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Reflection and Evaluation

Video content 

Due to the software not being able to load onto this platform, I have linked my  videos to my google drive account. These videos would be on a constant loop throughout the duration of the exhibition. 

Pink Plastic 

https://drive.google.com/file/d/18fJEJjBV2QCCvux4gDJQVnM2IfrxJPnM/view?usp=sharing

Yellow cans 

https://drive.google.com/file/d/1QMYtRaHEza10TBbSCZZ96PV5saxqseiR/view?usp=sharing

Cardboard 

https://drive.google.com/file/d/1VB-RJjOsL0vomKEsKSgL3bbQjYEZX751/view?usp=sharing

Photographs of my display pieces:

Material World: Plastic, 2021

Acrylic spray paint on foam board and plastic bottles

Approximately 85cm H x 77cm W x 65cm L

Material Worlds: Cardboard, 2021

Acrylic spray paint on cardboard

Approximately 38cm L x 42cm W

Material Worlds: Aluminium, 2021

Acrylic spray paint on foam board and aluminium

Approximately 85cm H x 77cm W x 65cm L

One of the key ideas that I have been exploring during the project is the importance of materiality regarding materials. In particular, I have been exploring found materials and investigating their lost value, in which I aim to reinject back into them through my work. Inspired sculptural based artists such as Phyllida Barlow and Karla Black, my work sits in the white cube space. However, when the work enters the space, this transforms the space and creates new meanings.

Reflecting back to my research mind map, I created a range of questions from: what is the importance behind the material to, could making maquettes be just as powerful as making large scale work? Questions like this were at the forefront of my practice, they drive me forward to help push my level of ambition, especially during the making process. My fictional character OC would document the work though photography, which I would later reflect upon and solve any problems as I would be looking at the work just like a viewer.

The process of recording my maquettes to final piece has really changed and even taken my work to a new dimension. In the first few weeks I stuck to using photography as my means of documentation. Although I felt these photographs were successful for many reasons, the element of tactility did not feel strong. From speaking to one of my tutors, I started to record my work in the form of video which instantly lifted the connection the viewer would have with the work. After creating video content alongside newly developed photography, I felt as though I had successful achieved creating a space that felt tactile as well as thought provoking.

The element of colour feels so successful within the work, you feel immersed in this striking environment. The documentation shows the closeness that I wanted to create. Both close in camera angle and people interacting with the work. Another success of the work is using found materials to their full potential. I could not be happier with the result from using these materials. However one thing I found challenging was the video content. This could have been made to be more successful if I experimented more with video. I did experiment with it slightly, however, if I were to do this again then I would like to test more ways I could have used video. 

Although my fictional character is not associated with being organised, the overall flow of the project felt more controlled as there was a careful decision making process behind the scenes. Throughout the duration of the project, I became stricter in my decision making as well as thinking about what problems may arise from different actions OC or myself may take.

I did not have a budget in mind; however, I knew throughout the project that I was going to be using easily accessible materials that were lost costing. The overall cost of the project was very minimal as I stuck to using low cost materials, as well as having some of my equipment and materials etc having been donated to me.  

Although I had a minimal cost to the project, I did run into a couple of problems that I managed to resolve over the course of the project. An example of this is trying to capture tactility in its true form. To resolve this issue, I started to use video as a means of capturing a more personal approach.

There is an endless about of information that I have learnt in order to develop my skills and knowledge of both my practice and art in a wider context. From being strict in my approach, I have learnt that by interrogating one particular area instead of having an open and wider range of research, I have been able to successful pursue these materials to their maximum potential through video, photography and sculpture.

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Intentions for Final piece

Throughout the last few months, I have carried out a range of experimentations that have helped me conclude my final intentions to create a final piece. Reflecting back to my first intentions in my initial proposal, I am still focusing on the materiality of materials. 

OC plans to collect a range of materials and continue to spray paint them to a similar manner to what I have been doing previously. The green and pink colour combination feels to be successful so far, however, I would like to try including yellow too. 

I aim to use photography and video as my final medium. So far I feel my photography skills to be developing well, however, video is something that needs a little work on in order to be more successful. 

OC will be strictly using found materials in order to focus in on the materiality of everyday materials. Also, inspired from the likes of Karla Black and Phyllida Barlow I intend to create a tactile environment. I am hoping that the videos I create will portray this tactile and personal approach I would like to create. I want the audience to make personal connects to my work and recognise how the materials in use link to our everyday lives. 

I intend to create 3/4 spaces that focus on a particular found material such as plastic bottles for example. Striking colours will be used in order to reinforce my experimental research into formal elements. The spaces will be individual ‘material worlds’ that would contain one type of material with each set. 

In the sketch below shows a very similar representation to the pink plastic bottle display, which I found to be really successful. The second sketch uses pink, yellow, and green in one set. This something I will be exploring throughout my final piece , possibly all in one but my initial intentions focus more on one colour per set .

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Further artist research unpacking fictional character

At this point during my practice, I realised the idea of a fictional character was becoming more apparent. Previously, I had no name for this character which made the idea of having this character a little lost as they had no identity. Over the course of the project, I came up with the title OC for my character which stands for Organised Chaos. This name/ title was inspired by a piece work I made at the university also called Organised Chaos. The reason for choosing this name is because when I made that particular piece of work, it felt like a turning point for me. I really started to interrogate materials and explore further into the importance of materiality within both materials and textiles. 

The character has evolved more internally into my mind as well as presenting physical actions that create the work. OC feel so free in the making stage especially. I can recognise that from this, the character has an added sense of freedom which I think is wonderful. We can see this in the course of her actions through various ways of manipulation for example. OC has really started to come out of her shell, especially in the last few weeks. I would have spoken about OC a few weeks ago, however, to me it felt important to see the character evolve then investigate her actions and what this means. 

I suppose some may say that as I may have a control over OC then her actions are to be portrayed as role-play. Personally, it does not feel like role play to me. Even though she may be described as an ‘act’ her actions feel much more important than just an act. To be able to distinguish a line between myself as Amy and OC, I knew OC has to be presented as a separate figure. In the making stage, I have recognised a difference in order to create work. 

Over the course of the summer, I do believe OC will continue to develop. However, the grounding of the character and her actions will still remain, the importance of materiality will be at the focal point of her actions and decision making. 

Furthermore, from speaking to Patrick and Johanna we talked about both Jamie Shovlin and Sophie Calle. What really struck me about these artists is the element of a fictional character. Unless you delve deeper into some artists work you may not even realise there is an underlying fictional character. 

Jamie Shovlin 

Shovlin’s work (displayed below) called Naomi V Jelish, 2004. The work is made up of post it notes, newspaper cuttings, school reports etc that tell the tale of a fictional character named Naomi V Jelish. As well as Naomi V Jelish the story mentions the character John Ivesmail, however, looking closely you can see that this is actually an anagram of the artists name Jamie Shovlin. This clever way of disguising himself within this tragedy tale is mesmerising. 

Sophie Calle 

Often described as as a detective Calle blurs the boundaries between fiction/ reality, art/ life etc. Calle cleverly orchestrates an unveiling of reality. The difference between fiction and and reality comes across very successfully in her work. The transformation of leaving one character behind and unveiling something new is so playful

From both of these artists I have learn’t how an underlying fictional character can be used in multiple ways. For my final piece based upon my last experimentations, I cannot wait to really go to town and expose OC in her true element. It is finally the time where all of these added freedom will be unleashed  in order to create more.   

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Shells

Instead of colouring the materials/ objects I used the same spray paint and very lightly sprayed the floor. With this particular piece I showed it to my peers and it was mentioned that the spray paint almost looks like the sand in which you would find these shells. The effect of the spray looks like very small grains of sands. I thought about this comment which was made as when I look at the floor surface now I can see a texture within the space. 

I question whether if I were to use the acid green paint and perhaps a neon yellow. how would this have an effect on the space. Would adding more colours take away from the materials on show? Throughout these past experimentations I have learnt more about how to use spray paint and all the different techniques. 

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Pine cones

Throughout the lockdown periods I tend to go on a 10k walk once a week around my local area. On one of my walks I collected some pinecones in a range of different sizes. 

Todays experimentation consisted of using pink and green spray paint. What I love most about this piece is the sculptural imagery. The organic shape of the pinecones create a really interesting shape to the work. I did take some photographs of the pinecones in small clusters similar to this, however I wanted to keep using a bold vibrant colour to make the work really stand out. In this case I also introduced the colour green. In my mind I was thinking another neon/ fluorescent colour would work really well with the pink ( it did not matter which colour as such) but I decided to go with ‘ acid green’. By increasing the amount of lighting, I feel that I have successfully achieved a strong contrast between the context and the work itself. The focusing on my camera needs to. be slightly adjusted but this can be done quite easily. 

For my next piece of work, I want to slightly flip this idea on its head. This means I would. be. adding colour to one of the surfaces and leave the material in its natural state. I have mentioned this before and now feels like the perfect time to carry out this investigation.

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I couldn’t be happier with the result of these photographs. By using extra lights I managed to get a strong contrast. I used the same spray painted bottles to create both images. Through methods of manipulation such as crushing and twisting I was able to create different shapes to the bottles. By spray painting the bottles this enabled me to give meaning to the material, in this case plastic. The matte pink spray paint works very well in terms of adding colour to the material. Inspired by a past piece of art work where I flocked a polystyrene bunny pink I felt confident using this colour. I knew this colour would grab the viewers attention and bring them that bit closer. This will allow a more personal experience as well as wanting to know more about what lies beneath the coating of paint.

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LOST IN FABRIC

This experimentation video was made after the pink plastic bottle video. In comparison to that video, the speed of this video feels much more appropriate for the environment that I am aiming to create. Another element that I found to be successful was the level of inclusiveness. The camera weaves in and around the hung materials and feels very tactile whilst the camera travels round. 

One thing I found to be unsuccessful was the ending of the film. As this set us is not inclosed, you could see the carpet etc in the background. Afterwards I did try to cut this part out but this caused the length of the video to be even shorter. I plan to practice more and. see what works for me. Perhaps I could zoom in so far then gradually pan out. After this the camera can take you on a tour of the exhibition and allow the viewer to feel a personal experience. 

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Pink plastic bottles

After a tutorial with Johanna, we spoke about making a video instead of just producing the work as a photograph. In this experimentation I used my phone in order to record a very short clip of how I would like the viewer to see the work. The tactile environment that I am trying to create needs to be represented. I enjoyed making this video as this is an avenue that I have never explored before, however adjustments need to be made. 

One of the first adjustments is the stillness. The camera was very shaky as I was trying to hold it whilst moving around the work. If I were to use a tripod or some sort of stand that the camera/phone could stand against this should help to steady the shakiness that I am trying to avoid. Furthermore, the speed of the video felt a little too fast when I sat down and watched it on another screen. Perhaps if I were to edit this to slow mo or even just take more time filming it, this create a better result. 

Reflecting back to the photographs I took of this work I still think the photos are more successful. One of the main reasons for this is because of the lighting. The way in which the camera captured the work caused the colour pink to really pop especially against the pure white background. 

Moving forward I will be trying to make more recordings and keep in mind what was not successful and hopefully turn these into successes.  

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Marco work with fabric experiment

In my opinion, these photographs from the lost in fabric piece feel to me the most successful Marco images. You really gain a closeness to the work and feel as though it is captured in the moment of an exhibition show. The images capture the textures of the scraps, as well as this you can identify a curiosity within the atmosphere. The materiality of materials is a difficult subject to understand and comprehend, however, it is important to try and reinforce this loss value. Whether it is an everyday material, we must look deeper and see these things for more than just a domestic use for example. 

Speaking about the works as a. whole I would like to put the point across that there is a difference between a desired want to a must have need. 

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Fabric experiment

In this experimentation I really went to town and took a bag of fabric scraps and turned it into this display which I have named ‘ Lost in fabric’. From hanging the scraps to dropping them on the floor space this piece creates a more enclosed environment. I have learnt how to really use this space and push the expectations of the space. However, for me I miss the pop of colour. Even though the scraps range from colour to texture the lack of colour in a striking way feels like it lets the piece down a little.

Perhaps by making a video this will increase the level of tactility within the space. From the start of this project I have always hoped to create an environment where people could be close to the work, making personal connections. Also I hoped for them to see the materials and feel aware that the materiality of these materials is very lost within our everyday lives. 

Next I will be taking a video of what may be like a tour of the space. This made override the photographs themselves so it feels even more important to explore further down this avenue. 

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Plastic bottles

After spray painting some of the plastic bottles from our recycling I flattened the bottles and stood on some to manipulate the shape. The studio itself is made on a large scale to my previous test pieces. Due to the artificial lighting on photoshop not being as successful I went back to using more natural lighting. From this I worked with a light to achieve two different shadows. Overall it feel quite successful, however, if I can improve upon the lighting situation even more than this should create an even more powerful image. 

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Studio replica

Behind the scenes

Previously, I have been creating similar maquettes of the studio space, however, on a much small ( a little larger than a shoe box approx). Feeling more ambitious, I my work had donated to me A1 sheets of foam board to build what you see in the image above. By working to a larger scale, I feel this will allow me to push the boundaries and break the rules of materials even further. Also, there is a lot more space to work with, which opens up more opportunities for the materials to make new meanings in. 

I intend to create more of these studio replica’s, where I will be filling them with my spayed/ non sprayed materials. This is literally a blank canvas, as my peers have said the space like this appears very clinical. Perhaps I could spray or add colour to the studio walls or floor space (similar to my cotton thread experimentation ). I will experiment with one of the boards to see how colouring a wall will impact the space. 

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Spray painting experimentation

This morning I rummaged through our recycling bag and came across a selection of plastic bottles. I used a small piece of sand paper and lightly sanded the bottle in order for the paint to stick to the bottle and hopefully last.

 To paint these I used a matte pink spray paint. The reason for not using a gloss paint, is because I did not want the materials to look overly shiny as I intend to place them with a polished white background later on. I feel pleased with the overall coverage as spray paint is something that I very rarely use. I am planning  on going on a 10k walk this afternoon and will see what I am able to pick up on my route which I can later experiment with. My next step is to create a replica of a studio space (much larger than my previous works) and see how these objects work within the space. 

The process was really enjoyable, there was a lot more to it than just spraying a couple of plastic bottles. Due to working from home, I created myself an outdoor work bench using old garden chairs and and a sheet of wood left over from a family DIY project. Being able to look through found materials and objects, finding materials that are accessible to me allows me push and reinforce this importance for materiality. 

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Dissertation inspiration

After beginning to research about Phyllida Barlow and Karla Black, I wanted to delve deeper into the importance of materials and materiality. Throughout the course of writing my dissertation both artists practices have been heavily talked about. 

After writing about the connection that these artists have with the materiality of materials, it has made me realise something within my own practice. Looking back at my experimentations, I have been using materials such as pom poms and pipe cleaners. During a tutorial with Karen it was also mentioned that if I were to focus on using found materials then my ideas of highlighting a value of materials could be more appropriate rather than using purchased materials. 

The loss of materiality within our society towards everyday materials really mean something to me. I hope to show the materials in a new way which highlights them in a way that shows how important they really are to us.

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Understanding what's important

By systematically photographing the maquette’s this makes me think of the question: By doing this, does this now override the physicality of the work? 

The photographs of the maquette’s that I have made are taken in a Marco specific way. The nature of the photographs bring to mind artists like Phyllida Barlow and Karla Black. Both artists are interested in ways of tactility as they want to see how people connect with their sculpture both physically and mentally. What happens to our senses when we connect with the works of Black or Barlow? My mini figurines are pretty emotionless to say the least, therefore by showing my models or photographs to my peers this could help me identify how the viewer chooses to connect with the work. 

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Is there an underlying fictional character behind the work?

This is something that I have questioned throughout my practice. People who know me best describe me as well organised and sometimes people loosely use the term OCD. However, when I'm in the studio either by myself or with my peers, my ways of working seem to be far from this perception. I never looked at this as a fictional character or as an individual act. To me it feels so natural, it is not like I have tried to create this fictional character on purpose. Although this feels natural, I can now recognise that the way of making meaning in my work is linked to my ways of working as this character. Due to not being in a studio environment, I have not seen this fictional character supposedly appear ,however, the slightly more chaotic nature of this character is something that I would most certainly like to explore further. I will be looking at my work more closely to see where I can identify traits of the fictional character.

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Reflection

After the Christmas break, I started to find that I was having trouble with getting back into the flow of my project work. Since January, I have been focusing very hard on my dissertation, as over the past two years writing has been my down fall. This meant I was not focusing on my studio work as much as I had hoped ,however, I can reflect on this and say that through writing my dissertation I am beginning to understand my practice even more. Through readings by Tim Ingold and Jane Bennett, I can now identify more of a meaning behind the making of my work. During the next few weeks, I am writing a list of things that I would like to achieve eg complete so many blog posts a week or maybe take so many photographs a day. By doing this I am hoping to fully grab my ideas and turn them into something more physical rather than literal.