https://autonline.aut.ac.nz/bbcswebdav/institution/Papers/116000/Publish/Groys%2C%20B.%20Politics%20of%20Installation%20.pdf
Todays tutorial reading:
There was one idea that really interested me when reading this essay in preparation for our talk in tutorial and that was the idea that "We are unable to stabilize a copy, as we are unable to stabilize an original as an original. Reproduction is as much infected by originality is infected by reproduction. In circulating through various contexts, a copy becomes a series of different originals."...
"Every copy is by itself a flaneur - experiencing time and time agin its own "profane illuminations"that turn it into an original. I loses old auras and gains new ones. It remains perhaps the same copy, but it becomes different originals."....
After talking about this idea in tutorial I realized that there are some underlying interests of mine in this idea of producing a new original rather than a copy of producing a new original rather than a copy. I have always enjoyed having repetition play an important role in my work and have always even drawn to building up an image or a work through repetitive mark making or a repeated action.
One thing that I learnt from this tutorial was that it is important to draw on my own interests as things that are not my interest are not good for me. It is always good to go with your instincts when you come across something that sparks a new idea for you to make a work based on. Even if you are unsure of the outcome of that work at the time it is important to follow through as the works that you are really passionate about will develop over time with a lot more depth and meaning. These ideas can often teach you something about yourself and reveal to you something that you didn't know you knew.
Sunday, 29 July 2012
Friday, 27 July 2012
(430cm x 760cm)
PVA glue, paper
Progress photos
Trialling PVA glue with pieces of paper
The shape of these works are meant to embody the movement of the PVA glue with my hands.
Close ups of another larger work
Progress photos:
(590cm x 1590cm)
PVA glue, leaves, nilon, post it notes
Wednesday, 25 July 2012
http://www.encyclopedia.com/topic/truth_to_material(s).aspx
Truth to material(s)
A Dictionary of Twentieth Century Art/ 1999/ Ian Chilvers
Quote: Henry Moore (English Sculptor and artist) wrote that 'Each material has its own individual qualities...Stone, for example, is hard and concentrated and should not be falsified to look like soft flesh...It should keep its hard tense stoniness.'
Materials need to be accepted as they are and used simply by artists (examples include Henry Moore, Robert Morris, Helen Calder, Eve Hesse) to explore their strengths and generate conversation and understanding around their materiality and the ability of that material.
http://www.woodworkinghistory.com/glossary_truth_to_materials.htm
- Moore wrote in 1941 that' [o]ne of the first principles of art so clearly seen in primitive work is truth to materials; the artist shows an instinctive understanding of his material, its right use and possibilities.'
Moore expounded his ideas on 'truth to material' in his essay of 1937, 'The Sculptor Speaks' -
http://books.google.co.nz/books?id=pzqg4l-ce7oC&pg=PA193&lpg=PA193&dq=henry+moore+the+sculptor+speaks&source=bl&ots=m68Ga8jQSk&sig=LLjyywlJE_sdD7A2vWtxg-GUU3I&hl=en&sa=X&ei=JecQUIGsBMaaiAfZoYDQBw&ved=0CFYQ6AEwAw#v=onepage&q=henry%20moore%20the%20sculptor%20speaks&f=false
Ideas that interest me:
- Looking closely at materials:
Moore uses Pebbles/ stone as an example: Nature interacts with the stone and manipulates it each time they come into contact. The relationship with each stone is different and each interaction with the same stone changes resulting in naturally occurring shapes.
- Scale:
Scale is important in terms of a creating a specific vision you have for a material
Sometimes the materials feel right an the idea is there but you need the right scale for the correct vision to be created, and for it to be an effective and successful work all round.
"A carving might be several times over life size and yet be petty and small in feeling, and a small carving only a few inches in height can give the feeling of hug size and monumental grandeur, because the vision behind it is big....."
"Yet actual physical size has an emotional meaning. We relate everything to our own size, and our emotional response to size is controlled by the fact that men on the average are between five and six feet high. "
"Sculpture is more affected by actual size considerations than painting. A painting is isolated by a frame from its surroundings and so it retains more easily its own imaginary scale."
- "in between size does not disconnect an idea enough from prosaic everyday life."
S
Truth to material(s)
A Dictionary of Twentieth Century Art/ 1999/ Ian Chilvers
Quote: Henry Moore (English Sculptor and artist) wrote that 'Each material has its own individual qualities...Stone, for example, is hard and concentrated and should not be falsified to look like soft flesh...It should keep its hard tense stoniness.'
Materials need to be accepted as they are and used simply by artists (examples include Henry Moore, Robert Morris, Helen Calder, Eve Hesse) to explore their strengths and generate conversation and understanding around their materiality and the ability of that material.
http://www.woodworkinghistory.com/glossary_truth_to_materials.htm
- Moore wrote in 1941 that' [o]ne of the first principles of art so clearly seen in primitive work is truth to materials; the artist shows an instinctive understanding of his material, its right use and possibilities.'
Moore expounded his ideas on 'truth to material' in his essay of 1937, 'The Sculptor Speaks' -
http://books.google.co.nz/books?id=pzqg4l-ce7oC&pg=PA193&lpg=PA193&dq=henry+moore+the+sculptor+speaks&source=bl&ots=m68Ga8jQSk&sig=LLjyywlJE_sdD7A2vWtxg-GUU3I&hl=en&sa=X&ei=JecQUIGsBMaaiAfZoYDQBw&ved=0CFYQ6AEwAw#v=onepage&q=henry%20moore%20the%20sculptor%20speaks&f=false
Ideas that interest me:
- Looking closely at materials:
Moore uses Pebbles/ stone as an example: Nature interacts with the stone and manipulates it each time they come into contact. The relationship with each stone is different and each interaction with the same stone changes resulting in naturally occurring shapes.
- Scale:
Scale is important in terms of a creating a specific vision you have for a material
Sometimes the materials feel right an the idea is there but you need the right scale for the correct vision to be created, and for it to be an effective and successful work all round.
"A carving might be several times over life size and yet be petty and small in feeling, and a small carving only a few inches in height can give the feeling of hug size and monumental grandeur, because the vision behind it is big....."
"Yet actual physical size has an emotional meaning. We relate everything to our own size, and our emotional response to size is controlled by the fact that men on the average are between five and six feet high. "
"Sculpture is more affected by actual size considerations than painting. A painting is isolated by a frame from its surroundings and so it retains more easily its own imaginary scale."
- "in between size does not disconnect an idea enough from prosaic everyday life."
S
http://www.imj.org.il/exhibitions/presentation/exhibit.asp?id=726
Susan Hiller:
One key point that I picked up on in this article that I find is very important when talking about materiality in works of art allowing the discourse to emerge, "A fresh, supple, open discourse emerges; something new comes into being; layers of interpretation are born. It is not only the works' visual and textual interaction that redefines context, it is also the perspective of the visitor who brings something of herself or herself tot he experience at that particular moment. Susan Hiller deliberately engages viewers in the process of reinterpretation, through their own insights and associations. For as long as the exhibition stands, her work continues to be in progress."
A flowing and continually developing discourse emerges surrounding the works that Hiller presents in her exhibitions. The meaning develops over time and the viewers can gain a deeper understanding of each work. The work takes on a life of its own emerging as a different each time a new viewer interacts with it an encounters it.
Susan Hiller:
One key point that I picked up on in this article that I find is very important when talking about materiality in works of art allowing the discourse to emerge, "A fresh, supple, open discourse emerges; something new comes into being; layers of interpretation are born. It is not only the works' visual and textual interaction that redefines context, it is also the perspective of the visitor who brings something of herself or herself tot he experience at that particular moment. Susan Hiller deliberately engages viewers in the process of reinterpretation, through their own insights and associations. For as long as the exhibition stands, her work continues to be in progress."
A flowing and continually developing discourse emerges surrounding the works that Hiller presents in her exhibitions. The meaning develops over time and the viewers can gain a deeper understanding of each work. The work takes on a life of its own emerging as a different each time a new viewer interacts with it an encounters it.
Helen Calder, Yellow Skin (125 fl.oz), 2009
Acrylic, enamel & stainless steel, 770 x 1400mm
Acrylic, enamel & stainless steel, 770 x 1400mm
In Helen Calder’s most recent works, she has been partially or
completely removing the traditional planar support and exploiting the plastic
potential of the paint medium and the real space, rather than illusory space,
paint and colour can occupy.
The materiality of the medium of paint, particularly its
plasticity and weight and its ability to define surface has been her key focus
since 2000.
There are four works in this exhibition where loose
skins of paint hang on stainless steel rods. The colours of the four works-
yellow, orange, red, black form the title of the exhibition. These colours are
ordered in the title according to their relative visual weight – yellow being
the lightest and black the heaviest. The titles of the work include the actual
fluid weight of the paint that forms the skin.
Response: Calder is similar to a lot of the artists that I am interested in with her strong focus on materiality in her art practice. She ventures further into exploring the characteristics of paint and takes it a step further by using the paint as her support. She reveals the ability of paint to form a solid sheet of colour that hangs similar to a sheet of plastic, with its flexible and shiny surface.
Exploring the strengths of materials is one idea i am very interested in and I am keen to try use the solid state of paint to my advantage and incorporate my interest of mark making.
Note to self: Ideas to try:
1) embossed paint skins: engraving metal or plastic with my mark making and pouring paint (try adding PVA glue) to mould to the textured surface to create an embossed paint skin.
Tuesday, 24 July 2012
http://www.journal-online.co.uk/article/9080-callum-innes-works-on-paper
Innes works in different media, including watercolours, pastels, charcoal and oil. His work is about the physical qualities of these materials and the way he uses them to synthesise colours and explore their properties; to stretch their limits. Although the paintings appear ordered and controlled, there is uncertainty about what resultant colours will be achieved. It is Innes’ curiosity about the limits of colour and its unpredictability that drives and sustains his work. Innes uses a technique of applying and dissolving pigment, painting and un-painting, adding and removing colour. His paintings endure a process of reduction, as he uses turpentine to remove the oil paint. It is also the use of paper as a surface that gives the paintings a modern, delicacy and lightness.
In a similar sort of way I am interested in revealing the characteristics of materials (truth to materials) and working to their strengths. Innes is exploring the layering and blending of colors and using the process of reduction to reveal what colors really are.
Innes works in different media, including watercolours, pastels, charcoal and oil. His work is about the physical qualities of these materials and the way he uses them to synthesise colours and explore their properties; to stretch their limits. Although the paintings appear ordered and controlled, there is uncertainty about what resultant colours will be achieved. It is Innes’ curiosity about the limits of colour and its unpredictability that drives and sustains his work. Innes uses a technique of applying and dissolving pigment, painting and un-painting, adding and removing colour. His paintings endure a process of reduction, as he uses turpentine to remove the oil paint. It is also the use of paper as a surface that gives the paintings a modern, delicacy and lightness.
In a similar sort of way I am interested in revealing the characteristics of materials (truth to materials) and working to their strengths. Innes is exploring the layering and blending of colors and using the process of reduction to reveal what colors really are.
Monday, 23 July 2012
Installation
PVA glue, vivid, acrylic paint
Drawing:
For mid year assessment I presented my large glue drawing without the extra works at the bottom. After critique it was clear that the graphic and decorative images that I have made using the vivid do not enhance the work, but distract the viewer form the true materiality of the glue and its physical characteristis as a solid. One lecturer noted that it would be interesting to utilise thos characterisitcs and have materials and objects such as pieces of paper embedded in the glue, leaving them floating amongst the delicat skin of PVA glue.
From this critique I am goin to focus more on my interest in "truth to materials," and play around with the strengths of PVA glue and see what I can dreate with that. I am keen to trial paper (different colours and shapes), coloured dyes and throw them across the drying PVA glue allowing them to suspend in the dried sheets of PVA.
Another comment made by one of the lecturers during critique was to explore the shapes and layout of my PVA drawings. PVA can be manipulated in its liquid state to be any shape I want and so I am interested to see what other possibilities there are for scale, shape, and textures (layering of PVA skins) that I can create.
Untitled (2.4m x 4.5m approx)
wool, pins, vivid, sheet
This is the most recent of my paint/core studio work and I presented this one for mid year assessment.
Up until this point I have been working with a range of materials including water based ink, handmade stamps, tape, vivid, stamps, and stickers. Process art as been a continuous influence on the development of my art but is not necessarily how I would catagoraise myself as my work, for example this work above does not talk about the process so much as it talks about my interest in mark making and generating an image. This mornins meeting with my lecturer Monique Jansen really helped me tease out my interests fromt he processes I have currently been using. Monique helped me realise that I should not get caught up in the idea of creating process art but focus more on the marks that I am making and what is driving me to make these marks. Why am I making these particular marks? what do I want to make these marks with or on? What kind of mark making is most interesting to me and has the most meaning/drive?
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