Thursday 01st November, 2018
Contained Information #2, 2018, Glass, Natural pine constructed frame, Paulin, Tanking slurry, Plaster, Stain varnish, PVA admix adhesive, Matt paint, Enamel paint
During the making of this work I was focused on the theme of processing. What it means to process, and what happens to the subject when it is put through a rigours formula.
Process can also mean – (A series of actions or changes), (A method of doing for producing something) (To handle or prepare something by using special methods in order to manufacture). – Podbielski, John. (2000). Features of the dictionary, P437. Collins Pocket English Dictionary. Publishers: HarperCollins. Printed in Great Britain
What does process mean in art terms?
- The term process art refers to where the process of its making art is not hidden but remains a prominent aspect of the completed work, so that a part or even the whole of its subject is the making of the work.
- Process became a widespread preoccupation of artists in the late 1960s and the 1970s, but like so much else can be tracked back to the abstract expressionist paintings of Jackson Pollock. In these the successive layers of dripped and poured paint can be identified and the actions of the artist in making the work can be to some extent reconstructed.
- In process art too there is an emphasis on the results on particular materials of carrying out the process determined by the artist.
By researching into the term process from the dictionary and from an established art site, I wanted to find out, firstly whether or not the two given descriptions hold any similarity, and then secondly whether or not my work shows any connection to the two descriptions, giving my work the right to be deemed process art.
- For me both the dictionary and art site descriptions hold a connection and a similarity. Both describe about a progression within the material or materials used, and this action used to construct and make. The inventor/ constructor or in my case the artist has the job to select and compose, carried out by creating methods and disciplines. This then enables the subject to evolve and change from its original state.
This made me think about the instructions I compose in my work.
What do I actually do in order to create and produce, and what relationship do I hold with the materials I use.
My work explores the relationship between artist and material where I transform readymade, pre used objects into new painted sculptural artworks. I convert found objects by using a process of unravelling, where new beginnings are created from art and building materials.
The term I use is not just process but something called an ‘Unknown Process’, this is because my labour and work deals with unpredictable and chance happenings, by combining art making with construction work.
Functioning in this format instills an approach to making, which is playful and exciting, as I constantly wrestle with materials and elements. Pushing and pulling techniques are used in order to create a tactile bond between me and the work.
Systems and operations are put into place to give guidance to my making. Information is imprinted to the reformed surface of materials by devised algorithms, and understanding and knowledge is established to what has occurred.
Contained Information #2 (Close up – photos)