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Works for Studio Rationale

Finished all my works that I will be using for my rationale which is awesome..

One took two bloody hours and two full yarn balls hahaha. 

but it looks pretty awesome!

The second work I completed ended up pretty well too

I think they're looking good.

and the third one is my shitty text clay thing. 

Ill be comparing them to artists;

Richard Serra

Allen Glatter

Robert Morris

Jessica Harrison

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New Work

Text Turned Me On My Head - Clay 

I decided to create the alphabet with with clay and place it on a block of clay upside down

This work represents the struggle that I went through this semester focussing on text. 

Turning the letters on their head represents how I was turned on my head from doing text work. Then to create another work - I could turn it over like the lid is squishing me - which will be called “I have decided to squash the text”

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Recent Work - 25May

Working on expanding my portfolio and creating more works. Decided to continue looking at the metal rod and string. I wanted to make the piece rely heavily on the string as a key element. I created a stand to begin placing the string on. This then turned into a piece itself

Unresolved, I put slits in the ends of the rods to secure the string once put in.

I ran out of blue string but I plan to continue it on.

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The awkward Moment beginnings

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Presentation 22 May

Good morning, I will be discussing my work, Inversion which is a sculpture consisting of two separate 60x60cm cubes made of metal rods and blue knitting string. One cube has the metal rods as the perimeter with the blue string tied to the corners meeting at an off-centre point within the cube. The other cube is an inversion of this with the string being the perimeter. This work is displayed on the floor positioned next to one another at a 45 degree angle. Using the floor to display my work allows one to move around and view the work from all angles and even from above.

All formal qualities that construct this work focus on line and materiality visible in the final composition. Line is a main focus of the piece which is impacted by the material used for the line. Metal and yarn combined creates a contrast of weight to the different lines and through reversing the roles of the materials a conversation is started between the two forms. Weight, structure, fragility and integrity are all important parts of that conversation. The final structure that has the knitting string as the perimeter appears as fragile, and lacking integrity. I am able to see this because of the process i went through to create the work and anyone who can recognise the materials would be able to identify these materials and their characteristics.
 Through the process of creating text art, I chose to focus on the structure of the letter rather than the meaning of words. This lead me to explore symmetrical letters and to create multi-sided letters. This then stretched into structure focussing on positive/negative space and finally to the balance of materials and their various aspects and contrasts. When exploring use of material and the amateurish construction of the final work there is a link to the post-minimalist ideas and concepts. Not only is the ‘artists hand’ present, the concept of ‘process art’ is the key element of my work.

Exploring the work further there are opportunities to trial various materials to attach to the metal sculptures. Not only exploring the forms already created, an installation is a possibility such as my chosen artist Fred Sandback.

Fred Sandback is a minimalist conceptual-based sculptor, who works with predominantly lengths of yarn and metal rods. Sometimes colourful,  sometimes not, Sandback creates installations focussing on addressing the surroundings of the space he is provided. The work of Sandbacks that I believe assists me in understanding my work is Untitled (Nr. 4) 1968-1983. Which was shown at an exhibition called Lines of Thought in London at Parasol Unit 2012.

This work consists of four yellow steel rods shaped in a right angle that sits resting on the floor and the wall. These sculptures appear as four cubes completed by the right angle formed by the wall meeting the floor. The work measures at 60cm high and 60cm out from the wall, while it is 3meters and 34cm long. Each cube is placed at different lengths apart, the reason i believe for this was to create distance and create differences in the work through where the viewer is standing.

This work, much like most of Sandback’s work, plays with the space that he is required to work in. Utilising the surroundings of his environment, he makes work to comment on the aspects of the room. 
 Sandbacks work can be described as minimalist by using professionally made objects, block colours, geometric shapes and recessive aesthetics. This work in particular evokes structural integrity questions as it appears that one bump could bring this work crashing down. The fragility of this work makes the viewer question the use of material, why use steel rods and display them in such a precarious position?

Sandbacks Untitled (Nr. 4) and my work Inversion have some clear similarities but some very vast differences. Straight of the mark there are clear aesthetic similarities in form, a cube, material, metal rods, and colour, incorporating a bright colour to the work to draw attention. Minimalist qualities are present in both works, Sandbacks minimalism and my post-minimalist aesthetics.

The differences include mainly the process and influences. Sandback mainly draws influences from his past with interests in music strings and appealing to the surroundings to create his art. While personally I aim to explore and play with materials and concepts to create my work, which is evident in Inversion. The materials that I've used in my work are to comment on one another and their characteristics. While Sandback used steel rods to comment on his influence of musical strings which was a common material for him to use in his earlier works.

Sandbacks work gave me context to help understand my work and to find artists that used similar aesthetics. His use of material and construction of his installations share that of my most recent work Inversion. While there are many differences between our focusses and concepts there is a very similar visual construction.

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all good - using something else

Fred Sandback, Untitled (1968). 

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Untitled 1968? or is it a Dia Beacon Installation!?!?!?! I can't find it 

Fred Sandback, Untitled (1968). 

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Awkward Moment

The Awkward Moment When Someone Comments On How Shit An Artwork... and it turns out to be yours

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Week 10 - Presentation and 1on1

Looking at artists for assessment 2 

Sol Lewitt 

consisted of line, basic colours, simplified shapes 

Fred Sandback 

sculptures that outline planes & volumes in space

metal, wire, elastic chord

then began to explore works that address physical surrounding 

I am going to use Fred Sandback as there are more similarities 

metal 

wire 

string

volumes in space e

negative and positive space

form and structure

Differences include

Sandback

addressing physical surroundings 

delineate & bifurate 

focussing on 3 dimensional spaces

Me

space & balance of materials

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Week 8 - Lab Class Premier Pro

https://vimeo.com/217777390

https://vimeo.com/217777392

https://vimeo.com/217777382

https://vimeo.com/217777270

Learning how to use premier pro 

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Text Exploration - Part 2

moved on to create a cube with the metal rod - to get the measurements etc I placed blue string as the substitute to show the meeting point.

this turned out to be very successful with the juxta-position of material 

This was presented for a class crit; 

these three works were displayed together

Play with materials & form 

evolution --> further abstraction?

This work is finished - but what could be different? 

room installation

lots of different metal objects 

play with materials around the metal structure 

the works look industrial and building like, so the blue string in the cube represent the ‘blueprints’ 

blueprints compared to the finished work

Suggestions

switch the string and metal around

have the metal as the middle centre point and string as the outside 

use elements. of string to create a new element

welding and difference in material

masking tape

string

black plastic

CONTEXT 

art history legacy 

Russian constructivism 

Post Minimalism

inserting artist hand into minimalistic forms

imperfect

Language as a material --> POST MINIMALISM

Artists 

eve hesse

richard serra

mccarl odwyer?

look at dia beacon string

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Week 7 - Text Exploration

working with letters and trying to work with their structure as apposed to the meaning of words 

from this 

I decided to create a cylindrical prism that had a centre meeting point to create 3 w’s on each side

from different angles it created different letters, lighting etc. 

after this point I am going to explore a cube with the same concept of a middle point

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Playing around

Decided to make a box as I was bored then decided to burn it to colour it differently 

from there I learnt how to weld using scrap pieces of metal 

then played with how they would look together etc

tried with different things in the middle 

looking at making a series ??

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Group Gallery Task - Week 6

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Studio Report - Week 5

Studio Rationale

Content -

The content I explore when creating art starts with ideas, media or material. When starting with an idea it begins with an emotional state or a memory, and I begin to explore mediums that would express and depict what I am feeling. When starting with a material, it is a material I have seen used in an interesting way or has a particular aesthetic that I enjoy so I seek to investigate its properties and boundaries. The works I’ve created for this semester consist of two sculptures, one text work and one non-text work.

Work one, WAX, began as an exploration to create a text work. Using a starting point of material, candle wax, assisted in focusing my work. Through exploring this material by melting, molding and cutting it, a very interesting textured sculpture was created. This work did not stay as a text work, as the texture was much more interesting than any text work that I could have created. The simplicity of this work appealed to my aesthetic as when presenting the work, I relied on the structure to show both sides of the flat wax block. Even though simple, I believe it created an interesting structural element which is aesthetic, but impractical.

Work two, This is Text?, beginning again with the need to create a text work. A memory came to mind of a code-style writing I would use as a child, by separating the letters into marks on the page it stemmed an idea of optical perspective art. Using a rectangular box frame to become the platform for the optical perceptual change work, I used fishing line to hold the ‘marks’ of the letters. From the right angle the words ‘this is text ?’ are visible, this shows the impracticality of this work. Stemming from my dislike of creating text art and finding it difficult to come up with something to write, so I chose a work that is difficult to read.

Form/Process -

Form and process are the main aspects of my completed works. The formal languages of three-dimensional media that I focus on in my making process are; scale, shape & material. As I said before my making process begins with a material, once decided, I move onto form and decipher what the material should resolve into. Most of the time it begins by exploring the materiality and seeing what options are possible.

From my first work it is clear that the processes influence the final outcome. While exploring a material, I found a more successful work than what was initially conceived in thought. The final work was found by going through processes of melting, molding and manipulating a block of wax. Using materials that were solely to assist in the procedure of cooling the wax, a work that was balanced in texture and shape was formed. To display both sides of this interesting accident, a need for a precarious position balancing the work was necessary. Using a technique, I have used previously, taken from artist Zoe Knight, helped influence the final work.  

The second work started with my personal desire to create large letters from wood. When this was not an option as I did not have a resolved set word or words I was interested in creating, building a box would suffice. Simply building this rectangular shaped frame, solely for the therapeutic benefits for me, an idea of a childhood writing/code concept hit me. This frame was on a rather large scale which was necessary to accommodate for the optical text work that was to be created.

Context -

Having been given a name by Courtney Coombs of the artist Marc Bijl, I looked into his works and group exhibitions. This helped me find four out of the five artists I have listed. Each one bringing very different concepts and styles of art to my practice, I managed to engage in each and apply it to my two works. Perhaps not extremely obviously but when digging deeper into my works, and these artists it is clear to see influences from them.

Anya Gallaccio

Anya Gallaccio is an artist who mainly works with ephemeral art and creates different works for specific places that she exhibits in. I find that a very interesting approach to art, as an aesthetic and a concept as art in my practice I make to last forever. Taking inspiration from her works has allowed me to use her ephemerality concept and material and develop my type of art.

Anya Gallaccio influenced my work quite obviously through material and form. Her Aspire work influenced me to explore the use of wax as a starting material. My ‘WAX’ work uses the process of melting the wax, not so explicitly with a flame, but using heat to expose the various other options that this interesting material has to offer. Unlike Gallaccio though, I created mine to last, and not be a time-based structure.

Gallaccio’s work This Much is True was my initial starting point to making the rectangular frame which inspired my ‘this is text ?’ work. Once I saw this piece in such a pleasing, well resolved form it evoked an urge to create a similar satisfying balanced structural form.  Using wood, as opposed to stone, allowed more diverse options for expanding the work to not just being an imitation of hers.  

Robert Rauschenberg

Robert Rauschenberg is an extremely interesting artist to me, his structure from his sculptures to his collages are extremely impressive and true to his style. These two works in particular interest me for their structural integrity and their interesting use of material and aesthetic.

The Ancient Incident 2011 showed a depth to his work that I enjoyed immensely. This gave me the concept to create my ‘this is text ?’. To work on a scale that involved depth rather than a two-dimensional plane. The way in which the structure from the angle that this photograph was taken is appealing and gave me the idea to use the multiple levels and depth to the text.

Not only did The Ancient Incident influence my text work, his other piece or series of pieces Tampa Clay Piece #4 specifically inspired me visually to create a ‘wet’ aesthetic to the paper I used to create the marks for the letters of the work. Now as it inspired me, it did not apply in practice as well as hoped. The paper dried and the work looked the same as it did prior. This has not discouraged me from exploring the ‘wet’ aesthetic, and to find a material that will in fact hold its moisture.

Michael Murphy

Michael Murphy is an extremely skilled, patient and observant artist. Through his works above it is clear to see the diligence and effort he exerts into his work. This eye for detail and consistency is what I admire about this artist. Whether he be creating from simple spherical objects, or icons for popular brands (see Branded 2015) Murphy takes the time to create a clear image that can be observed. These works are clearly influences to my optical perceptual work ‘this is text ?’ through searching for examples of perceptual change work, Murphy’s was the most interesting and well-constructed I found. With less skill and patience, I attempted this style of work using folded paper and fishing line. I ended up with a work that was in my own style that expressed my artistic eye.

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Courtney Coombs