Brydie - Planning for presentation

My work will be presented either on the floor or on a small table or corrugated cardboard podium. I want to present a few pieces of work as in the past people seemed to think of my work as momentary experiences, each one with differences but also with a similar feel and aesthetic. I may incorporate props into the work to define the area as a domestic space such as a rug or maybe small lights or lamps above the work as I like the cinematic aspect this brings to the work. It is important to my work that the viewer as able to walk right around it and experience it in real space so I think I will have to look for somewhere else to present that has adequate floor space as I am in a small and crowded studio area.

What I have understood from people’s reactions to the work so far is that it is fairly approachable and accessible and as I do not have a political agenda to do with gender I am interested in the viewer bringing fresh ideas to the work. I don’t think that too much backup material needs to be provided to appreciate the work.

In terms of research and documentation I think I will present all of my photographs combined with the semesters tasks in book format. This should make the work easily and quickly accessible to viewers and enables it to become part of the presentation, and not solely documentation of my process.

My intentions have not changed from those which I presented last week and opportunities to personify and give gender to objects seem to keep presenting themselves in all sorts of situations.

Descriptive Summary – Kathryn

Previously I played with the ideas of gift-giving, hope, value and mass production through collecting paper stars made from different people and having them write wishes on them, and also casting bronze stars.

So far I have focused on the idea of stars and material processes, so I want to move on a bit from that and decide what conceptual idea I will represent rather than concentrate on the materials.

Through these outcomes, I started to find the idea of interaction with people while making the stars very interesting. Also I came to be more interested in the ideas concerning mass production and value. And so for the next outcomes I would like to explore different ways of talking about these ideas.

week ten task

Heinz Isler



Considering presentation options


Presentation of objects
To begin thinking about presentation please work on drawings that demonstrate the options you are considering. Please bring this work to the class on Thursday.
1.Your drawings should address the amount and scale of objects you think you might present, giving a some sense of their size and distribution across a likely presentation space.
2.At this point it is also worth thinking about what kind of situation your work will require. If it isn't able to be presented within your own studio space or alongside your work for the 30 point paper then what ideas do you have for alternate spaces.

Contextual issues
Alongside visual descriptions you might also consider:
1. the degree of documentation you are imagining might assist a viewer. What background material is required in order for someone to understand how you have arrived at your end point. Can research material be co-opted into your presentation for instance
2. The amount of material lifted from workbooks, how much of your development would you like markers to access immediately.

Plan for weeks eleven and twelve
Have the plans submitted in week nine changed? What is you priority in terms of completing work. Are there effective and simple time efficient ideas that remain undeveloped?

We will use this week's meeting to talk about the issues raised above.
Next week we will look at each student's work as a group.
In week twelve I will meet with individual students.

Any questions please let be in touch

Descriptive Summary- Zac

Description,

word drawings, ,

It is to do with how all these materials, works, moments that at one point had a lot of invested energy. They were once intense, and focused for someone at one point and then they are left. They become dormant.

Implications arise in terms of authorship. It becomes a challenge for me and for a viewer to reconcile the notion of authorship and intent. I am interested in this kind of in between space (between borrowed and original) and how it is charged with energy and tension and difficulty.

I like the memory that can be invoked by these objects. There is a sense of melancholy in the failure of these objects. How they were once treasured, worked on and invested in and now redundant.

What also excites me about these objects is their potentiality. They are all often half finished, half realized. There is something open about this state that invokes a tension and energy of potential. It has to do with prompting imagination; they are hooks for what could be. But it is also to do with how something like a drawing, or a failure has a realness, a presence


External thought, , ,


‘I, the world, things, life – we are all situations of energy. The point is not to fix situations, but to keep them open and alive – like life processes.’ Giovanni Anselmo

Descriptive Summary- Yoon

Creating the previous work, I put a lot of time into handling the starting object and the casting process. This helped me a lot in generating ideas; so in order to create new work I will be spending much time to investigate the features of the chosen object thoroughly by recreating (this probably will include some casting, and some handcraft work with clay, wax, etc.) them and drawings.

What I am interested in at the moment is the sense a series of subverted animate and inanimate objects would create. Through these manipulated objects I would like to explore the minor features that most people don’t pay attention to however determine them what they are. I feel that I am bound to the object, the giraffe, so I will be trying to move away from it a little, although I would still like to work in the subject of animals as well as including some inanimate objects that seem to me to arouse similar feelings as when looking at unfamiliar (unusual-looking, mysterious?) animals. Making process will be similar to what I have done in the past; it’s going to include exaggeration, separation and manipulation of the objects and what is going to be new is restructuring of the separated pieces. Also, I think I will still be working in fairly small sizes, which seem to challenge the audience in adjusting the balance of the fixed idea on the objects they see and produce some fantastical narratives in the process of interpreting the work.

Descriptive Summary- Hannah

I plan to move on to making a series of objects that function in a non-functional
way. Building off or altering everyday objects-
or recreating them using traditional sculptural materials such as wood. Creating objects so the viewer is seeing something they know and have seen before in a new way. Playing on ideas around modernist/minimalist sculpture. Possibly taking on more of a Martin Creed approach and reacting to found objects around me.

I'm interested in creating works that cause the viewer to question the artists
decision making.
Leaving the work an instant, having the artists hand visible.
Creating new objects that play on the viewers understanding of how
it works and causes the viewer to question the object in relation to
their body and the space it has been inserted into.

Things to think about:

• What is art?
• How does functionality work in art – does art have a function
• Utilitarian idea – use opposed to a function – use becomes the purpose of
being art
• What happens to these non-functional objects once put in the context of a
gallery – objects then gain a purpose – art for arts sake/made to be art

Descriptive Summary- Soo

The new body of work will explore into the concept of order and growth in crystals and gemstones. Through research I have found out what determines the high value in crystals from rocks is their perfect order in crystallisation. Rare crystals grow according to a certain order shaped by its environment and chance. With this in mind, I would like to structure their growth myself.
One significant finding from the last work I have made was how residual and abject they looked as well as fantastical and approachable. At this point I envision a ‘freak growth’ of crystal forms, out of their natural order intervened by human control. Through experimenting with scale and material, the outcome will go against the idea of conventional beauty seen in gemstones and crystals.


In order to make my concept become materialized I would first of all make clay models of crystal form of object. The models will be based on geometrical drawings seen in books that analyse crystals systematically.
The models will vary in scale for experiment, to see how emphasis in meaning will become shifted through the size of the object. The moulds for these models will be made and be casted using different materials possibly such as plaster, resin and plastic.