Interesting artist (different ways to install my work)

 - I think this artist is very interesting in an experimental sort of way. Recently I have been working on more elegant works and looking specifically at the delicate materials, nylon and PVA skins and how they support each other in  a very fragile relationship.

Apfelbaum's Feelies are similar to my previous works where they expire materiality and have a playfulness to them. In terms of their installation, it could be interesting approaching the experimental works and presenting them in a way that keeps them in that realm rather than hanging them on the wall as a true art typical art work.

Polly Apfelbaum, "Feely Feelies Feeley," 2010, various materials and sizes - Plasticine and non-drying clay.  "Not Extractions, but Abstractions, Part II" at Clifton Benevento 

Polly Apfelbaum / Nicole Cherubini: Installation View

Exhibition by Apfelbaum and Cherubini: http://www.likeyou.com/en/node/19134 

 Fragility:

In my most recent works I have really been influenced by the idea of fragility and I am exploring this idea in a number of aspects, such as materials, imager, installation and the viewer's interaction with the works.

  - looking at suspending the works and using the light to expose the texture and translucency of the PVA glue skins
 - The light makes it difficult to see the delicaqte images form some angles but after careful inspection the viewer can catch glimpses of a fragile flower..or other delicate imagery.
 - both the nylon and PVA glue take turns in acting as the support of each other - the platted nylon gains a heavier/stronger quality as a plat holding up the sheet of PVA glue but then the PVA holds the shape of the thin nylon strands in an embedded sheet of PVA glue.

  - In this work I am trying to explore the fragility of each material and see how they can support each other to create a work that can stand on its own. The strength of the plat is supporting the form of the PVA glue square and the PvA square is helping to keep the plat in this form. The two very fragile materials are supporting each other to kkep the form of the overall work.

 Studio:

 - I plan to make these smaller PVA skins into canvases and have the nylon fall from the small surface in a long bunch of strands. I have become very interested in the fragility of these works and I feel that even though the PVA glue can support the large number of nylon strands there is a slight sense of weight and strain on the supporting surface.
 - I have been looking at the works of Leslie Schomp and her use of hair in embroidering self portraits and other images. In these works there is a hair like quality about the bundles of nylon hanging from the PVA surface.
http://likeabirdblog.com/2010/08/embroidery-art-3/

These works by Schomp have a strong sense of fragility in both the materials and the subject she is working with. I want to further explore the sense of fragility in my work through the materials, imagery, and installation of my works. (I am researching this idea more as I have decided to work with it in my curate and critique.)

     Leslile Schomp


Fragility

 - Materials - the support of PVA glues is very delicate and has a sense of temorality to it. I am working on a relationship between  PVA glue and nylon. I am trying to push a sense of fragility in these works. Even though nylon is a very delicate material, light, and fragile, the plat gives this material an almost heavy quailty against the soft, translucent sheet of PVA glue.
 - Imagery - I am working on creating a delicate form in the middle of thsese works with the nylon plats. I feel that the loose loops and casual forms create delicate images. I want to work on these images more and really create a sense of fragility. I may make larger plats to push the heavy quality of the nylon, a quality that nylon does not normally posess.

Colour - I feel that the lighter colours create a stonger sense of fragility in the nylon and form a softer image. Using brighter colours or darker colours may work well witht he larger plats to give them more weight against their fragile, delicate support.

Installation - There are a number of ways I could go about installing these so I will need to test them all out.
1) hanging - creating strands of nylon to help support the hanging images. The viewer will be able to walk around the images and get a strong sese of their fragile materials as they move in repsonse to the presence of the viewer. The viewer can experience the image from both sides as the PVA has a translucent quality. There are different levels of translucency across the image and I feel this will add to the fragility of the embedded image and will allow for light to access the images from both sides and highlight the detail and material qualities of the works.
2) pinned to the wall - allow for the viewer to impact on the fragility of the works. The images may be seen clearer against a wall. I feel that the plat works will work better on a wall as there is the strong permanant wall structure supporting the delicate pins holding up a fragile PVA glue skin with an image made form soft, light nylon that has been given a heavy quality against these other materials.
3) Canvases - Light MDF, popsicle sticks, framw made from embedded nylon.
I feel the frames could give the works an elegant appearanc ewhich I am more interested in after movign on from the images created in my final drawing assessment. I will trial these out to see if they work well with the idea of fragility.

   Studio developments:

I have started to work closer witht he idea of embedding and I have started to tackle my interest in abstract expressionism in a more elegant sense, still looking at intuitive gestures and composing these forms meticuously, with a lot of care and often accuracy.




I am planning to use these nylon embedded skins as my own form of canvas and stretch them around a frame. I am intersted to see how the addition of the frame will work with my materials. I think that working with a frame will take these materials from sample like pieces and work with the physical characterisitcs of PVA glue and push the idea of embedding in this substance.      

Studio Work: (My drawing has now merged with my studio work and I am continuing to develop on from the final drawing installation)

Over the last week I have discussed the next possible steps for the direction my studio practice practice with both Simon and Mon J.

Mon J has encouraged me to reaearch futher into Abstract Expressionism and develop an understanding of my on attitude towards abstraction.
She has also helped me realise that there are currently a number of different aesthetic conversations/ moods occuring in my work - childish, playful and almost messy works, and then there are others which are cartooney and others more elegant and meticuously made.

I feel that for my final drawing installation this almost confusion mood and aesthetic attitude of my works fueled the playful conversation I wanted to create.
Now that I feel I have portrayed that idea successfully I am intersted in trialling different routes and focusing more on creating eligant works or going towards the playful, cartooney images.


Eligant works:

In order to find which individual works from my current drawing installation are successful in their crudness Mon J suggested I transfer some images I felt would work on their own onto a flat surface (cartidge paper). I have found inky blue and red pens to try and immitate the nylon on paper and I plan to use thick chalk, oil sticks and tubes of paint to work beside these fine lines and over the top to portray the denser lines made from wool.
I am interested to see if the images will look successful given more space around the gestural marks and the careful and gentle attention I give to them will give them a delicate, eligant feel.

I have also started making some PVA glue and nylon works, with lighter more eligant patterns - mostly grids. I am keen to try and stretch the PVA glue around a frame as a more elegant, conventional approach to using these materials.

Possible artists: (thinking about some for Curate and Critique)

 18th Street Arts Center presents “Kaleidoscopic Gaze,” a painting and sculptural installation by L.A.-based artists Christine Morla and Eric J. Smail

 

L.A. Flippers", Installation View, Christine Morla
Woven found paper on painted gallery wall
Rimjaus Gallery, Mexico City, Mexico
2006
http://www.christinemorla.com/Art_Drawings12/Drawings12_02.html. - for more drawings

Judy Pfaff:

Elizabeth Murray:














Mary Heilmann:

Sean Scully's wood cuts ( inspired my framed PVA and nylon works - more elegant and simple)

 

Final Drawing Installation!

After completing each individual work I pinned them all up on the wall and spent a lot of time moving them around to create a lively experimental vibe, and generate conversation surrounding materiality, the interaction between materials and the relationship that each individual work has to the works around it.

When I first pinned them up none fo the images were touching each other or over lapping. This gave each work space but I found that not matter how much space I tried to give them they were all fighting individually for attention in their own way. I have decidied to go along with this level of visual compititon between the works and force them to interact and chellange each other. Overlapping the images has sparked a new level of competition for dominance and has brought in ideas of clustering and allowed each work to relate closely to one another and feed off of each others visual components.



     The individual works are colliding with one another on a neutral white surface and ech one is fighting for the eye of the viewer.

I have placed some images with similarities next to each other to draw the viewers attention to each work.

I have also found that the materiality of the PVA gluie is highlighted more when I layer certain works over each other.

 The viewer can see through one work to the next in some cases and in others the front work takes over the other.

I feel these works work well as an installation and I am interested in the strong relationship between PVA glue, nylon, wool and paint. I feel that this installation successfully portrays my ideas and interests and generates a very lively, experimental and playful converation between works for the viewers to become a part of and interpret in their own way.

 These are some more recent additions to my installation of works. I feel that after spending time on this group of experimental image they are starting to build a strong conversation between themselves surrounding the elements of form, colour, and material.

  

I am consciously responding to previos works that I have made and really tring to push the relationship between each material and how they interact with one another both instantly and over time as they are hung on the wall..intense ares of wool