Initial research
Initial idea:
Prior to our group discussion I researched the work of Cathy Wilkes, Banu Cennetoglu, Cady Noland, Ima Abasi Okon and Kiki Smith, I found the use of newspaper and news-related imagery in Banu Cennetoglu's work particularly engaging in terms of the task. I began looking through several newspaper and magazines and found the use of connecting words relating to form an interesting way to begin forming ideas. I circled certain words and began taking images of attachments, hinges and connecting areas of space; this led me to take images of ears that had earrings attached. During the weekend I saw the work of Cady Noland, 'Not Yet Titled' (1996) which featured several holes cut out of a piece of spray painted cardboard; what is so intricate about Noland's work is how she presents material based objects, which perform as something the material is not. The viewer acquires a sense of emotion from the decision of material, after this I began researching studies that investigated material and emotion. Whilst researching studies I found a particular research that created a conclusion through a graph, which used certain shapes to symbolise different materials and the range of emotions each material conveyed. Thus, I was thinking of incorporating the graph titled, 'Relationship between emotions and materials', into my work as the survey side to it is similar to the way newspapers use certain types of language. Moreover, the graph lists several different types of emotions including shame, dissatisfaction and desire - this relates greatly to the political climate as it engages with multiple instead of the singular.
Damian Ortega research (response to brief)
Primary research following brief
Response to research of artist, Cady Noland
Ima Abasi Okon notes:
- Work with Chisenhale gallery - asked to response to the work
- Works sculpture, sound + video - produce installation (partially 'exhibition-making')
- Artist looks into the process of exhibition making and how she can adapt the given space (lowered ceiling in this case)
- 'Taste, value and excess' - this caption captured my eye when
- Noise of generators connected to one another create environment, bounced off lowered ceiling
Sketchbook scans/references
STUDIO PROCESS:
Firstly, I experimented with creating 3D models using 'TRNIO' as I wanted to fabricate an ‘attachment’ using something that is available to me. Moving forward, once I created my links and ‘chain-like’ structures I intended on stitching together the models I made during studio practice. Once I created collages of the sketches I layered the scanned images under my reference images of chains and begun creating my TRNIO models. During this process I wanted to explore multiple ways of layering and creating new reactions with materials in space, going back to sourcing connective words in my newspaper; through using the app ‘Adobe Sketch’ and ‘Scan’ I was able to physically show the progression from using a stencil to exploring variant ways of mark-making through different forms. I experimented using circle stencils with different possible attachments and manipulations.
Moving through each newspaper, I begun linking the connective language I was finding in the news stories to 'attachments' used in the supporting imagery; for example, circling areas of hooks or attachments to the backs of builders (shown above) or areas of extension created by stretching or pulling. Thus, communicating my ideas from a response using a flat surface, it was important I found a type of 'material language' in what I was attempting to push forward. The continuous thread in my work here, which will become clearer, was the interaction between material and form that is prevalent in every supporting image shown next to a news story. This led me to document several different peoples ears as this was my initial response to the word 'attachment'. The two images above the ears show the variety of several mediums interacting, be it on the side of a door or engineered specifically for a certain purpose.
Continuing on with the idea of mark-making and material 'language', I researched into studies undertaken that explored the relationship between materials and emotions (1); whilst finding references I begun to recognise the importance of understanding material quality and how variants give sculptor different qualities. In the middle of researching into this case study I began researching the work of American artist Cady Noland, who engages with attachments and how the use of stacking and exploring scale in an installation such as, 'This Piece Has No Title Yet' (1989) (2) questions spatial boundaries through the repetitive use of an object. Plus, 'Red Stripe' beer is an associated American symbol. Similarly, Noland's piece titled, 'Frame Device' (89) (3) which consists of 12 walkers stacked around a single metal frame serves as a 'sanctioned' environment for the viewer. The frame creates a rigid shape, yet the function of the placed objects around the metal frame are at great odds with the 'message' the material signifies. Noland's work questions the role of the 'American Dream', and the role this idea plays in creating discord in contemporary American society, thus the artists use of hanging creates violent compositions that question American society. The work titled, 'Percussion and Cartridge Revolvers' (1984) (4) uses hooks which are drilled into the book, 'Pistols and Revolvers by Major Frederick Myatt.
The artists piece (shown above) was a great reference point for my inquiry into attachments, the use of hooks allow for objects to be draped down across the symbolic title of the book titled, 'Pistols and Revolvers', furthermore the circular forms are reflected against the pistol to the right which moves the eye back to the boldly communicated title, 'Pistols'. Noland uses the objects to explore imprisonment and the use of weapons in America which the artist places in front of the illustrated book, which gives a sense of understanding of the use of objects, due to the reproduction.
Whilst reading through extracts of interviews in, 'Witness to Her Art' it's relevant to pick up on Noland's interest in American crime and creating work that is both contained yet fluid. Noland wrote, 'I have been trying to think about 'live space,' as opposed to what could be called 'ritualised space'.... it annoyed me that a person in an art gallery would walk from on 'art incident' to another, that there would be blank space in-between. I started working with things that you could push or move, or with things like poles that 'tracked' your movement across the room, almost sympathetic with your movement.' The artist goes on to explain the issue that she faced when attempting to expand sculpture by not putting the work in a 'box', which has led to people thinking of the work as an installation rather than single pieces. Moving forward, I think the process of deciding how to use space in a sensitive manner is extremely important when creating three-dimensional works.
(3)https://hammer.ucla.edu/take-it-or-leave-it/art/frame-device/
(4) https://www.christies.com/lotfinder/Lot/cady-noland-b-1956-percussion-and-5792572-details.aspx
Tuesday reflection Questions
- Consider your use of material, how hashes affected the development of your outcomes both positive and negative
- How has scale influenced your decision making?
- Describe the ways that your use of particular techniques has aided or unaided the development/construction of your outcomes.
- What are you wishing to reveal and what are you wishing to conceal regarding your ideas and concepts or your final outcomes?
- Describe your thought processes ad decision making regarding colour, texture and form.
- How has your research effected your decision making was it successful?
Gallery visit,'Moderna Museet' Stockholm
***Atsuko Tanaka
****Charlotte Johannesson
Contextual Practice - Writing contextual review
- Analyse the experiences and work you have produced on the course during PART 1
- Analyse what those experiences and outputs tell you about the areas of practice you might specialise in and why?
- Analyse your behaviours and approach to learning
- How have different workshops have challenged you to explore a range of ways of working and in what situations your strengths were most effectively utilised.
- Identify and analyse the influence of a range of sources, including artists and designers, wo have informed and inspired your own work and future aspirations.
Contextual Practice
- Can Sculpture be seen as an alternative language? If so, how?
- What can you explore using materials that you cannot do so well in written and spoken language?
- What happens when you alter the context of an object by changing its position?
- What are the differences between 'illustration' and 'embodiment'?
Brief book suggestions - Library scans
1. 'Vitamin 3-D New Perspectives in sculpture and installation'
2. 'Witness to Her Art'art and writings by various female artists (focus on artist Cady Noland)
Practical session
Exploring Youtube Consumerist culture, relating to 3D models
YOUTUBE CONSUMERIST CULTURE
Progression from TRNIO models to final concept
Publications
Initial artist research X5
Reading References - Library session
A) 'Cathy Wilkes', Milton Keynes
TEXT IMAGE
**'She's Pregnant Again' (2005)
B) 'Kiki Smith'
C) Kiki Smith, 'The Venice Story'
'
D) Kiki Smith,' A Gathering - 1980-2005'
TEXT
E) Kiki Smith, 'Her Home'
Studio process (sketchbook images)
ATTACHMENT (A) REFERENCES
(B) EXPERIMENTS
(C) FINAL PRINTS
Experimental prints
Gallery visit, Gagosian Gallery
Sterling Ruby, 'Acts and Table' 6-24 Britannia Street, London (Gagosian Gallery)
TEXT TEXT
ArtPassport
Final crit. (other students work) 17/10
Extension Project conclusion
- How successful where you in translating your objectives and concepts through your final outcome?
- What would you have done differently? Consider your project, scale, material, presentation.
- How has the peer to peer criticism challenged how you view your finished outcome? Has it made you consider differently your choices made or reaffirmed them?
- If you were to do this project again what would you do differently?
- Describe how effective your processes for decision making regarding colour, texture and form where? Positive/negative.
- How successful was your research
- Does your final outcome reflect a set of particular concerns, particular to the creator?
Contextual Review
During unit 1 of my foundation course I have explored and stretched my ability to communicate my ideas and concepts through research and final outcomes, thus my keen interest in Graphic Communication and 3D design has been reaffirmed during the course of the workshops. Undoubtedly the process of creating and finalising outcomes has been the most, naturally, thought-provoking aspect of the introductory workshops, most prominently the interplay between thinking through objects and experimenting with media in sculptor has been the most intriguing part of unit 1. I was able to play around with my interest in balance through physically and mentally exploring how materials interact with one another. My experience during the graphic communication workshop strongly engaged with the speculative aspect of communication through both the visual and written language, this relates back to the success of the textiles workshop, which, using a projector I reflected several different types of fabric to create a dynamic composition through drawing. Similarly, I found this process of playing with compositions and experimenting with form an interesting method of communication; this process was also present in the 4D workshop where I explored measurement and material in our surrounding environment which led to a series of images using the physical body to luminate scale. I found myself naturally leaning towards expressing in a communicative manner, for example I created two publications from a collection of work I made during both the painting and textile workshop; this process of an interplay with media and investigating forms visually intrigues me. Hence why I explored 3D modeling and computer software for the Extension Project in sculpture as the visual ‘knitting’ represented in a 3D form rather than a flat surface interests me.
I found the 4D pathway extensive, which engages greatly in the speculative nature of the course, I have read widely on ‘Post-Internet’ literature which employs a similar approach to art making and an artists role in their creative practice. Finding ways to communicate through materials in a boundless manner like 4D seems an intriguing way to rearrange the role of the creative. During the six week period of workshops I found it slowly easier to communicate and articulate my ideas in a more succinct manner, along with sourcing appropriate artists and books to reference. Overall, I found it quite challenging to create and finalise work in such short periods of time but similarly began to really value working quite sporadically; thus, I didn’t initially gage the amount of influence working with individuals would have on my work, I found the compact studio space an inspiring environment to be in.
I found the week of ‘Body and Function’ the most engaging due to its emphasis on form and interplay with the use of the body, specifically the Jewellery and accessory workshop allowed me to place my work into an environment which connected to my initial communication, I created a pill box which I shot in the bathroom which enabled me to reinterpret space. Thus, I found both the textiles and illustration workshops both utilised my strengths effectively as I was able to readjust a composition and explore material quality in my practice. Furthermore, I found the Fashion Communication workshop quite thought-provoking through experimenting with drapery, similarly the use of material-based language to represent certain clothing. The language and Interaction, specifically architecture I found quite challenging as it was presented quite literally which I found demotivating, therefore harder to engage with. Reflecting back on my interest in ‘Post-Internet Artists’ I found exploring sculpture through Instagram and Trnio for my extension project a captivating approach to form and language. Social platforms like Instagram are so widely used that when I was pushed to think of it as a platform to create, it became a boundless space. This led me to explore the app, ‘ArtPassport’ whilst looking into what art shows to visit for my research, which allowed me to explore all recent art shows on my phone through AR (Augmented Reality). Exploring the library this last month has been really informative for my aspirations including my wide research into Cady Noland, Kiki Smith and Cathy Wilkes during my latest project. Specifically the book, ‘Vitamins 3-D, New Perspectives in Sculpture and Installation’ which acted as a glossary for a wide range of contemporary sculptors exploring space in the built-in environment; furthermore, Kiki Smith’s, ‘The Venice Story’ informed me of the process of creating three dimensional shapes whilst looking at the use of sketching to support the artists practice; along with Cady Noland’s interview, ‘Nine Questions on Sex’ included in the publication, ‘Vitamin 3-D’ which supported my inquiry into the American artists use of loops, attachments and holes in her practice, when sourcing initial ideas from a newspaper for my sculpture project.