British Museum Visit
I found these objects really exciting as well as some of the ways people have used paint in their culture to tell stories. After visiting this museum I realised how important the sense of a story or a narrative was to be interwoven into these objects and how it's environment has affected it's appearance. I was suprised to see such intense colours in objects from so long ago. I also really liked the intricacy that these objects carried that spoke of the way people adapted to live in environments where they need to find food and shelter because I think now as technology develops, product designers try to take attention away from the object but only to the function. The object almost needs to become invisible and as simple as possible to be able to be an extension of any individual and to have an ability to adapt to anybodies taste when made without complex appearance. There was also something about seeing the work of a human hand on an object that carried so much value. The smallest objects may have been the most key parts to finding food, luring fish etc. I also ind it interesting that these are exquisitely designed objects where perhaps that wasn't something that was considered and presented almost a subconscious focus on the act that this object needs to serve.
"Long-distance lovers? Smartphone attachment could let you kiss from ANYWHERE in the world"
I thought this was really random and comical but interesting view of technology and the relationship that an object has to human connection. It has the ability to pass on a kiss. It's unusual because it's an object which is making a bridge between physical contact. Do objects have the ability to carry such responsibility? Or are they just something in the way and create artificial emotions or artificial replicas of a specific moment or memory on time. Can there be an object which is not filled with value due to someone's connection to them but rather out a fetish like nature or one that it without nostalgic qualities but rather completely self indulgent/ desire fulfilling.
Psychology to stuff and things
https://thepsychologist.bps.org.uk/volume-26/edition-8/psychology-stuff-and-things\
"Most children have an unusually intense relationship with a specific ‘attachment object’, usually a favourite blanket or a soft toy. In an intriguing study by Bruce Hood and Paul Bloom, the majority of three- to six-year-old children preferred to take home their original attachment object, as opposed to a duplicate made by a ‘copying machine’. To the prospect of taking a copy, ‘the most common response was horror,’ says Nathalia Gjersoe, who helped run the studies. ‘A few very sweet and obedient children said okay but then burst into tears.’ Four of the children even refused for their attachment toy or object to be copied in the first place. That’s despite the fact they were happy enough to take a copy of an experimenter’s toy. It’s as if the children believed their special object had a unique essence, a form of magical thinking that re-appears in adulthood in our treatment of heirlooms, celebrity memorabilia and artwork."
https://plato.stanford.edu/entries/phenomenology/
"What may be called realist phenomenology owed its inspiration to HUSSERL's Logical Investigations. This type of phenomenology is characterized by a rich ONTOLOGY that rejects the empiricist restriction of entities or OBJECTS to the physical and the mental. There are material objects and thoughts, feelings, mental acts, but there are also numbers, states of affairs, logical laws, institutions, PERSONS, and works of ART. Such objects are not reducible to some other thing. Following the maxim, To the things themselves, objects of whatever ontological type are to be taken as they present themselves to consciousness and not as some theory or system says they must be. Every entity has its ESSENCE, which is not the reflection of how we use words but objectively exists. Moreover, they are not merely objects of thought but can, in a manner, be perceived. Phenomenology is the study of essences and RELATIONS between essences by means of a kind of nonsensory seeing or intuiting of essences."
Phenomenology was something that I saw as something that challenged my idea of connecting to an object through a sensory way but it was actually more about its existence in the world, connotation, symbolism when being placed in a new environment. An object being so filled with character that it is able to speak for itself when not attached to an identity.
Campana Brothers
Using everyday objects for design I thought was something ironic because often the things we find have no use but these were transformed to suit and make somebodies life style to be more comfortable. Again it's this idea of the every day being placed to use weather it be art or design. It has a certain aesthetic that something well polished and planned doesn't. The unpredictability and the form of these objects are out of control because they have been controlled by other factors which have given them their final appearance. I think there is something exciting that these objects hold especially something as crafted as dolls and seeing the human hand in these materials and their unknown signatures all over the outcome. Even thinking about also the evolution of the objects, how every material has been picked out from nature then synthesized to achieve the desired form, however it's that journey of an object that is constantly evolving, it's value is shaping constantly from owner to owner, unowned, missing, existing, forgotten, thrown away, hated, feared. Our relationships with these objects are so strong even if they are indifferent, the relationship is still there.
"Multidao means crowd in portuguese, and this is exactly what brazilian Campana Brothers wanted to show with their design. Sao Paulo is one of the crowdest cities in the world" http://www.nayivekalkach.com/blog/2012/8/16/multidao-chair-by-campana-brothers
"Drawing inspiration from the street life and artisanal traditions of Brazil, the brothers Fernando and Humberto Campana combine found objects - such as scraps of wood, plastic hose, stuffed toys and scraps of fabric - with advanced technologies to define a vibrant, energetic and definitively Brazilian approach to design...
By transforming their modest materials, the Campanas celebrate the discarded and mundane in work instilled with the spirit of contemporary Brazil that they describe as "zest for life"...
-I think this is really important to consider as well in our world where issues of global warming and pollution are at the top, being such a fast paced culture where it is cheaper to buy a new product rather than repair it, workers being paid less than 1% of what the company earns. I think it is important that we look at the objects that surround us
The importance of materials remains central to their practice: as does the process of transforming them. The challenge, as the Campanas see it, is to transform something poor into something opulent and decadent like the scraps of wood they found on the street to build their intricate Favela chair...
Their career has coincided with its cultural renaissance. By weaving the fabric of Brazil into their objects, Fernando and Humberto Campana present a very personal portrait of their country. "Brazil is our great fountain of inspiration," they say. "Everything inspires us: from the people and how they organise their lives, to geographical and ethnic variety. This fusion is what we truly consider to be modernity."
Perhaps it wold be interest to observe how dismissed objects and ephemera vary depending on location. It is imposrtant to note the important part that people play in these objects and the way they live their lives and different decision that have been made, values that are reflected in these objects that people find important or had been made for a specific design.
People, Objects, Time and Emotions: Interactive products stimulate human senses
After reading this I started to think about the crossovers between art and design. It was interesting how important human behaviour and feeling and emotion was to design, to evoke the right feeling and to almost make the object invisible so only the appearance and the function would be realised. This reminded me again of Rasuchenburgs white paintings where he took away the visibility of his application. This gives the viewer a blank canvas to fill with their own interpretation.
My materials are what society has left behind, what people see as discarded,” he says. “The process I put it through isn’t recycling. But I change the function. It becomes valuable.” For him, the omnipresent yellow plastic became a canvas to be drilled, stitched, and painted upon, hacking the jerrycans to craft conceptual masks and large-scale art installations conspicuously staged in Accra’s public spaces.
"Living in Japan, a culture much older than our own, developed within me a love for the aged and worn surface. The Japanese aesthetic has been a major influence on my work. This work embodies the concept of seeing beauty in life’s detritus. Materials consisting of used bits and pieces of everyday life, including wood, leather, fiber and metal are often used in the condition in which they are found. My style of working is intuitive. Each piece takes Its inspiration from the material with which I have
chosen to work."
This reminded me of the way I had worked with making samples from painting in a project prior to this. I had used paintings as reference to change them into textiles samples however whilst making the sample I would one to a point where the colours that I had used began to create their own individual sort and that's where I would stop trying to copy the painting into textiles perfectly and create something intuitively, being inspired but the process and the composition that has been derived so far. Also what was so special about her work that she uses every day objects that she finds and incorporates them in her work.
I think the idea of aged and worn surface is also interesting because that is what makes this objects significant. I think if it was just a polished piece without any human factor or evidence of human and natures interaction with the object it wouldn't have this gravitating interest about it. What also interests this artist is ephemerality which I find is displayed in art in so many different ways it's quite hard to really say what it is.
I really enjoyed Frank West's exhibition and especially the way he used throw away objects in his work furthermore making a transition or intermixing art into design. Another thing he did was take in alcohol bottles and placed them at the top of his sculptures. During a certain time in his life he was a heavy drinker and for him there was something about him consuming what's inside the bottle, the contents are there only temporarily however the bottle is a constant reminder of that moment and it is something that embodies
Mark Dion
"Mark Dion: Misadventures of a 21st-Century Naturalist, the artist’s first U.S. survey, examines 30 years of his pioneering inquiries into how we collect, interpret, and display nature. Since the early 1990s, Mark Dion (b. 1961, New Bedford, MA) has forged a unique, interdisciplinary practice by exploring and appropriating scientific methodologies. Often with an edge of irony, humor, and improvisation, Dion deconstructs both scientific and museum-based rituals of collecting and exhibiting objects by critically adopting them into his artistic practice. He has traveled the world to gather plant and animal specimens, conducted archeological digs, and rummaged through forgotten collections, arranging his finds into brimming curiosity cabinets and charismatic sculptures. His projects and exhibitions offer novel approaches to questioning institutional power, which he sees as connected to the control and representation of the natural world.
Organized around three of Dion’s primary methods—fieldwork, excavation, and cultivation—the exhibition traces his research-intensive work across media, time, and place, bringing together more than 20 of the artist’s most significant artworks, plus a newly commissioned interactive sculpture and a salon titled The Time Chamber containing ephemera, journals, prints, and drawings. The exhibition offers a rare look across the artist’s influential practice and distinctive material vocabulary."
https://www.icaboston.org/exhibitions/mark-dion-misadventures-21st-century-naturalist
Allan Kaprow
The Happening - The coining of the term happening we owe to an artist and lecturer Allan Kaprow. In spring 1957, Kaprow visited George Segal’s farm. It was due to his attempt to define and describe the art produced at this place, that the term was born[1]. In printed publication, the term was used in his writings The Legacy of Jackson Pollock. Unlike the ideas of the famous critic Clement Greenberg, Kaprow was less interested in the art object and more in the process of creation. His ideas concentrated on the production and promotion of art that used everyday life and everyday objects. Rebelling against the technical aesthetics of Abstract Expressionism, Kaprow emphasized the importance of artist’s action and the process of creation above the finished work.
https://www.widewalls.ch/happening-happenings-performance-art/
Before starting the project I was also interested in how I could incorporate interaction with the art work in the outcome. So it was interesting to find out about this significant time in art movements where every day objects were at the centre of and defined what happened next.
Kennedy Yanko
"Yanko encourages viewers to question their casual interactions with materials by pairing metal and skins. The dynamic she creates by weaving the skin through, around, and between metal pieces illustrates an investigation into perception. In 33, the skin explores found objects, physically probing them, and establishes a stark contrast in their compositions. By juxtaposing their qualities, each material gains a new existence in relation to its new context—and thus may be perceived differently than it otherwise would be. It gestures towards recognizing things for what they really are, and being aware of our interactions with these things: this work challenges manufactured perceptions."
-casual interactions with materials -illustrating perception of objects -found objects, physically manipulating them (the action of a person distorting an object) -each material gains a new experience in relation to its new context -noticing things on their own without even being infused with value. VauleLESS
Yes perhaps objects have a voice however what happens when that voice is taken away. Now without the context of it's owner the outside is able to make it's own connotation with where the object is placed. Just like Isle Crawford states that we understand materials best at contrast. Our senses are wired in such a way......
Wabi Sabi Philosophy
https://www.tofugu.com/japan/wabi-sabi/
"Wabi-sabi is an intuitive appreciation of a transient beauty in the physical world that reflects the irreversible flow of life in the spiritual world. It is an understated beauty that exists in the modest, rustic, imperfect, or even decayed, an aesthetic sensibility that finds a melancholic beauty in the impermanence of all things." -Andrew Juniper
In physical objects you can expect the use of natural materials in a rustic style. Imperfections are not from sloppiness but the nature of the materials and process, or the use of the object itself. Objects will be personal, humble, and functional. As a worldview, attention is paid to transience, harmony with nature, and attention to the tiniest of details.
- Impermanence has probably the clearest link: one embraces the wear, tear, and sometimes damage that comes with age. One accepts an object will change as they use it.
- Suffering too can be linked to damage, again in the acceptance that wear and damage is possible and likely as part of normal life
Our use or contact with a thing can define the thing itself for that moment. While this contact may leave a mark it will never fully define an object. The soup bowl of today may become a drip catcher tomorrow if a hole develops in the roof.
This talks about the object having more control over it's value through its design rather than the persona infusing in a certain value. At the same time it is we who are able to manipulate its value at the same time depending on the form of the object which begins to change as it's value changes. This also draws attention to the natural process of creation.
The installation is a meditation on the artist's childhood during the Cultural Revolution.The art of saving and re-using things is in line with the Chinese principle of wu jin qi yong – 'waste not'It is a prerequisite for survival during periods of social and political turmoilSong Dong's mother Zhao Xiangyuan collected the objects over a period of five decades.Each time Song Dong remakes the exhibition, with the help of his sister Song Hui and his wife Yin Xiuzhen, the entire family is brought together againMemories are rekindled and personal family objects are rediscovered, bringing powerful emotions to the fore.
In the barbican Dong even displays the collection in a way which is like a Japanese traditional garden. I think this is interesting in the way objects can even evoke our imagination to think of a landscape environment and a habitual place. One of the other reasons his mother was storing all these objects is to fill he emptiness when her husband passed away as it felt that if she cherished these objects she at the same time cherished the memories and she said it felt that he was still with them. This touches upon the themes of grief and how we don't want to let go of objects because of somebeodie's life once in ours and this grief could be reflected in many thing such as heartbreak, lost dream etc.
People through seeing this work can also begin to see their own personal lives reflected in these object.
https://www.moma.org/calendar/exhibitions/272
Wunderkammern, or cabinets of curiosities, arose in mid-sixteenth-century Europe as repositories for all manner of wondrous and exotic objects. In essence these collections—combining specimens, diagrams, and illustrations from many disciplines; marking the intersection of science and superstition; and drawing on natural, manmade, and artificial worlds—can be seen as the precursors to museums. This exhibition presents a contemporary interpretation of the traditional cabinet of curiosities, bringing together a diverse selection of works by twentieth- and twenty-first-century artists who have likewise felt the pull of unusual and extraordinary objects and phenomena. The works on display include prints, books, multiples, drawings, and photographs, with subjects ranging from architectural marvels and blueprints for impossible machines to oddities from the animal, vegetable, and mineral worlds. Featured artists include Hans Bellmer, Peter Blake, Louise Bourgeois, Max Ernst, and Damien Hirst, among others.
http://hiromitango.com/Lizard-Tail-Breaking-Cycle
"In its fourth iteration at Magic Object: 2016 Adelaide Biennale, the lizard tail grows larger than ever. No matter how many times I try to leave the tail behind, it grows back, larger and longer every time. As the anxiety of the world around me grows, the lizard tail grows and threatens to encase me. Like a strangler vine it curls around and grows wild. Over several years of community engagement, I have collected remnants from Art Magic projects from all over Australia. These remnants are charged with the memories, experiences and emotions of the many participants who have been part of past projects. Over time they have been accumulating in my studio. These remnants have now been grafted onto the Lizard Tail from Derby to form the basis of Breaking Cycle (Lizard Tail), unleashing an unholy cacophony of voices seeking release."
I thought Keen's work was interesting because she had used these sculptural aspects on a format that would usually be seen as two dimensional. From this I learned that actually the dilemma that I had prior to the begging of the project about whether this investigation should focus more on the compositional or the sculptural aspects of everyday objects, it can actually be a combination of both. Here is a perfect example of an artist using very much sculptural forms in a compositional manner. For me when I look at this it looks like something people should be able to interact with and that is where the line between art and life can break, the actual ability for the person to use more than one sense (to look) when it comes to a work. I think it is interesting that also scale is something that requires someone to move around more and that is why I think creating bigger sculptures would aid the desire to interact.
Furthermore this made me start to think about Lenka Claytons work and how could people without the sense to see can interact with this work. I had drawn these portraits of the photography from the final outcomes the blind had made as it was such an intimate moment that was captured and this made me think about how could this sculpture be personal too. How can the observer leave a mark on what they handled and found interest in so that a sense of narrative would be something that is ongoing every time somebody new uses this object.
http://www.lenkaclayton.com/#/sculpture-for-the-blind-by-the-blind-1/
"The object is a simple, solid, abstract form, with no corners or sharp angles. It lies with its longest side facing the viewer and has two ends at the right and left. The right end is larger and appears to swell, resembling the back of a baby’s head. This volume gently and somewhat unevenly tapers down the length of the object on all sides. It ends in a smaller, rounded point on the left that would fit inside a loosely-cupped hand.
This artist was advised to me during a discussion with a tutor and I just thought it was the most beautiful thing. I had researched previously how blind people perceive beauty differently and how it was a lot about the experience and the shape and form of somebody. How their hand fits in to the others. I think this almost materialised this experience.
"The top of the object is a flatter, gently rounded plane. The bottom describes a beautiful curve. The weight on the larger end of the object sits higher, the smaller end slightly lower. It balances on a central point from which the entire form lifts up, making it appear weightless and graceful. Its gentle curves recall the eroded planes of a river stone. The form somewhat resembles an egg but unlike the perfection of an egg it is enlarged, greatly elongated and asymmetrical.These idiosyncrasies reveal that it is created by human hands.
Except for a thin fold line on the front, shorter than a finger length, the surface is smooth and unbroken.”
Virtrine Gallery
‘If it’s not meant to last, then it’s Performance’ brings together a group of works that utilise a broad range of materials and processes – from ice, water, and wax to light, words, and heat. Each evolves, decays, or develops over time. As such, each could be considered a performance: a transient experience designed to exist in a particular moment. This exhibition contemplates each of these works in this light and explores how plans for their legacy (or potential acquisition) tap into the current conversation around collecting live art.
This made me think about the opposite way of enhancing texture. Sculpture gives the two dimensional and the textural aspect of something whereas something like fabric almost acts opposite where something that looks rough is soft. I also liked the idea of printing these textures that are so unique and made me wonder about maybe taking close ups of any objects that I find which would help me to analyze the texture of it more and help me to translate it more into sculpture.
I found this photograph in particular interesting because these were all the instrument that Sykes couldn't play which brings humour into this black and white photo which without context would suggest his relationship with them whereas actually there is no relationship. This is interesting because I think often in an image I look at the composition of the things that are there and try to find a relationship between them however what happens when there is no relationship, I found that taking pictures of found objects at the beginning of this project and collaging them together creates space for a new narrative where the connotations of these objects feed the brain which so much wants to understand everything it processes.
Notes from Florence Peak's interview and choreographers
Working with paint and drawing and introducing the movement of the body into the piece. Processes of enjoyment of joe sculpture controls space.
It’s not about performance. How can you perform work without performance?
“These are objects we use every day, they carry our food, they carry our shoes they carry our stereo system, they are the shell that we do easily discard somehow. I felt a real reverence for them and great fullness for them”
-playful - seeing other people together - collaboration - improvising with time and Being functional with something that doesn’t have a function - the relationships between the materials and performers
How to make a piece of work when you are too tired to make decisions (detail)
Freddie Robins
"This piece of work was conceived of during the first few months of my daughter’s life when I was lying in bed, over tired but unable to sleep. I knew that when I did manage to make work again it would no longer be possible for me to approach it in the same way that I had before. My studio practice was built on continuity of time and thought, which was no longer available to me. My work is technically challenging and even during my pregnancy I had found it increasingly difficult to make the necessary decisions, let alone do the required mathematical equations...
It took the decision making away from me and let it rest on the throw of a dice. It also enabled me to make pieces of work in very short periods of time where continuity of time or thought was not necessary. I could make work when I was tired or even give the dice and instructions to someone else and they could make it for me, no pattern necessary! Although in the past I have adopted a very controlled approach to my studio practice I have always loved serendipity. The idea of making something through chance held great appeal for me."
https://www.kunstmuseumluzern.ch/en/exhibitions/erwin-wurm/
"Erwin Wurm draws almost every day, be it when he is at home or on the road. For example, he bridges the morning hours until his family come together to eat breakfast by drawing. He works with easily available paper in various qualities and formats. Peace & Plenty (also the name of the hotel on the Bahamas where many of the drawings were done) refers both to the situation and to the sheer amount of the drawings.
Over the past three years Erwin Wurm has done about 700 works on paper especially for the exhibition, in pencil, crayon, ballpoint-pen or as watercolours and collages. These drawings are reflections, commentaries on the world, storehouses of ideas. Thematically, they resemble a diary given that people turn up in them with whom Erwin Wurm is in contact, artist-friends, family, but also self-portraits and current projects, be that ideas for One Minute Sculptures or drawings of caravans and trucks for his project for the 2017 Venice Biennale."
Sculpture Park Performance https://www.artsadmin.co.uk/media/documents/Art%20Monthly%20June%202012.pdf
Stephen Willats
http://stephenwillats.com/context/
"It is both an intention and an outcome that the development of my art practice encompasses the polemics and issues of our contemporary culture and society as a means of consciously examining the function and meaning of art in society. This necessarily takes it beyond the norms and conventions of an object-based art world, rather seeing it as a function of my work to transform peoples’ perceptions of a deterministic culture of objects and monuments, into the possibilities inherent in the community between people, the richness of its complexity and self-organisation. The artwork having a dynamic, interactive social function.
Some of the polemics and issues that impact on my work involve seeing culture and its society as fluid, transient, relative and complex. I view the world we live in as a multi-channel experience in time, that our encountered fragments of reality are in themselves random variables, that we create the order we choose to see, and in this respect art practice itself becomes a social phenomenon.
For me these concepts have remained a constant, as I wrote in the 1960s:- A work of art can itself constitute a societal state, a model of human relationships - A work of art can consist of a process in time, a learning system through which the concepts of the social view forwarded in the work are accessed and internalised - A work of art must acknowledge the relativism inherent in perception and the transience of experience, there being no right or wrong, it taking the form of an open-ended process - A work of art has the possibility of operating as its own institution and as such is independent of art institutions - A work of art can engage anyone meaningfully, being available to whoever wishes to enter its domain, only through embodying in its presentation the means by which people are able to acquire the necessary language and procedures to receive and internalise its meaning
My work engages the audience in a new way of encountering art in society. I am not talking about a compliance, but something more active, a mutual understanding, an interaction between people – similar to the dynamic image of the homeostat where all the parts of the network are equal and equally linked.
Ultimately I am interested in the idea that reality is our own construction, that we build it and we create the reality we want in our life. There is not only one way of viewing reality. My work is an open work, based on agreement and open agreement."
Speaks of how people who lived in the Bentford building in London had developed a certain language. They kept things with them that would make them familiar or reminded them of the world outside. He makes a simple connection with objects and these buildings. The grided backgound is representative of how this work is looked at and at what level is looked at.
Stephen Willats
Speaks of how people who lived in the Bentford building in London had developed a certain language. They kept things with them that would make them familiar or reminded them of the world outside. He makes a simple connection with objects and these buildings.
The grided backgound is representative of how this work is looked at and at what level is looked at.
After letting my sisters paint with objects I asked them some questions based on how they responded because in some cases they felt that they needed to be formal and behave quietly which was interesting because it was still almost like a gallery environment but they were able to interact with the work. I think this also made it more performative rather than play because they didn't communicate with each other.
It would be interesting to go out into the public with these objects and see how people outside of an art school environment respond. This is why I found it interesting talking to people back at home about my work. It made clear to me areas which needed more explanation and research and areas which can be left ambiguous for the viewers own imagination. For example I quickly found that it is actually more the psychological aspects of painting that I was drawn to rather than creating an instillation that was aesthetically pleasing. At the same time I wanted it to be an environment that would draw people in and make them curious as something comical and utopian because of not being able to recognise or label these objects.
http://www.newton-art.com/papers/painting-psychoanalysis-1999/
"In the dialogue between the painter and the painting, the painter can engage with all the issues defining relationships, and may be concerned with the rehearsal and negotiation of those theoretical concepts defined and isolated in the psychoanalytic discourse. For example, in the relationship with the painting, the painter may test tolerable levels of aggression and gain a deeper understanding of the limitations of omnipotent over-control and projective identification. The processes of projection and introjection are acted out in an ongoing dialogue with the painterly surface which moves towards a position where the artwork is allowed its own autonomy, presence and space. In a Kleinian sense, the painter may continually re-enact the transition from the paranoid-schizoid position through to the depressive position, with its associated ‘reality testing’ and mature acceptance of diversity and of the independent object complete with its own inviolable characteristics."
Tate Britain Mike Nelson
The Asset Strippers was the title of the show and for me this related to the idea of what happens when an object is taken out of context and is placed on a pedestal by being in an art gallery.
https://www.tate.org.uk/whats-on/tate-britain/exhibition/mike-nelson
"Nelson is interested in the cultural and social contexts behind the objects he has selected, as well as their material qualities. He explains
Their manipulation and arrangement subtly shift them from what they once were into sculpture, and then back again to what they are – examples of the machines and equipment left over from industry and infrastructure. The exhibition weaves this allusion with that of British history. It presents us with a vision of artefacts cannibalised from the last days of the industrial era in place of the treasures of empire that would normally adorn such halls."
Joanna Piatrowska - All our False Devices
One of the first things that I found different about this show was that the space it was placed in was really considered in terms of even interior design. The carpet was a colour that matched some of the frames and by adding certain colours she it made the composition come together.
Boroulleck is a painter who centres the process around the performative aspect of painting. He plays music while he paints and that works as a driving force to creating his strong gestures that in the end may reveal a portrait upside down! Even though what and how he is painting is different I wanted to know what a painter like that valued about the lay out of this performance. Something to note is definitely the scale of the canvas and it the tools aren't part of a composition. Rather than focusing on objects being important to mark making, he uses his whole body when painting and is constantly moving form one corner to the other. This makes me also want to note which sculptures have made people feel the most free .
I noticed from the first sculpture I made was that also the scale of the paper mattered and outcomes were less expressive when having more space. Furthermore the use of black pigment instead of yellow has given people the confidence to make marks that are more bold.
Caroline Broadhead
I found it really interesting the way Broadhead talks about shadows in her work and how the shadow is something that represents the object when it loses its materiality. We are no more looking at the object but at its form. She explores the shift between substance and image. This is something that I wanted to consider in my projection videos, especially how shadow of the object can present something completely different depending on the direction of light.
Kaprow's approach is interesting in the way he avoids aesthetics and has found that this is something that affects how people interact. The Happening almost is set free from any perfectionism and pre conceived ideas of what is right or wrong when the lay out isn't subconsciously feeding information about this to the people involved. It's interesting because this is something that I haven't considered as much. I think looking back on my work I have taken steps away from having colour and composition be the driving force I have made less of an accent on . The writer also talks of how Kaprow makes these happenings
Neagu - Tate Modern
An art critic was talking about this piece when I came into the room
"The rooms in which the objects were hung were painted black and unlit. Visitors to the gallery experienced the exhibits by feeling their way around the room, sensing the objects individually by touch alone. In this way, Neagu's intention was to create works which elicited a response that went beyond, and largely eliminated, purely visual considerations, focusing instead on form, texture and the associations these qualities provoked."
Fashion and Fine Art
https://evyjokhova.co.uk/The-Shape-of-Ritual-Wotruba
"Through The Shape of Ritual, Jokhova explores connections between music, architecture, and the human body. The project is centred around the visualization of a mathematical formulas, the logic of which determines the construction of both buildings and sound compositions. The work hinges on a text by the American architectural theorist Charles Jencks, who demonstrated the ways in which architecture and music interrelate using the Pythagorean theory."
ARTsor
Being introduced to this database has been extremely helpful because even if it gives results of something that I didn't have in mind it works around the search word still in a way which relative and where I can find appropriate connotations with the topic that I am looking for. This was one of the first things that came up when I typed objects and actually it related closely to some of the ideas that interested me in objects and their purpose. Even though I couldn't find more information about this image what I liked about this is that the propose of them was now completely gone as if it began on the right track but then something went wrong. It has all the properties and potential to be what it needs to be useful however something is either too much or too little. I find it interesting when an objects purpose is being challenged and where it has control over its own use and perhaps how much control do we really have over objects when their form begins to change over time.
As I am still trying to find the foundation for this project I want to things that may inspire me that are from a completely different theme. At the same time if I will change the idea I want to be sure I understand it enough to say I don't want to delve into it deeper. At the moment the idea of objects is something that interests me so I read some of Neil MacGreffor's book to understand how objects played a role in our lives today as well as in history.
100 Objects
One of the things that was inspiring about reading this was that something that objects have the ability to carry is a representation of the environment they originate from or where they have been taken to. As well as that they have the ability to present interactions and carry a message. I find that if the every day objects we own and that surround us really did have an audible voice they would be able to tell us about our habits, characteristics and values more than what we were aware of. Our life experiences revolve around these objects and they are something that enhance our life as we fill them with value.
Another interesting main point I've read in this book is that these objects also require us to use our imagination to almost imagine a place and a habitat of where a particular object originated or its connotations. Of course this would be person and different to each individual but at the same time I think that is what I find exciting is that everyone experiences these objects differently. I think I want to explore that idea of when an object becomes personalised. There is something about that object that shows that it's ours. And as individuals there is a range of objects that are always surrounding us to work as an extension of who we are and actually enhances our individuality no matter how materialistic someone may be.
Using senses to remember/ recognise/ memories.
I started looking into the idea of what is it like if objects are something that is at the centre of somebodies way of communicating. I became interested in how people those who lack vision centre their lives on tangibility and how it helped them to remember or even make decisions. Watching interviews with how blind people perceive beauty has been interesting as it gave me a new perspective on how objects can be comprehended and experienced rather than being aesthetically attractive and being a tool of expression that is focused on form alone rather than appearance.
Louise Bergouise
"Well-used fabric has a capacity -- if not unique then unusually powerful -- to embody both a communal, historical moment and a local, specific story: this is what a sofa looked like in Nice in 1923, this is what my mother wore. Inhering in fabric is, well, the fabric of our lives. What physical substance -- apart from our flesh -- could be more intimate than what we put against our flesh? It is the ideal medium to translate Louise Bourgeois's subliminal domestic dramas into an evanescent narrative.
On the pages of "Ode â l'Oubli," hundreds of swatches of fabric are cut and pieced, appliquéd, embroidered, tufted, rolled, woven, quilted, layered. Traditional needlework techniques like couching and rouleau work are used. Cords are made from old, cheesy pink stockings and evolve into graphics, satin stitching turns rips into eyes. The cover and two pages of text are lithographed directly onto the monogrammed linen napkins from Ms. Bourgeois's trousseau that are the base of many pages."
I found it interesting how Bourgeois heightened and celebrated the relationship she has with her mother through using these textiles which associate her life with her. These are taken out of duvets and sofas and placed into these almost symbiotic variations. There is something about using materials which you already have a connection with and I think is something that stirs the process of making because I think out experience with them heightens our want to care for these objects and the objects message doesn't get too abstracted.
Seth Price
Price's work was similarly object-focused and I liked how textural it was. The way he looks at concept is quite ambiguous. It also made me think about how Vriesendrop looked at objects as being full of symbolism and "objects can symbolise concepts and vice versa". I liked that his work was full of movement from which object were central to. He is also successfully using colour and composition and through this almost scrutinising every characteristic of the object. Perhaps more distorting it even from its original purpose. There is something about objects being placed still and viewed as art that makes them timely because of also the different connotations that they carry within themselves. I think it would be interesting to take this idea of distorting or interweaving objects by taking their key characteristics and exaggerating them.
HIs vacuum forming work makes me think of Rasuchnger's white paintings and I think it also enhances this idea of lack of senses to view the whole object or perhaps this being a representation of how objects are like things that need to be filled with character. Before they are attached to an identity they are like empty canvases
Research Notes: The Home that 2 Built, Phyolosophiz This Podcast, Objects of Desire
Ceramic Sculptures - Lark Studio Series - Ruta Pakaraklyte
"She is also exploring the relationships between environment and human, she focuses on the drawbacks of the welfare state. By constructing objects from porcelain castings of rubbish she wishes to convey a political message. She wants the litter we encounter every day to form the basis for our reflection, consumption and surroundings."
What interested me was the mention of rubbish that is around us. The things we throw away that we don't want to be part of us anymore. The thing that begins to harm the environment around us - what happens if we actually recognised that these objects never stop being part of no matter how far they are. The objects we own can also make a positive and negative impact. I liked that her work shows this almost morphing nature where the line between our identity and the things we own is more blurred
Barbican Exhibition
"The Liminal Space team then went on to engage over 150 people from the research cohort and a diverse range of London communities through a series of creative workshops. The personal and philosophical insights of the interviewees and workshop participants uncovered a wide range of narratives about our ageing society.
The free installation opened this month on the Barbican’s Level G and allows visitors to engage with the topic creatively through an engaging variety of multimedia stories and objects featuring text and audio recordings from the interviews.
Sarah Douglas, Director at The Liminal Space said: "At a time when one in three people will live to 100, Unclaimed examines how our childhoods, jobs, health, wealth, families and technology will impact our experience of getting old. It engages people in crucial and essential topics like the inequality of ageing and explores how we experience and view aging in relation to our sense of self, each other and our wider society.""
Perhaps the way this relates to objects is that they also age. Ideas for new ways in which I can use research. What is special about objects is that they live on and don't decay with us.
Visiting this instillation played upon some of the key things that interest me in every day objects or perhaps actually revealed to me what it is that really inspires me and makes me excited about mundane objects. This instillation led story telling, research and narrative through objects. Furthermore these objects were something that people can interact with and feel. People could use these objects to literally hear people's stories using a cup to hold against a sound system that amplifies the sound of someone speaking.
Every area of objects had its theme. Glasses had connotations of questions and conversations about the way people view the world and the universe. Collection of books had facts on how people's wisdom was actually something that wasn't defined by age and the importance of ability to read in a child is something that will reflect their quality of life in their 70's. Of course the instillation made you ware about aging and creating a community where all ages are treated equally but the way it had been executed through the idea of lost property is what made it really interesting and interactive as well for the children who are this way also made aware of these issues.
I also enjoyed the questions at the end and reading people's answers. Such as what would you do it you lived until 100? As you've gotten older what have you learned? The instillation also made you think about the frailty of life and how even though these facts may have these rounded up numbers or facts about every one in 3 etc. but from the while experience you still go away with the feeling of recognizing how important and individual each life is and how we can play a role together and come together even if out views our different.
Things - Radiolab
Some of the things I noted down from this podcast was the relationship that children have to objects or more specifically how they comprehend them during the first months of their lives and furthermore what it is that makes us so attached to objects or the things that makes us value them.
I found it really interesting that for children when for example playing hide and seek with a toy where their parent hides an object behind their back, the reason they find it so entertaining is that for them it's like the object is not in the world anymore. It's not hidden rather it does not exist. I think this highlights our understanding of objects and that our emotional reactions are the strongest to an object when it seems like it ceases to exist. Furthermore the very thing that makes value a certain object when it has been given to us is the fact that a person that means a lot to us has had physical contact with this object and it is actually the interaction of this object that carries its value no matter what it may be.
Chiharu Shiota
"Shiota's installation deals with how familiar objects gain and lose meaning, and what an object says about its owner. The artist describes objects such as shoes as acting like a “second skin,” containing the imprint of a person. “I was living in Germany and I went back to Japan and I put on my older shoes," she says. She found that her once familiar shoes no longer fit. "I was thinking, what is this gap between my feeling and my shoes, and I wanted to know." Shiota decided to explore that question through art and began asking around for shoes from friends, in newspapers, and on social media. She received 2,000 pairs.
The Sackler installation, tailor-made to the space, consists of 350 shoes, each tied to a handwritten note about its owner. "It is concerning the absence of the body," curator Carol Huh says about the installation, "and how objects can resonate with some sort of absence."
One shoe belonged to a boxer who wore it while training. A religious pilgrim wore another during visits to 33 temples."
Often when I visit my friends I will always see a collection of objects of some form either earrings to plants or shoes that are set out in an orderly way. Each collection is individual and speaks for the person and their style and what interests them. It would be interesting to photograph people's wardrobes as that is a sort of collection that everybody has. Every body relates to clothes sometimes in an emotional way. To wear something on a day it has to feel right even for a person that doesn't give their outfit much attention it still has to be something comfortable at least.
This instillation similarly looked at objects just on their own without manipulating them in any sort of way. The ida of thread comes along with the ida of perspectives. I want to makes something that manipulates this objects or places it into an unordinary position where it's soul purpose is no longer the original one because it begins to have different connotations and that is an interesting moment when an object begins to lose it's original design.
Presence, objecthood, and the phenomenology of predictive perception Anil K. Seth
This was an article more about the tangibility of objects that we see around us and the way we perceive them.
"Several commentators highlighted a distinction between presence and objecthood (Di Paolo, 2014; Froese, 2014; Hohwy, 2014; Metzinger, 2014), suggesting that counterfactual richness might be associated with the latter, not the former. Indeed, when visually perceiving a real tomato (Figure 1A) there is both a sense of presence (the subjective sense of reality of the tomato) and of objecthood (the perception that a (real) object is the cause of sensations). While distinct, these properties are not independent (contra; Froese, 2014), indeed the opening quote in the target paper, from Alva Noë, highlights that presence and objecthood often go together: “How can it be true … that we are perceptually aware, when we look at a tomato, of the parts of the tomato which, strictly speaking, we do not perceive. This is the puzzle of perceptual presence” (Noë, 2006, p. 414)."
The Story of Stuff by Annie Leonard
This book has been one of the most mind opening things I've read due to the shocking reality of how dismissed objects just being constantly replaced. As well as how harmful the chemicals put into our clothing our for our health and for the people making these clothes. I think this brings awareness to how we can care more for the objects that we have in our home and only think about purchasing new things when they're on their last legs, buying from second hand shops. Furthermore art is an opportunity to recycle these objects, so many fashion collections have been inspired by used plastics, rather than recreating these materials they are already exist for us. I think this also makes us notice things that run in our cultures. That's why I like Diane Cooper's is so interesting because she collects these used fabrics as well as celebrating the state that they have reached, every edge shows how it has been worn and the idea of collecting coming not from a consumerism perspective but from the perspective to celebrate and appreciate.
Coming from a fine art school Margiela expressed his interest in fashion through found objects during the 90's. Even though I wasn't able to find information about the collection, it was interesting to see how inrecatly woven this piece was, celebrating the life of an object that has gone past it's use. Having looked at consumerism during my research I found it was quite anti-objects (The story of Stuff by Annie Leonard) however at the same time it talked about caring for an object to the point where the neccesaty to only throw it away would be at the point where it is completely on its last legs. Here in this waist coat objects are beginning to be used outside of their original use. It's quite interesting to see the transition, almost an after life where an object is reincarnated into something new. Where before the signs of the object being used though scratches of the knife now this piece has a completely new way of showing human elements throughout time.
Franz West
Franz West was an artist who was brought up during the aftermath of WW2 and was exposed to ruins of neighbourhoods whenever playing out as a child, never grass or a typical landscape therefore the 60's was a huge contrast for him. People are immune Viennesse actionists when they faced what they had done in the war and it's interesting because just like these ruins West began to bring elects of them into his art work.
He was very aware of artists such as Allan Kaprow and the way he placed art and life together which is an idea I liked from Rauschnegurgs Paintings however here it is more sculptural.
Mudlarking
After looking at Dion's work it reminded me of mudlarking (which I really wish I went to :'( but I felt he had done this on a bigger scale as well as mud larking having this historical value of presenting the significance of these objects at the time, these things may have been there since Tudor times and this time their surface has not been altered by people but through nature.
Lee Paul
"Paul Lee’s work is born of a relationship between particular material forms and romantic, unspoken narratives. Towels, washcloths, lightbulbs and tambourines are humble objects that find their way into Lee’s work: things that are part of a language of our shared experience of the world. Reconstructed and reordered with basic materials, the ‘real space’ of these objects and their properties is abstracted into an implied pictorial space that intends an expression of intimacy and vulnerability.
...worked by hand, dyed, painted, cut and reconstructed from their bare bones to describe space and shape with line and colour."
One of the objects the personal had for over ten years and as it is a vegetable it began to take a different form and appearance of which she always took photographs and captured before it becomes too fragile and not able to hold its mass.
The objects that I found the most interesting were the ones where life was apparent on them. It reminded me of the way Rauschnenburgs combines were spoken of in the way they place life and art together. Placing paint on taxidermy animals and putting his bedsheets as an art piece invites people to make connections with every day life and art.
So far I hadn't come across an artist that has portrayed objects in a way that relates to the way I envisioned in manipulating them and displaying them to present their importance. I can't even really explain it when I first came across this artist, the way they noticed the color of these objects and placed them into these compositions and instillations touched upon the themes that I want for the audience to notice in a pice of work. You can see how a life of these objects has been displayed on its surface and most of these things have began to take shape of something new and unrecongisible so that only it's color and form is significant to the work but still it carries so much within itself through even the wait has weathered, rust, scratches. It reminds me of the sofa arm in the 'Taking things seriously" book. WE can only speculate how life has been lived around these objects. Finding an artist like this has really also helped mw to see why objects interest me and why I want to do this project. Furthermore the way she speaks and highlights the process of changing the form of these objects made me think of Kaprow's Happenings because it was something unpredictable and her work has an elect of improvisation similarly to Cooper's work where it was quite intuitive in the way she evolves the composition based on the object it itself. There is something about the individuality of this object where we don't know its value it begins to ask for connotations and gravitate to objects that surround it in a cohesive way.
Yanko also spoke about her work having a relationship with renaissance painting and it reminded me similarly the way Susan Schultz was interested in renaissance still life. I think from this I will look more into this and why people used these specific objects to paint from. I find this interesting because it is a new way of looking at found every day objects. The act of painting always bring out this voyerstic aspect of observing or even appreciating something.
Interestingly Yanko also had a performance based exhibition where it was based on the idea of material and the performance was centred on feeling so was very intuitive just like Yankos work itself.
After looking at the photography from some previous ( L'autre Luc Delahaye photogrpahy) I found Jean Baudrillard a French philosopher, who I wanted to find more about.
This made me want to look more into vacuum forming. I had found a plug on the street and it would be interesting to see how it looks in the way that Price is using these forms. Similarly to Rauschenburgs white paintings I think it helps you to observe the materiality of the object rather than it's purpose especially when it is placed in the context of art.
Blindness
There is something really heartbreaking and equally hopeful in these images where people hold these objects. They are such intimate photographs, for these people it is an object that they themselves can actually see better than anybody else because they are the creators of the work. It is so focused on the physical rather than the visual making process. I really loved home Clayton had described these people's gesture and signature being engraved in this idiosencratic way which perhaps even tells a little bit about their sight about their touch. Their senses are apparent on his piece object. I think this is really interesting because we could look at objects that pass through out hands from day to day and we are able to see it wearing off, however here is something more internal. It's almost the same process however the idea of it is scrutinised which is what reveals this idiosyncrasy.
Another reason I found this interesting was also because I have come across this so often where people that lack a certain sense, you see this completely new perspctive on something that you do every day. It is quite mind blowing. Earlier this month was on the tube and saw a deaf couple using sign language. What was so special about it was that they were telling anecdotes and jokes and seeing a response of laughter from their partner after
Living with Buildings = Wellcome Collection
architecture of hope - This was also to do with people cancer to feel at peace and not feel like you're in a hospital which gives people confidence. I think similarly to the blind architecture.
Beehive flats
Therapeutic cancer buildings
Colour palettes that are soothing.
Phillida Barlow
What I liked about her work was that mistakes and chance were all part of her work. In the introduction video in the gallery it showed how she would drop her sculptures and let whatever was left to be part of the piece. Rather than letting the audience reveal areas where she has handmade this object she let other variables change the surface of her structures which was something unique because it was almost as if the sculpture became independent. She speaks about being on the edge of being in control of her making process and how sculpture itself can have more power. This was something that challenged my idea of how I approach sculpture and try to make it exactly what I want it to be, rather she lets it do its own thing.
Inventory for Alucard’, Arcade machine panels, mixed media, 2019
"Liv’s sculptural output examines video game culture, it’s common motifs and themes as well as it’s reassurance of ‘retro’ popularity. For ‘Premiums’ Liv presents a display of 28 arcade machine panels, deconstructed and decontextualized the painted panels become sculptural reliefs within the gallery context, the only clues to their previous existence being the occasional pictorial video game references and of course the works heavily referencial name."
Presont's work was one of the first ones that caught my mind in the gallery because of simple the composition of these objects was, the objects spoke for themselves in their colour and where they came from creating this collection. This also made me think about the conversation I had with my tutor about making the compositions look less conventional.
I found this work interesting because this was at the point where this artists was less physically able to create big sculptures due to her pregnancy and created something every time she had time. This gave is a sense of time when she came to display it and it was about taking something small and insignificant and pulling it together at the end. I think often time isn't something that isn't present in a piece of work unless it visibly looks that it took a long or an extremely short amount of time to make. Also this was an approach to sculpture I've never come across before especially using knitting in this way. Knowing how time consuming something like this can be and how intricate it is, knowing that the artists was making this in her spare time makes it a really intimate piece. I think this is something that I want to consider when installing work in the park and how can I make something that is referenced from the urban environment more intimate and relate to the human signature leaving a mark on the objects we own. I think the process of knitting itself brings these comforting connotations with it.
Robert Fairer - John Galliano 'Unseen'
I noticed this book because of the way the fashion similarly was using things like newspaper and wires. I liked the reference they had to drawing "delicate headpieces with a transparent copies, and three-dimensional scribbles in space which resembled kinetic sculptures."
https://oss.adm.ntu.edu.sg/18s2-dm3003-tut-g01/experience-3/
Inspired by works from Rebecca Horn and the book of Madeline Schwartzman, make an apparatus that distorts the space around you.A scenographic morphing device.Analog and/or Digital.
Erwin Wurm Interview
Warm does something interesting with the idea of taking away a value and original purpose of the object to show how the object relates to the body. I thought this was interesting because it makes the subject decide the perspective form which they want to see the object in for themselves. I wanted this approach to be used when people approach the objects that I create.
Erwin Wurm - 1 Minute Sculptures
Sam Taylor - Wood
This was one the ideas that made me think about how I can divide some of the action made in by people interacting with objects I create. Also it made me think about the line between sculpture and painting and specifically the moment when the sculpture transitions into a drawing tool when the subject decides to create and image.
This work captured my attention because I liked the tension that the narrative created between two screens. I think it also showed two stages of a conversation and especially being an argument, having items thrown which weren't visible where the two screens didn't meet, made almost a personal bubble for each person that is in the shot and made the viewer focus on how that item is being experienced by the individual. I think it also made you notice things that otherswise would be taken for granted. They are divided of each others presence in the shot which makes their response to their statements even more exaggerated.
This made me think about how there are different stages to when people get to know the sculpture. Based on this it would be interesting to separate shots where the person gets to know and adapt to the sculpture and the stage at where they begin to use the sculpture for purpose. The first moment that the objects takes on its asset is when the subject decides to use it for a specific purpose. I have found that there is a specific difference when people first see the object and try to find and explore different possibilities in the way they can be worn or held. After this only then people begin to think about the painting, placing the object on their body hasn't been an instant reaction to painting.
This work inspired me to work with sculptures that would be even more awkward to handle because rather than handling them you would need to place your hands through it. Almost like a shield something that would even make an obstacle to see where and how you're painting. Finding even more ways in which the sculpture could take more control over the painting process and where the subjects has to give in and trust the sculpture.
Talk on the piece at the gallery
Art Therapy -the Revealing Image, Analytical Art Psychotherapy in Therapy and Practice
https://www.contemporaryartdaily.com/2016/10/elfie-semotan-at-gisela-capitain/2016_untitled_es-0159/
"Elfie Semotan, who gained attention as a photographer with her unconventional ad campaigns, fashion photography, and portraits, has chosen still life as the subject of her most recent work. In these new works, the artist finds her imagery by casting an especially attentive and sensitive gaze upon often overlooked and everyday objects. She delicately documents found, seemingly coincidental constellations among her immediate surroundings. Semotan’s view of the things around her is not dictated by an internalized, learnt way of seeing, but is rather one that is very much personal and intuitive. Unusual perspectives, and especially light, are characteristic aspects of her new compositions. The fall of light and cast shadows lend the objects a presence that exceeds their own physical boundaries. Semotan’s interest in structures, graphic forms, and specific similarities are all further important compositional aspects. Her still lifes are often indecipherable at first glance, rendering their recognizable references to reality momentarily enigmatic. Yet, Semotan does not seek to give everyday objects heightened importance through staging. Rather, she explores her surroundings in a visual way, making occurrences and situations normally afforded no special importance, visible. Semotan’s personal sensitivity and intuitive perception of her surroundings thus become formative moments in the creation of still lifes that are, at times, poetic."
Hans Arp - Chance Form Language
Arp associated himself with Dada and surrealism and something that was at the centre of his influence was his "playfully organic quality in his work". He continually reproduced an endless stream of variations of these natural forms and I liked how this excitement about simply finding the randomness and all these variations in an object was something that was a driving force in his work. He relates to Dada in using the method of 'no-sense'. It was something that highlighted his ability to constantly be aware "of a reality behind every day life". I liked the way this was explained because I think there can be a balance when anyone is interacting with the made object where you explore the possibilities of your imagination through image making that is partly directed by the object and at the same time aware when that sense of control is taken away from you and is gained again. It is an awareness that faces the reality of every day life face to face
https://www.artsy.net/artist/hans-arp
"A pioneer of abstract art, Jean (aka Hans) Arp was instrumental in founding the Dada movement and participated actively in Surrealism and Constructivism. In his collages, reliefs, and sculptures, Arp often incorporated waste material such as discarded paper and fabric, and embraced chance and spontaneity as integral components of the artistic process. In Collage with Squares Arranged According to the Laws of Chance (1916), for example, Arp explored the potential for unique compositional relationships that result from inadvertent arrangement of collage elements. Arp’s articulation of biomorphic forms, inspired by organic material and the human figure, was simultaneously explored by Joan Miró and proved to be hugely influential to later 20th-century abstract artists."
Another thing that holds value to me in Arp's work is the relationship he places with the body with the work that he makes
Joan Miró
A discussion between artist expert Anne Umland and Miro's grandson, Joan Punyet Miró: https://www.youtube.com/watch?v=N2mrK33gCYE&t=303s
Miró had a goal to communicate a vision of hope in the middle of a time of fascism "a space beyond the solid world...
This is something that I found that I have come to value whenever making work. The idea of creating a space in the outcome that challenges the viewer to use their imagination to make this space personal and relatable to them. When we experience new things, even though many people can experience one thing it is all personal to them and the way they look at it varies. Especially John Berger's "Ways Of Seeing" stresses this...
“The relation between what we see and what we know is never settled. Each evening we see the sun set. We know that the earth is turning away from it. Yet the knowledge, the explanation, never quite fits the sight.”
Pessimist who believes in the transcendent power of the work he is making"
http://www.lglondon.org/index.php/project/out-of-eye--apriljune/
“Out of Eye”: on a basic level, “out of” might simply mean “from”. Yet it is not difficult to imagine a second meaning, the suspicion of something removed, or cut out, of the eye. Going further, we might suggest a third reading: the beyond. Something out of the eye is, in part, something which lies outside the eye’s range; outside standard perception, cognition or experience.
This exhibition sees the encounter of five practices interested in cut-outs, fiction and cognitive estrangement. The works unveil lost and found narratives that reckon with their environment and frustrate our curiosity over what might lie beyond the radius of sight. Attention is paid to the activity of cutting and reconstructing images or texts as a method of freeing content from its original meaning and reappointing it to new systems of awareness. The dynamism of material, pictorial and historical relationships, together with the use of repetition and doubling, are used as strategies to terrorise and allure our attention, and confront apprehensions of reality."
Something that was often repeated in this exhibition was the use of different angles when filming or creating a background which gave the audience a space to use their own imagination and where the work was asking to be interpreted rather than speaking out at you. I think as this project has unveiled I have recognised and can conclude that object and the subject work cooperatively and it is at that middle ground where the edge of which side is in control, at the moment we are able to see the unconscious. I think "Out of Eye' also represents something outside of our understanding. There are so many things that I don't yet understand about how the objects we surround ourselves with, even when not fully visible they speak for who we are.
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Watching this made me think about the importance of the environment of where the object is placed and how these factors also have the ability to bounce off each other and what happens when the performative part of the object becomes planned rather than instantaneous. Methematical. What if people were asked to perform one particular action, more specific than just to paint with an object, to scrutinise that and really see when does the object begin to speak out in this moment after letting multiple people perform this action. Are we able to detach ourselves from the things we hold or will they be subconsciously ever-present.