creativeprojectsiobhanmorgan

[creativeprojectsiobhanmorgan]

Final Submissions Folio

[creativeprojectsiobhanmorgan]

Studio Space.

[creativeprojectsiobhanmorgan]

Project Statement.

My artistic practice explores the vitality and agency of materials, drawing inspiration from Jane Bennett's Vibrant Matter: A Political Ecology of Things. I approach materials as active collaborators, allowing their intrinsic qualities to guide creative decisions and influence the narratives I construct. Through sustainability and experimentation, I transform recycled and reclaimed objects—such as food packaging, old artworks, and household waste—into immersive artworks that challenge perceptions of utility and vibrancy.

This project investigates the interplay between human and nonhuman elements, celebrating the transformative potential of materials. Techniques like plaster casting, pulping, and combining contrasting mediums—wood, strip cane, and gold foil blankets—embody the unpredictability and dynamism central to my process. Inspired by Louise Nevelson, Doris Salcedo, and Chiharu Shiota, I aspire to create more immersive installations while maintaining an eco-conscious ethos. My work bridges ecological thought and creative innovation, fostering a collaborative dialogue with my materials.

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Evaluation of Creative Project

My artistic practice, inspired by Jane Bennett's Vibrant Matter: A Political Ecology of Things, explores the dynamic interplay between human and nonhuman elements, emphasizing material agency. Food packaging, transformed through plaster casting, guided my creative process, and challenges attaching plaster to reclaimed wood underscored materials' vibrancy, prompting adaptive solutions and revealing their transformative potential.

Sustainability has shaped my practice in this project, as I utilize recycled items such as discarded paper and old artworks. Eco-friendly techniques, like pulping or using thread instead of glue, align with Bennett's concept and increase my ethical engagement. Smashing previous bas reliefs and reimagining fragments demonstrate matter's vitality in new narratives.

My 3D work combines wooden bases, strip cane, and gold foil blankets to contrast rigidity and malleability, reflecting Bennett's philosophy. Future plans include integrating textiles or wax and drawing inspiration from Doris Salcedo and Chiharu Shiota for large-scale installations. I have enjoyed my adventure into materiality, and I have further identified the method of my practice as a practice based on materiality.

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Review of the Assemblages chapter in Jane Bennett's Vibrant Matter.

Jane Bennett's chapter on assemblages in Vibrant Matter delves into the concept of dynamic groupings of human and nonhuman elements, emphasizing their interconnectedness and mutual influence. Assemblages, as Bennett describes, are not static but fluid, evolving through the interactions of their components. This challenges traditional notions of agency, suggesting that agency is distributed across the assemblage rather than residing solely in individual entities.

Bennett draws on Spinoza's idea of affective bodies and Deleuze and Guattari's notion of assemblages to illustrate how materials and forces come together to form temporary, vibrant networks. She uses examples like the 2003 blackout to demonstrate how human and nonhuman factors—such as infrastructure, weather, and human decisions—interact to produce significant events.

This chapter invites readers to reconsider the boundaries between subjects and objects, highlighting the vitality and agency of matter. It aligns with ecological and ethical considerations, urging a more inclusive view of the world where all elements play an active role in shaping outcomes.

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Moco Gallery, London.

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Hayward Gallery

All About Love by Mickalene Thomas

Mickalene Thomas's exhibition All About Love at the Hayward Gallery is a dazzling celebration of Black womanhood, love, and identity. The show features Thomas's signature rhinestone-adorned portraits, collages, photographs, and installations, showcasing her expansive definition of love���encompassing family, self-love, and romantic connections

Mickalene Thomas: All About Love

Thomas's works, such as Afro Goddess Looking Forward (2015) and A Little Taste Outside of Love (2007), blend painting, screen-printing, and collage techniques. Her use of rhinestones, inspired by pointillism and aboriginal dot paintings, adds a shimmering, joyful quality to her pieces. The exhibition also highlights Thomas's engagement with art history, reinterpreting famous reclining Venuses and other nude imagery to center Black women in the narrative.

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Hayward Gallery

Linder: Danger Came Smiling.

Although I appreciate Linder's artistry, I was uncomfortable with this exhibition. I was unaware why until conversations about the narrative ensued with my lecturers. I can find feminist work difficult to take because I identify with the uncomfortable aspects of being female.

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Tate Modern.

Solid Light by Anthony McCall

Anthony McCall's Solid Light, at Tate Modern was a mesmerizing exhibition, exploring light, space, and interaction. The exhibition features McCall's "solid light" installations, where beams of projected light create three-dimensional forms in a mist-filled space. Visitors are invited to step inside these sculptures of light, transforming the experience into a interplay between the artwork and the visitors movements.

The exhibition includes works like Line Describing a Cone (1973), which redefined the boundaries of cinema and sculpture by focusing on the shape of light itself. McCall's more recent pieces, such as Doubling Back (2003) and Split Second Mirror I (2018), expand on this concept, using digital projectors and haze machines to create evolving and immersive light forms3.

McCall's practice, which occupies a space between sculpture, cinema, drawing, and performance, continues influencing contemporary art. The exhibition also features photographs, sketches, and archival materials documenting his artistic journey. This exhibition had an eerie feeling at first until I found new visual treats, one after another. I gasped several times while playing with the light, reflections, and mist at the simple yet highly effective effects, making this an incredibly enjoyable experience.

Artworks in the Tate Modern that use interesting materials.

Landscape of Longing (1997-9), Saleem Arif Quadri.

Big Blue (1974), Carla Accardi.

L'Intolerance (1998), Abdoulaye Konate, Textile 232.5 x 43.5cm

Fountain (1917), Marcel Duchamp.

My work shares common ground with Duchamp's readymades, exploring the transformative potential of ordinary materials. Duchamp's concept of the readymade elevated mundane objects to art, challenging traditional definitions of craftsmanship and aesthetics. Similarly, my practice of repurposing reflects a commitment to rethinking the role of materials in art.

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Magazines.

Tubes made from magazine pages proved to be an unexpected windfall. I was considering making drawings of my 3D objects as part of my final installation; however, when playing with the tubes, they lent themselves to mark-making. This 3D object started its life inspired by Webster and Nobel's piece The Spikey Thing (2005), made from welded scrap metal. It took eight magazines secured by double-sided tape, seven hours, and five hot glue sticks to make the entire 3D drawing. This inspired me to contemplate filling my entire studio space with the tubes in Doris Salcedo's "1600 Chairs Stacked in an Alleyway" manner or immersive like Chiharu Shiota's installation work.

I enjoyed the meditative process of rolling the paper repeatedly and discovered that removing the corner of the page and using scissor curling before rolling makes the process more efficient. I would like to use this technique again, using thread instead of glue, to make the process more ecological. However, I am very pleased with the results and enjoyed the process of balancing the form as it developed.

The tubes evolved from functional objects into tools for mark-making, and immersive installations demonstrate how materials can influence artistic processes and outcomes. The meditative act of rolling paper and discovering efficiencies in the process highlights the relationship between myself and the material. This resonates with Bennett's notion of "assemblages," where interactions between human and nonhuman components create something new and impactful. Contemplating ecological alternatives further reflects Bennett's call for a responsible and ecologically sound approach to engaging with materials.

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Reclaimed Artworks

I smashed a collection of Bas Reliefs made over the last three years and reconstructed them with a pulp bonding agent made from unwanted drawings, also from the previous three years.

Smashing the Bas Reliefs allows these materials, once frozen in specific forms, to reclaim their vitality. The fragments, liberated from their original structures, demonstrate Bennett's idea that materials are not inert but capable of reasserting themselves in new ways. Using a pulp bonding agent made from unwanted drawings amplifies this sense of renewal, as the paper has found a fresh purpose and contributes to a dynamic transformation.

The act of destruction and reconstruction aligns with Bennett’s philosophy that materials have their own trajectories and energies. The process has become a dialogue between my materials and myself, where their qualities and histories influence the final piece as much as my artistic intention.

I started this form by building it layer by layer, as it required the pulp to dry and harden before any height could be added. The pulp took a day to harden, so it would take some time to achieve a form in this manner. To speed up the process, the fragments' edges were covered with pulp and left to dry overnight, enabling more height to be added in a day. These pieces were glued together when the pulp was dry and reinforced with pulp. The conversation between the works I have been creating led me to Kintsugi (golden repair). I toyed with the idea of filling the holes with a gold foil blanket or painting a gold line, but dismissed it as this is not a repair but a reimagining. I considered the work hours that went into creating this, not only its present manifestation but also its previous lives. But the reconstructed forms no longer reflect the original spirit of the Bas Reliefs and have led me toward an entirely new narrative

blurb

Jane Bennett's philosophy of materiality complements my evolving process, particularly in layering, and reimagining my Bas Reliefs. Her concept of vibrant matter resonates with the interplay between the pulp and the fragments.

The layered drying process reflects the agency of the pulp. Its need for time to harden and its eventual role in binding fragments together underscore Bennett's argument that materials have their own rhythms and requirements. By speeding up the process by covering edges with pulp overnight, I adapted to the material's constraints, creating a collaborative relationship rather than simply exerting control.

My reflection on Kintsugi and the rejection of repair in favour of reimagining aligns with Bennett's ideas. Kintsugi traditionally highlights and celebrates an object's history through its repair, while my approach acknowledges the fragments' past but allows them to assert a new identity. This shift from restoration to reinvention is a material-led transformation, where the fragments and pulp guide toward an new narrative.

Considering the time and effort embedded in the forms' past and present speaks to the interconnectedness of material histories, another key idea in Bennett's philosophy. These histories have converged to create something that transcends their original spirit, giving the materials a fresh, dynamic vitality.

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Golden Nugget.

Using the wooden base I had prepared for my summer project, I drilled holes and inserted strip cane to create a structure to melt gold foil Bankets from a previous project.

The wooden base and strip cane interact with the gold foil blankets, becoming active participants in the transformation process, enabling the foil to melt and morph. Melting speaks to Bennett’s idea of vibrant matter, showing how materials can take on new forms and express their intrinsic characteristics under changing conditions.

The interplay between the wooden base's rigidness, the strip cane's flexibility, and the foil's malleability creates a fascinating dialogue. Instead of strictly controlling the materials, the process embraces vibrancy, allowing them to influence aesthetics and structure.

Further explorations of the materiality of the gold foil could involve exploring how different materials react with the melted gold foil. For example, wax or textiles could be incorporated to create compelling contrasts in texture, form, and agency. Observing how these materials interact could further highlight the "liveliness" Bennett describes. Producing a larger structure or multiple smaller iterations of the piece would be an interesting avenue for development.

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Plastic and Plaster work.

I collected various food packaging that could make interesting plaster molds, and inspired by Louise Nevelson, I cast biscuit containers and the internal structure of a Christmas Advent calendar. I have become obsessed with the bottoms of food containers; so many different forms get more interesting when they are squashed.

Jane Bennett's concept adds a fascinating dimension to my exploration of food packaging. Her idea that materials possess agency suggests that food containers' unique shapes and textures are not merely passive objects but active participants in my creative process.

The bottoms of these containers exemplify what Bennett might describe as materials asserting their presence. Their transformation through squashing and molding brings their inherent vibrancy to life, offering unexpected aesthetics and patterns that challenge and guide my creative decisions. By casting these forms with plaster, I created a dialogue between their original utility and my artistic vision. My fascination with the containers' shapes reflects a sensitivity to Bennett's philosophy. Instead of imposing my will, I allow these materials to shape my process, acknowledging their agency and embracing their quirks and possibilities.

The above photograph shows the inside of a Christmas Advent calendar. As soon as I saw the cast of the calendar, I decided to make a 3D form inspired by Nevelson using wood reclaimed from a previous project for a frame. The issue I had was how to attach the plaster to the wood. Using PVA glue, hot glue, grout glue, and Velcro unsuccessfully forced me to seek a different method.

At this point, I decided to attach the form directly to the wall, covering only the 3 largest sides with casts. However, when I attempted to attach the prepared casts, most broke again, forcing my hand to reassess the attachment method.

Drilling screws at intervals through the frame gave the plaster something to harden around, increasing the chance of bonding. This worked to a degree. Because the wood I used was reclaimed, it was not uniform, so the plaster did not seal around some of the screws, preventing the cast from adhering that well. I wanted little windows in the casts where the chocolate would have sat, but this weakened the structure, so more plaster was poured into the frame, which solidified the form but closed the windows.

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Toilet Roll and Magazines.

Continuing my exploration with magazine tubes, I bent the tubes several times to create this geometric shape that proved to hold a form but was not very strong. Sliced toilet rolls, squeezed and placed into negative shapes, strengthened the form slightly and made it bounce. Some of the magazine paper began to unfurl at the folds, showing the unsprayed paper, and this visual showed me that I prefer unpainted tubes. The results here are interesting. However, I am not attracted to the aesthetics of this form, and making the different materials one uniform colour has not improved it.

The Magazine paper unfurling at the folds reveals the material’s intrinsic nature, which resisted being covered or subdued with colour. This is a vivid example of what Bennett might describe as the material asserting its presence or voice. The choice to leave the tubes unpainted also aligns with Bennett's concept, as it acknowledges the material's inherent characteristics and aesthetics.

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Spike

Rolled pages of Magazines.

Thinking back to the vessels workshop and knowing that these pages would not suit the pending bone china burnout workshop, I investigated how strong the tubes would be if folded, how much weight they could withstand, and how they would stand.

Folded and glued at a centre point, the form developed into a spikey ball that stood independently and could take a small amount of pressure before the standing tubes buckled. When developing this further, I will consider the weight and amount of glue used and make the tubes as tight as possible for maximum strength.

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The art world has a rich history of recycling and reimagining materials, transforming them into thought-provoking masterpieces. Marcel Duchamp pioneered the use of everyday items, challenging traditional notions of art. El Anatsui creates shimmering tapestries from bottle caps and aluminum strips, while Gonçalo Mabunda uses decommissioned weapons to craft masks and thrones. Many contemporary artists using recycled materials play a crucial role in raising awareness about environmental issues. Their works, from sculptures made of discarded plastic to intricate tapestries woven from old fabrics, serve as powerful tools for enlightenment and information. These materials redefine artistic boundaries and spark conversations about sustainability and consumerism.

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Collaborations and Organisations

Caroline Wendling's living artwork "White Wood" was created in collaboration with the community of Huntly, Scotland.

Caroline Wendling : White Wood - Deveron Projects

https://watermark.silverchair.com/241macpherson.pdf

While not directly tied to Bennett, Joseph Beuys '7000 Oaks' project aligns with her ideas by treating trees as active participants in ecological and social systems. Beuys's work has inspired subsequent projects like Wendling's "White Wood," furthering the dialogue between art and material agency.

Joseph Beuys – 7000 Oaks, 1982, Dennhäuser Straße, Kassel, Germany, planted from 1984, photo: Baummapper