- artists that have helped my make decisions on how to install my work and put my ideas successfully across to the viewer.
Looking at intensity of installation, labour, time,
materiality: artists Anu Tuominen (chrochetd house hold pot holders) Tara Donovan, Motoi Yamamoto (salt installations)
Tara Donovan:
accumulation of everyday objects /materials - ordinary objects into art
Video: Tara Donovan: sculpting everyday materials
lookign at materials that are easily accessible, mass produced, have a low profile (no distinct markings or colours), reflective or translucent
She works with them until they transcend into something else, there is a bodily experience with the finished product
she approaches these materials in a methodical way like a scientist
cleaning up and isolating the materials in a space, then treating the installations/ sculptures like drawings and allowing them to evolve through a playful and experimental interaction with the materials.
art is different for everyone, the experience the viewer has and the artists view and approach to art - Donovan's intention is to see what she can discover about these materials and test what see can push them to become..
understanding the material you are working with and relying on the nature of something. Donovan is mimiking the ways of nature not necessarily nature itself.
Tara Donovan, installation artist out of Brooklyn,
New York, creates pieces made out of everyday ordinary objects like drinking
straws, cups, fishing wire and paper. These simple objects when are then
transformed into amazing textural and topographical works of art. The individual object then is
almost no longer recognizable in it’s original form but has taken on a new life
form. The installation in the image above feels like some sort of life
form bubbling out of the ceiling, reflecting light in different ways throughout
the form. But the piece is made simply with a sea of styrofoam cups and hot
glue.
His colossal works
can take weeks to complete, and the intricacy and sheer
scale requires incredible patience and a slow, steady hand.
- continuous line
- going with the pattern and following his intuition
- mapping out the space - working into the given space
- his works are delicate, temporary and have a prescious quality - through the scale, labour, material, and imagery the works create a bodily experience for the viewer to appreciate and the installation gains a sense of vlaue and importance through Yamamoto's specific installation choices.
Yinka
Shonibare:
"Line Painting," 2003
Emulsion and acrylic on Dutch wax printed cotton, and painted wall
Emulsion and acrylic on Dutch wax printed cotton, and painted wall
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Yinka Shonibare was born in London in 1962 and moved to the Nigerian capital of Lagos when he was just three years old. He studied at the Byam Shaw School of Art, London in 1984-9 and completed a BA at Goldsmiths College, London in 1991. Shonibare considers himself ‘truly bi-cultural’ and strives to open up debate about the social, cultural and political issues that shape our histories and construct identity. His works challenge assumptions about representation by playfully blurring the boundaries between stereotypically Western ideas about ‘high’ art and traditional categorisations of ‘African art.’
He is best known for his use of colourful batik fabric, which he buys from Brixton market. Labelled as ‘African’, the fabric actually originates from Indonesia; it was introduced to Africa by British manufacturers via Dutch colonisers in the nineteenth century. Shonibare uses the fabric as a metaphor to address issues of origin and authenticity and to challenge straightforward readings of his work.
In Maxa 2003, Shonibare substitutes the canvas for small regimented circles of ‘African’ fabric that are decorated on the front and sides like icing on a cake. These perfect circular forms create visual chaos and offer a political challenge to ideas about taste. The problematic history of the fabric undercuts the visual pleasure of the patterns as the work becomes a metaphor for excess and exploitation. Shonibare creates ‘high’ art from commonplace cloth, asking us to consider the excesses of commercial decadenceand its relationshio with third-world exploitation.
I love his concept and how he use the fabric
material as a metaphor of his concept showing that our culture identity is
never again pure.
Finding Patterns | Jacob Hashimoto
“Plunk” (2009), by Jacob Hashimoto
"Untitled," 2002, Jacob Hashimoto
Jacob Hashimoto, Acrylic discis, Rhonda Hoffman gallery, Chicago
http://www.designboom.com/art/venice-art-biennale-2013-gas-giant-by-jacob-hashimoto/ - more good photos
If artists Yayoi Kusama (she of the polka dots) and Yinka Shonibare (he of the African fabrics refashioned into some kind of Western icon of art history) had a love child, it would be Jacob Hashimoto. While both Kusama and Shonibare are having blockbuster shows at Gagosian gallery and the Brooklyn Museum respectively, the tapestries of Hashimoto quietly hang at Mary Boone. (Kusama, who is celebrating her 80th birthday this year, also has a show up at Victoria Miro in London.)
The Brooklyn-based Hashimoto makes small “kites” — hexagons made from bamboo and layers of colored rice paper — and suspends them with nylon fishing line to create kaleidoscopic wall hangings that shimmer and cascade as the vistor passes by. Some suggest video games, vistas and 1960s-style wallpaper. With haiku-style titles like “Awake Under the Huge Starry Sky” and “Cutting Stems in the Oxygen Garden,” the works are ethereal. If you miss Hashimoto at Mary Boone, (the show closes June 27), you can check out his work at Otero Plassart in Los Angeles, starting September 12.
Looking at:
- layering- colour
- bodily experience with the viewer in relation to the installation of the work and how it reveals different qualities and ideas in the work as the viewer interacts with it.
- scale - how this changes the viwer's experience and relationship to all of the smaller elements that make this larger scale installation - creating an environement...interacting with the space
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