attendant in the work.

Tutorial with Louise Ashcroft examining the works Liner Surface, 2016 and Unbandaged Paulin, 2017

Tuesday 2nd May 2017

Liner Surface close upbin-liner-surface-centre
Liner Surface, 2016, Liner, Paraffin wax

  • Louise’s first suggestion of what sparked her imagination, when viewing Liner Surface was this connotation towards something purely natural and organic.
  • Something which has come from the ground
  • Molten rock
  • Sludgy ice (Black Ice)
  • Rock like gem – Almost like a sourced crystal.

-For me this was perfect and a response I was looking for. I am always hoping for this interaction where the viewer sees something within the artwork.

-What was also interesting was this non comparison, between what the art work could be and how the artwork came about, through process and materials used.

-So as mentioned above first impressions of the work are of an organic nature, however the process is very industrial, this is a collaboration between material, artist and process. The Liner and wax are both components formed from a man made source, but when transformed through an unknown process, a materialization of the non representational starts to emerge. This is something which excites me, and hopefully can correspond with the viewer too.

Unbandaged Pauiln side 1 close up 4

Unbandaged paulin week 2 close up 3

Close up – Unbandaged Paulin, 2017, Paulin, Dirt, Plaster bandage, Paraffin wax, Microcrystalline wax, Glass wax, Acrylic paint

  • Currently Unbandaged Paulin is a work in progress which will hopefully be finished 2 weeks to this day. The photo above documents a close up of the technical skill, and textural qualities the work occupies.
  • opinions which were raised and discussed about this work were:
  • Body like forms – Either depicting something on a human level (like a skin)- or again a natural organic level (Like a landscape).
  • This work shows a more man made approach (Machine like). – How the surface is made up, precise and thought about lines working together, in order to map out and construct an identity to the surface.

-For me Unbandaged Paulin is a labour intensified work of art. A certain amount of craft can be witnessed, as it presents a time consuming graft, and a work ethic which constitutes to a great deal of pride.

  •  Research to Look at :
  • Jorge Luis Borges – Short story with a map that is the same size as the land it represents.
  • Georges Bataille – “Visions of excess” – Formlessness
  • Yves – Alain Bois & Rosalind Kraus – Formless: A Users Guide
  • Sol le Witt – Instructions
  • Marina Abramiovic – Small arts taken to the extreme

Other ideas which convoluted the brain when examining Liner Surface, 2016 & Unbandaged Paulin 2017

  • Uncertainty
  • Mystery
  • Converging thoughts
  • Ideas surrounding confusing aspects