6FP005 Self Directed 2
Weeks 5 & 6: Current Ideas & Thoughts + London Mini Reviews
The large version of Disintegrate
is currently in the process of being cut, and will hopefully be finished by the end of the week to be re-attached to its frame and further developed. Further ideas include painting the frame itself, then when the sides are cut to go with the disintegrating canvas, some of the paint will be sanded off also. This idea received some positive feedback.Working Images
Removing the painted canvas from the frame, for the motif to be cut out. Really like the effect here, of the material drooping away from the wood. The idea of supports and being able to see the frame has creeped back into my thoughts, reminding me of when i was making constructions out of wood last year. The frame/support - is a fundamental part of a painting, and although i'm not removing the frame as i once was, i still feel it's important for the viewer to see the inner workings of a painting, what holds it up.Other Ideas:
Although i'm still enjoying the idea of creating 3 of these large 'cut-out' pieces, i would still like to work on other ideas. One such idea involves 'shredding' the canvas; the act of cutting strips INTO it rather than cutting out a motif. This idea was met with approval and is inkeeping with the whole idea of something disintegrating and fading away. So i also plan on doing a sample of this idea later this week. This was inspired by the recent London trip - inparticular two artists; Rosemarie Trockel and Judith Scott:London - THE HIGHLIGHTS
The first exhibition we walked into was Rosemarie Trockel: A Cosmos
at the Serpentine Gallery. This was like a retrospective of the artists' work and included some very disturbing artefact-like objects, handmade sketchbooks and drawings, but also some very inspiring wool and fabric works
. The wool works were painterly; canvas stretched on a frame and then hundreds of strips of wool delicately arranged as though woven on the surface. From a distance they could have been abstract paintings. These appealed to my love of regular repetitive patterns, and has inspired some new ideas involving shreds of canvas rather than wool. In another room there were some equally inspiring glazed ceramic sculptures displayed on the wall; their organic appearence at odds with the repetitive lines of wool seen beforehand. Overall, i enjoyed this show, however none of the works seemed to link together - though it was apparent each group of 'artefacts' were from different periods of her life. What i did love, was the relationship this artist had with craft, skill and material, this appealed to me the most. I was reminded of artists Louise Bourgeois and Annette Messenger. In another room were some additional wool and fabric works from another artist, Judith Scott
. These were completely different altogether and had a messy, completely intuitive feel to them. Pieces of wool had been wrapped around and around in all colours and were slightly unravelling, as though the artist had had a burst of frustration or emotion whilst making. They also reminded me of 'pass the parcel'; as though objects has been wrapped in every layer, indicated by their bulky appearence.
The following day we visited the Hayward Gallery/Southbank Centre to see the much anticipated Light Show, currently running until the 28th April 2013. I very much enjoyed this exhibition, not all inspiring - but definitely entertaining for anyone. One of my favourite pieces, just because it appealed to my love of beauty and intricacy, was Leo Villareal's Cylinder 2
- the first piece upon entering the Light Show:from: http://www.southbankcentre.co.uk/whatson/festivals-series/light-showWhat a stunning piece of work, with 19,600 LED lights. Again the idea of multiple strings or strips of colour. The flashing lights were programmed to run on different sequences, and very often looked like fireworks or fireflies.
On of the most inspiring pieces of work for me overall was the next piece observed, David Batchelor's Magic Hour (2004). I know relatively little about his work (author of Chromophobia) but i do recognise it is about colour and this is what inspires me. The work itself is about the use of "synthetic colour", striplights, neon signs and all the colours found in busy cities like Las Vegas. It is about the artificial aspect of it all - but there is a certain beauty about the way cities like Las Vegas light up at night and come alive; i think this is what it is about - the artificial beauty combined with the slightly dirty aspect of the city:
"...[artificial lights]..that transforms the sky above Las Vegas..back to front stack of recycled light boxes...intense synthetic colour that characterises cities and how it co-exists with a degree of darkness.." (Work summary)
There are many aspects that are most interesting to me about Magic Hour. Firstly it was the fact the work was facing the wrong way; the stack of lightboxes were facing the wall so merely a glimmer of light and colour could be seen, like a halo against the wall. This enticed younger viewers to push themselves and their heads flat against the wall to try to see the front of the piece. This is what i enjoy about the work; the way he DENIES the viewer the colour; the part that engages the senses is 75% cut of from view, so we are only seeing part of the beauty. Therefore, natural curiosity takes over and we edge further and further towards it trying to see the front, like a moth to a lightbulb. However, by having the back of the work facing us, the hundreds of cables and plugs are therfore also visable, and consciously bunched together as a reminder that this beautful colour is no act of nature, but a seedy collection of recycled lightboxes found in a city. I loved this work and the concepts behind it. Secondly, another artist who is a main inspiration of mine, Polly Apfelbaum counts Batchelor as one of her main inspirations. Looking at his work i saw the connection between his use of synthetic colour and her use of synthetic materials to create vibrant, floorworks of an organic, intuitive appearence.
from: http://www.standard.co.uk/incoming/article8471348.ece/ALTERNATES/w620/AN15259321Magic-Hour-by-Dav.jpgDavid Batchelor - Magic Hour
There were a few other pieces that also inspired me here. One of them was a piece entitled Throw (1997), by Ceal Floyer - a projected light on the floor that looked instantly like a splat of colour. However, my second favourite piece was a piece called Lamentable (2008) by Francois Morellet. This was described as "dislocated sections of a circle" and was made up of several arcs of flourescent light tubing in a bright blue. To me this looked like a 3D line drawing or doodle - and inspired me to want to draw. Overall, despite this being a show predominantly about LIGHT, i found it to be extremely painterly.
Another exhibition that was inspiring in terms of craft and drawing was Eva Hesse: 1965
at Hauser & Wirth
. These were all works from a period of her life where she completed a residency in Germany, based in an old textile factory. To me these works were PURELY INTUITIONAL; they had come from her, non cohersive, free associative, stream of consciousness style works. In particular i really enjoyed her reliefs, again there was a use of cord and string, often wrapped around sections and left sticking out and hanging from the work itself. I found these pieces beautiful to look at, there was a sense of touch (relevant to my own work) and calmness about the work; one could imagine the maker pouring over the piece for hours, carefully selecting the colours. However there is also a sense of machinery about them, shapes that create lever-like forms, this could also be seen in the drawings, which were mainly linear and delicately made.http://www.theartsdesk.com/visual-arts/bruce-nauman-mindfuck-eva-hesse-1965-hauser-wirth-londonOomamaboomba
I love the fading of the colour here, as colour, particularly graduated colour has become a focus of my own work recently. I also love the precise winding of cord, and the idea of something jumping out of a surface.
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A Very Quick Word...
Talk: Visual Art Trader
: Chris Grant-Peterkin
Yesturday i attended a lecture about advertising and selling art work online. I am completely enthusiastic about online selling, though i only know a surface amount of information needed to sell artwork online. This was a talk with a twist, i felt. Problems were presented about buying art online; for instance, the tangibility and aspect of seeing the work in the flesh isn't there - so it puts potential buyers off. Additional problems include the fact there is a hierachial pyramid of well known artists (Damien Hirst, Tracey Emin etc) that are always going to make sales - people will always buy their prints and every scrap of merchandise they can. They have become a kind of brand. We were shown one website that offers viewers to buy limited editions of prints from such artists - out of perhaps only 1000 made. A kind of investment - but one that you can neither download or print, it's just there, it's yours and only available to view on your computer screen. Also other online galleries only seem to cater for their own audiences, and have a certain selection criteria for you to get in. This again, narrows the gap of success for emerging artists or graduates. Additionally there is a certain Eliteist aspect of the fine arts which, according to Grant-Peterkin, puts potential buyers off. I do agree with this; i feel the general public going about their day to day work would not generally understand or want to understand the complexities of the Fine Arts, and all the movements and terminology. And this eliteist world i feel is guided by public institutions - it's their say what is 'good' art.
The general idea of Visual Arts Trader (a new online art site, where artists have their own page) therfore, is to advertise new artists' work by its physical attributes, 'figurative' 'abstract' 'semi-figurative' etc - and allows viewers/potential buyers to simply select what they LIKE, for instance if you wanted a portrait of a family member or a landscape. I gained the impression that this allows for more commercial artists to gain recognition - it gives everyone a chance, embracing ALL kinds of art, including sculptural/installational. It doesn't have a criteria in which you're judged on to meet certain buyers tastes.
It was also mentioned about the online promotional resources like Newbloodart or Saatchi Online, that offer emerging artists their own webpage, where potential buyers or collectors can view your work in a professional capacity. Although they are extremely good for networking and getting artwork out there (Axis Web is probably the best for this) - it appears they still have flaws and often still selection criteria.
I understood the idea of Visual Arts Trader
perfectly, and am in total agreement with what they do; however it's like the age old war of Art Vs Craft
; it's going to get frowned upon by the hierachies of the art world in that it's lowering the tone, bringing down artwork to the working classes. It's a step up from sites like deviantart (which i love, some wonderful inspirational stuff on there) and has that artist/community feel, very professional and artwork can actually be bought. The opposition of the instititutions will never be won however, us Working Class Heroes will never get to the top of that pyramid...
Or maybe there is no Eliteism at all? Maybe it is all in our heads..
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