15/12/2011
02/12/2011
Jessica Voorsanger Tutorial
During my one on one with Jessica we discussed the installational piece
which I’m currently putting together/experimenting with. I told Jessica about
my plans to incorporate a single slide projection; the image itself being the
same as the one I have already printed onto the foam structure. Then
referencing the ‘breakfast scene’ quite literally by sitting the foam piece
onto a table, set up with objects/props such as cups, cutlery etc – allowing
the projected image to overlap onto both foam and table – could be an
interesting set up? However talking about the work made me question whether
this use of mixed media is necessary for what I am trying to convey within the
work, does it need to either be stripped down slightly and just focused on the
visual or the medium itself? Or could it be taken further and the theatrical
aspect pushed?
Jessica pointed out that this installation could almost
resemble a 3 dimensional storyboard. Exploring the physical space.We also discussed the content of the imagery – looking further
into this idea of the functional/dysfunctional family. Questioning why it is I
am wanting to show images of my family in particular.
Further to this tutorial, I now intend to:
- Explore film further, as the cinematic quality of imagery quite obviously references this.
- Perhaps experiment with moving stills to create more of a narrative? Evoking a sense of nostalgia.
- Looking at ways of converting a physical space into more of a personal space which people can then interact with physically.
01/12/2011
SALON: Open Critique
Taking part in the SALON gives us the oppertunity to temporarily put up work in the South London Gallery and then present it to both our peers and members of the public. It is a very daunting experience first off, however, one I found to be extremely helpful influencing the progression of my work and also my confidence when speaking about my work.
I decided to show part of an installation I had been working on, which was the combination of a 35mm slide projection still, a large piece of rectangular styro foam and a table top; however it was very much in an experimental stage, and therefore not quite yet quite resolved.
The cream table top sat ont the floor of the gallery, whilst the foam on top of it presented the projected image of my brother and father sat at breakfast table drinking. In order for the projection to be seen, the lighting had to be partly dimmed; if too dark it would cancel out the image which was already printed on the material. The projection was to act as an alterior dimension to complete the breakfast scene image. However, I wasnt convinced myself that this was neccessary once the installation was put together. Was this giving too much away?
My initial aim was to re create or re stage this speciffic scene using the inherent qualities of the materials and the combination of image and object. I was drawn to the styro foam because of its power to absorb an image, presenting a very seductive and cinematic quality, which I felt contributed to this sense of place and nostalgia.
Even though initially, my plan was to build an actual breakfast table in order to reference the scene quite literally; after seeing it set up in the space, I felt it worked as an interesting piece sat on the floor. I just needed a set of objects such as cups, saucers, plates and glasses to be placed on the table to make it more on the way to completion. If an actual table and set of 'props' were to be incorporated into the piece, I felt this could look very theatrical and 'too' set up and perhaps an installation that is not 'believable' to the viewer which is something I really do need to think more about. How are the objects functioning and how is the image functioning?
I decided to show part of an installation I had been working on, which was the combination of a 35mm slide projection still, a large piece of rectangular styro foam and a table top; however it was very much in an experimental stage, and therefore not quite yet quite resolved.
The cream table top sat ont the floor of the gallery, whilst the foam on top of it presented the projected image of my brother and father sat at breakfast table drinking. In order for the projection to be seen, the lighting had to be partly dimmed; if too dark it would cancel out the image which was already printed on the material. The projection was to act as an alterior dimension to complete the breakfast scene image. However, I wasnt convinced myself that this was neccessary once the installation was put together. Was this giving too much away?
My initial aim was to re create or re stage this speciffic scene using the inherent qualities of the materials and the combination of image and object. I was drawn to the styro foam because of its power to absorb an image, presenting a very seductive and cinematic quality, which I felt contributed to this sense of place and nostalgia.
Even though initially, my plan was to build an actual breakfast table in order to reference the scene quite literally; after seeing it set up in the space, I felt it worked as an interesting piece sat on the floor. I just needed a set of objects such as cups, saucers, plates and glasses to be placed on the table to make it more on the way to completion. If an actual table and set of 'props' were to be incorporated into the piece, I felt this could look very theatrical and 'too' set up and perhaps an installation that is not 'believable' to the viewer which is something I really do need to think more about. How are the objects functioning and how is the image functioning?
30/11/2011
Artist Talk: Sinta Verner
"In most of my architectronic installations there is one particular viewing point from which the space appears flat and pictorial. If one leaves this viewing point, the illusion of flatness is exposed... the inbetween space between picture and space."
29/11/2011
27/11/2011
Tutorial with Donal Maloney
During the one on one Donal and I discussed how to expand and clarify certain sentences within my
project proposal in order to make clearer my exact intentions for the work. Refining
the rhetorical questions within the proposal and making more specific.
How to begin research into historical context – choose 5
things the work ‘could’ relate to and 5 things the work directly relates to.
With regards to my referencing of particular artists, I need
to explain how they use both material and imagery to construct situations and
interventions.
To look more specifically at both image and material within
my practice – who has used similar imagery/techniques? The dialectic links. Establish
whether my approach will be inductive or deductive.
The issues I will be
thinking further on as a result of this conversation:
- Begin a work plan chart to show aims/goals and development of work in order to achieve a stricter working style.
- I will look at critics of photography – how much photography is dematerialised. Researching journals online and also research into the history of printing techniques.
- More in depth research on artist Phyllida Barlow – her article for the Tate on sculptor Eduardo Chillida and also Tate videos “Abstraction & Interpretation” and “Encountering Eva Hesse” – in order to get an idea of Barlow’s views and also her way of working.
24/11/2011
East End Gallery Day
Joan Jonas at The Wilkinson Gallery
Mesmerised by her beautiful combination of fragmented sculpture and seductive video imagery
Mesmerised by her beautiful combination of fragmented sculpture and seductive video imagery
17/11/2011
16/11/2011
South London Gallery: Gabriel Kuri in Conversation
I had seen Kuri's show at the South London Gallery previous to the talk, and became fascinated with his use of hard and soft sculptural assemblages. Therefore when the oppertunity arose to attend a talk of his at the gallery itself, I was there!
Kuri is looking at the collapse of the financial market and exploring this through his work - a lot of his pieces reference statistics; concentrated on the positioning of elements within the artworks (charts), he felt as though there had to be a physical sufficiency.
He descirbes his work as "a heirachy of materials", a sculptural investigation into the nature of abstraction - how an experience can turn into a shape. Kuri also enjoys exploring the relationship between the soft and hard and the tension between them. Allowing the material for methaphorical potential, for an example, rocks for a doorstop - a different function.
The use of cigarettes act as a symbol of the disgarded which shifts the formal value. The use of scale adds humour and a degree of absurdity. The way they are made is important to Kuri - strictly by hand. He enjoys how the change of scale within an artwork makes you question it.
01/11/2011
Phyllida Barlow in conversation with Isolde Charim
Oliver Basciano (ArtReview Assistant Editor) and his take on Barlows Exhibition in Hauser & Wirth - Piccadilly
24/10/2011
ffffound: FOAM
So I came across this website quite randomly and found it pretty ironic seeing as my work is predominantly based around the subject of foam. The museum is based in Amsterdam which gives me even more of an incentive to visit the country. I've read some really interesting articles on the site which has lead to me order my first issue of the Foam magazine - cant wait for it to arrive! Check out the website if youre into photography and current issues surrounding this topic
22/10/2011
21/10/2011
18/10/2011
13/10/2011
Frieze Art Fair Mission
These days art fairs are perfect storms of money,
marketability, and instant gratification—tent-city casinos where art is shipped
in and parked for five days, while spectators gawk as comped V.I.P.s and
shoppers roll the dice for all to see. And in this game, everybody plays:
artists, dealers, and buyers. By Gavin Brown
ELIAS HANSEN
'Its a lot harder than you think' 2011
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