Mid year assessment notes

Mid year assessment notes:


Overview of my current work and ideas, and discussing what I will work towards bext semester:

·         The Everyday is part of the process

·         Small transformations  - are a key point

·         Taking everyday things through small transformations  - the whole object is used in its functional state and goes through a defunctional state to reach a second stage where I have given it another function.

·         Transporting from one state to another – making my own new representation of the origional thing I selected. – the inbetween stage is important in my art practice.

 

·         Gesture – shifting slightly

·         More about rehabilitation of everyday material

·         Conditions are useful: Setting myself specifc conditions to work under: time, material availability etc.

·         Second contition: rules, has some structure

·         Key factors in my art practise : time, labour, action – this is how I believe I can add value to my work – time and effort makes brilliant work

·         Intensive dramatic things

·         Asking others for material – looking at where I source my everyday materials

·         This way I can look at mass, intensity, scale and the impact of thes factors on the viewer.

·         Where does beauty lie in my work?

 

Idea for works:

·         Series of single works, taking apart whole items from the everyday and rehabilitating them/ giving them a new function.

 

·         Using my wall – hook on the wall and install as I go

·         Think about my choice of gesture

·         Wool – carding (winding), using some kind of format

 

·         Looking at the time spent making and how that adds the wow factor/ value.

·         How many objects/ gestures do I make?

·         What objects do I pick / make?  - not too specific  - need to keep it broader to focus on my interest in the time put into making.

 

Important word: COMMITMENT  

·         Setting rules and goals and sticking with them

·         Staying true to materials

·         Going all out – like Trish Scott and the unwonding of thw whole cottone spool – creates more impact – adds value and the wow factor + my own personal relationship to the work is lifted through my time spent with it and I can feel proud of it.

·         Generating!!  - over time – eg. Making one of something everyday for a certain period of time

IMPORTANT:  NOW!!

·         Now is time to create a knowing – understand my practise and commit to ideas and works

·         Create works that tease out my ideas

·         Think about the space  - a space of its own making

 

 

Artists:

 

Trish Scott: lecturer at AUT University

 

·         1km of thread layed down on he floor

·         She picked a specific gesture which was repeated until the whole reel of thread had finished.

·         There was some level of control in this piece – Scott would have some knowing of the outcome of this chosen gesture, but each action would result in a slightly different outcome to create this ver delicate pile fo thread over time.

·         She made decisions/ followed specific conditions – she chose to use the whole spool, pick a specific gesture

·         There is a strong sense of commitment in this work

·         The repetitive action is everyday!

·         This gesture was easy to perform but would take time – it was crafted by a simple gesture

·         Scott made sure the lightness of touch was the main feeling present in her work

·         Her work floated

·         Visual equivilance

·         Beauty

·         Looking good – choice of materials, evolves over time through love, commitment and specific choices.

 

Germaine Koh:

http://rsuntop.blog.com/2013/02/08/knitting-at-large/

Germaine Koh, "Knitwork," 1992, Unravelled used garments reknit into growing object

·         working with the ideas of time – operates across time

·         “Canadian artist Germaine Koh who has been working on the same knitted piece “Knitwork” since 1992. It’s a constantly developing piece and is made from hundreds of unraveled sweaters that are re-knit into a continuously growing object. In Koh’s words “As it records the ongoing passage of time and effort, the work becomes a monument to the artifacts that comprise it, to mundane activity, and to everyday labour. As a visual record of the passage of time, the details of the piece incidentally register variations in my process, and through these one can retrace a history of decisions. Although the slow accumulation of layers of obsolete goods might recall geological processes, the limits of the piece are actually human; the work will be finished when I cease (to be). It is both sublime and resolutely absurd, both excessive and banal, both rigorous and formless; in other words, it is a practical test of the imagination. ”

·         Knitting this much by hand, as Koh does, is certainly remarkable. When knitting machines are put into the equation, with dozens of different artists working together, the scale changes to absolutely collosial. Such as the case with Liz Collins’ “Knitting Nation,” a series of knitting installations performed in various public spaces. In Collins’ words “Knitting Nation is a performance and site-specific installation project. It reconfigures textile fabrication and apparel manufacturing in relation to the human labor behind it, with performance and collectivity as mediating forces. The project functions as a commentary on how humans interact with machines, global manufacturing, trade and labor, brand iconography, and fashion.” There were 10 separate phases or performances, each fascinating and unusual in its own way. These were done over a series of several years and look like they are continuing to evolve. As well as the sheer size, it’s intriguing to see how much physical strength and stamina is involved as well as the jarring, distinctive sounds of the machines. They concern a variety of issues, including major historical events and political commentary.

 

Last Sydney Bienalle:         Artist – Tiffany Singh

http://www.whitespace.co.nz/news/tiffany-singh-sydney.aspx

 

Tiffany Singh, “Knock On The Sky Listen To The Sound,” 1000 Indonesian bamboo wind chimes from rainbow-coloured ribbons

 

 

· Community based

· Participation

In a work bridging Pier 2/3 and Cockatoo Island, Knock On The Sky Listen To The Sound(2012), artist Tiffany invites visitors to decorate 1000 wind chimes and transport them to Cockatoo Island. There, they will be reinstalled as a collaborative work with the public.

 For the third time, Cockatoo Island will be a major exhibition venue, following record attendances during the 17th Biennale of Sydney (2010). Subtitled Stories, Senses and Spheres, Cockatoo Island is the last stop in the art walk and immerses the visitor in the sensory experience of the exhibition. Seventy-two (72) works by 55 artists will be spread across the atmospheric island.

 

another description: http://www.dailytelegraph.com.au/entertainment/chimes-ring-in-art-biennale/story-e6frewt9-1226405537507