Wednesday 28th February, 2018
Myself embedding a physical approach to materials over a set duration of time
Tuesday 27th February
- I attended an excellent seminar at The University Creative Arts, which was conducted by a lady named Elly Thomas. It was an hours talk surrounding the art practice of two artists Eduardo Paolozzi and Philip Guston.
I am going to give detail of the themes and ideas which I held a connection with when understanding about both artists practices. How an insight into techniques and methods used by both artists, resonates onto my own condition of making.
The Play and Artistic Processes
Working with forms which were / are originally found in order to combine a whole new condition to what the form could possibly be.
A repetitive Motion – Ignites the soul of play
To work with a repetitive motion not only installs an understanding of what the job entails, but one can become aware of what becomes, introducing a passion and interest to what has been created.
Any configuration can make sense – An understanding can be put to anything. It does not matter if someone relates a different meaning to the previous person. Surely it is a good thing for a creative method to be subjective, as it opens up new questions and entries.
An obsession with anything allows one to become ingrained in whatever is so intriguing. The possibility of the subject becomes enormous, as it becomes less about its actual being, and instead becomes more interesting as a subject of curiosity.
The Creative Battle
It is a contest between the artist and the work
A battle which ignites an engages A contest which provides an unforeseen result
The Game Of Playing
The Contest means to play – (It is a game)
It does require an opponent – displays actions of (Accidents) – (Changes) – (Erasures)
It is an active process similar to a sporting event – An engaged physical activity which needs two sides – A game where there must be a winner
The winner is the result which has been created through the unforeseen
Play & Spirit
To Dare is to do
To Take Risks
The informer could actually forget about playing, and instead be caught in the moment.
To formulate set rules in order to build structure which has the possibility to change.
Studio Tactics (How I work in the studio)
- It is more about the process rather than the finalised seen result.
- The work comes about from rules of a game, rather than the artists own understanding.
- Each given mark to the surface provokes an activation for the next mark.
- Forms which act on one another. It is like wrestling where this battle ignites a pulling and pushing tension.
- An artist who may take a wrong turn allows a beginning for new openings and passages.
- Creating a more complex association to making.
- This tension becomes heightened due to this process which fulfills an unknown outcome.
- A form which becomes caught in a cycle. It might take a stage for resting, before being kicked again and inserted back into this ongoing process.
- To combine and then recombine
- To reuse and re – contextualise
- To engage in this playful activity
- The studio does not just become the studio – It is seen as the site for making – It is the playground where I play.
A problem can be a good thing
Play is associated to a rapid motion of building through time
A continuous cycle of engagement
A battle between myself – materials – form and time