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
Before Contingency After the Fact
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.
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.
02/11/2011
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
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