Study Visit – Venice Italy

Thursday 16th November, 2017

What this visit allowed me to do was to explore the Venice Biennale. I was hoping for my mind to open up  further when it came to the making and theoretical process of producing art.

This post documents my journey which I undertook, It will highlight upon aspects  which I felt relevant to my own art practice, I will list in  chronological order each event I attended when on my visit, Which will also be specific and draw out the particular themes to why I found the artist / artwork so inspiring and important.


  • Tehching Hsieh – Doing Time

Left, (the work – Doing Time) Right, (the work – Exposure)

  • Working with a strict set of rules which governs his own behaviour as well  determining the outcome of the work.
  • Each performance is executed through a real physical endurance.
  • An adamant conviction in the display of the work, proving that art is a living process.
  • Real discipline and dedication.
  • Expressive performances which notifies the subject of human existence – Almost filing and capturing a moment of time.
  • A relation to controlled systems which are activated through time.
  • The nature of a consistent repetitive and ritualised method.
  • Ideas forming from the organic, the fluid and the elemental.



  •  Damien Hirst – Treasures from the Wreck of the Unbelievable

           Left, (the work – Demon with Bowl) Right, (the work – Andromeda and                                                                                                                   the Sea Monster

  • A real celebration of craftsmanship. – The time and delicate precise detail showcases a beautiful moment of labored processes.
  • The strength in scale is fantastic throughout the exhibition, from the monumental to the minute.
  • Researching into what is value? How should something be valued and how can something be deemed valuable.



  • The Arsenale

Artists and Artwork from Left to Right (Erika Verzutti, Turtle, 2017 – Achraf Touloub, Untitled, 2017 – Karla Black,  Presumption Prevails, 2017)

  • An illustration characterized by form.
  • A tactile ability of materials – which includes the suggestion towards unexpected results.
  • There is no unveiling of identity, instead the process of materialization lives on.
  • A real merging and collaborating of materials.
  • A direct encounter with experimentation. It is this which keeps the question open.
  • A method of drawing time – Through a process creatively and theoretically.
  • A mode towards trying to depict.
  • A crossover process between everyday materials with more traditional media.
  • A sculptural inflammation consumed within an installed setting.



  • The Giardini

Artists and Artwork from Left to Right (Phyllida Barlow, Untitled: folly; Slashed column x5, 2016/17 – Mark Bradford, Medusa, 2016 – Gal Weinstein, sun stand still, 2017)

  • A twisted process which is both fun / playful and foreboding and monstrous.
  • A confrontation on the audience – This calls for constant questioning of your own surroundings and physical presence.
  • A use of cheap and readily available materials which becomes reused, allowing the work to fall into the context of art. This enables the possibility of exploring new avenues and limits.
  • A connection between architectural structure of the body – Combining both a labours and manual process.


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