chloeemaugile

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T Magazine by Rafael Pavarotti

Styled by Jacob K

Set Design by Andrew Lim Clarkson, assisted by Chloée Maugile

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François Pisapia

Filmmaker 

http://francoispisapia.com/

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Conrad Pack

Producer 

Horizontal Phase - Horizontal Phase

Self released CD

2020

 www.superfluidclub.com

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Amy Rodriguez

Jeweller 

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Alice Fraser: London based Painter. 

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Public sculpture: What does public sculpture stand for? How does it resound within the viewer? What is the point to making objects for open spaces? I am trying to observe how the public environment effects the sculpture. Does the environment disrupt the object or does the object penetrate the space and give the space meaning? Why do we make sculpture to begin with?

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Public and Private space: How does this alter the way in which a viewers  observe sculpture? why do we have it in our home if we are the only ones who will see it. Does it loose its meaning?

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Looking at how the space where the sculpture is obtained  is important as the sculpture itself. Posing the question of how the space disrupts the sculpture. Why is the Whitecube aesthetic important in order to view art?

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'Dock' by Phyllida Barlow at Tate Britain

What I have focused on within her Barlow’s work is impact. Often her work  is noted as a response to an age of austerity, through the choices of non-art materials that are recycled and placed within awkward non art spaces. Her work sparks the subject of value within material, creates a dialogue sculpture, painting, the space, the ground/ceiling and the viewer. The  experience of the sculpture in the gallery and the everyday is subverted to the space surrounding. I have been looking into the impermanence within sculpture, I am using cheap mundane materials to response to non art environment. What I am hoping to do  is transform these materials into something other and open a new discussion within my work about sculptures ability to paint a space.

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Phyllida Barlow @ Carnegie Museum of Art.

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I have been occupied by the work of Phyllida Barlow. In the case study; Shaping a new understanding of sculpture, it mentions how Barlow‘s work represents an ‘anti-form’- focusing on process and making than the final results. Her work alludes to artistes such as Eve Hesse and Louise Bourgeois who also address questions about sculpture’s relationship to the spaces it occupies and to its viewers. I too have been looking at my sculpture and how it makes you/the viewer feel, your position in relation/against the sculpture, the surrounding people or lack of people in the environment of the sculpture, the surroundings of the sculpture whether it being in a Whitecube aesthetic, public or private.

Recently, went to the Whitechapel’s exhibition: The adventures of the Black Square. The work by Carle Andre who had his sculpture flat on the floor mad from either concrete or rubber where the viewer was able to walk across the object in an unsure manner whether one is allowed on. Andre’s sculpture merged the relationship between the viewer and sculpture, broke the separation that objects often have within the gallery space. Lead me to deliberate whether his work was an installation of sculpture to the interactive aspect. This poses a question within my research of how I want the viewer to interact with my work and leave with the same questions that I had with Andre’s piece. His work also arouse the idea of placement and performance within sculpture and how the two and interlinked when observing objects. This aspect is something I would be keen to explore through scale of my sculptures and whether the viewer will  have to maneuver around the object or through it. In contrast, Cildo Merieles presented a 1cm by 1cm square cube. The scale of the sculpture disrupted the surrounding area due to its minute size. It makes the viewer search for it, descend in various levels to observe the sculpture, the mind almost adds made up elements of what is ‘missing’.  I feel working with extreme scale of objects create a similar effect for the viewer, they both consume and baffle, leaving the viewer questioning either the absurdities within their  expectations of sculpture.  

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Dan Flavin

Untitled, 1966–1966

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Ilya & Emilia Kabakov’s “Unfinished Installation” at the Saatchi Gallery forced me into thinking about potentiality and actuality of material. 

“The viewers stand before low ‘barriers’ comprised of crates, boards, tied off ropes. Beyond the ‘barriers’ is an ordinary scene of something that is not ready: opened packages, crates, a  few paintings hung, a few things scattered around, the meaning of which is not yet clear. Tools are lying around, rulers, jars, paint. On one of the crates of the ‘barriers’ is a plan and a photograph of what ‘will’ be built here. And herein lies the very essence of the installation.”

The relationship between materials in relation to the viewer lead me to think about our own experiences when we look at a building construction when it is at its potential state. It is more interesting within its developing stages than looking at the finished product, especially if there is a picture to suggest what ‘could’ be. I want to translate this idea of potential into my work, whether it through scale, suggestion within material, space around material, the positioning, the texture, lighting or sound. What is driving me is the space the material occupies and the environment’s response to that object disrupting its space.

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I have  been looking at space as a material itself. Reiner Ruthenbeck at the Serpentine helped me to acquire this idea, in particular the installation located in the curved room of the gallery. Behind the heavy black curtain there hung a dimly lit 60Watt bulb, rather high up in the center of the pitch-black room. There seemed to be a collision of simplicity and complexity within this installation. It created a sense of slow penetrating warmth from the center of the room. This was effective because the viewer was immediately aware of the space around him in relation to the strangers in the room. The height of the bulb in contrast to the height of yourself. The room appeared to be endless. I would like to relate the same awareness within my work, through materials in term of scale and the lighting within the space.

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A part of my research is the acknowledgement of my observations with the materials I use; I am conscious of the appearance of crumpled bin bags that leave a map of where I have touched it. Complying a group of plastic bags together then alters that fragile-ness, wrapping cling film around it to create an ambiguous solid form that alludes to boulders found in canyons. 

I am deeply interested in concrete and have created works in response to this material, linking concrete to the poem “Harlem” by Langston Hughes. I have written a reaction to this poem.

CONCRETE SPACE:

Material effects how a person lives their life, perceives their life and survives. Not only is material around us, material becomes apart of us.

For example; Two different people. One who lives in a green leafy suburban area, perhaps rides their horses in the morning and walks their dogs at noon in wide open spaces, without coming in contact with an inch of concrete. Another, who lives in a concrete box.

Person A, who is surrounded by greenery, their relationship to concrete is not part of their reality. Person B, who is sealed in a concrete prison; for them concrete is a intrusion, a daily reminder of deprivation, violence and noise.

Despite, the sterile coldness of concrete, concrete in some ways is a breathable life force that effects personality and life success.

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The process has been engaging and my research has changed how receptive I've become. Taking public transport has pushed my observations and thinking further. I find myself thinking about the mass of steel and density of concrete in the tube. The soot riddled porcelain tile on the walls and the high voltage of the metal rail tracks. When I take the bus I look at the scale and height of steel that the four worn wheels support and the compression between the tar and the tarmac. I notice the thin scratches on the drivers window that often reflect a pink tint, a result of millions of germs and the clinical light. the smudged finger prints on the stop button from the thousands that have gone before and the deflated texture of the lived in seat underneath.

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I have been preoccupied with what humans often call ordinary. In-fact, what we often call ordinary, in my view is quite extraordinary. For example, the functioning light bulb, the ladder or even the design for the trouser could never be called ordinary. The human mind has thought of all these concepts and brought them into a state of being. This is what inspires me.

Unconsciously, I have gravitated towards the nature of material, primarily those found in a city and within the everyday. I have been exploring material through scale, reinterpreting the use, recycling, subverting, transforming and re-naming material.