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.

Descriptive Summary- Emily

I started of with the concept of imitating natural phenomena (a cicada wing) that was enhanced with certain elements of interest such as transparency in material, it's interaction with other natural phenomenon and occuring movement. This lead onto sculptural experiments playing with light, patterns and shape. This further demonstrated the imitation of a natural element (reflection) that was manipulated by the shapes made by an artificial reflective surface or addition of natural light on transparent and translucent materials.

I would like to continue to experiment further with manipulation of light reflective sources and materials. Aesthetically I appreciate the delicateness and similarity that compositions created by light reflections are to the intricate architectural design of the cicada wing, the object of origin. To focus more on this concept I would like to move away from immediate reflective surfaces such as mirrors. I want the audience to interact with the relationship of the source (material) and its effect (light) rather than their own reflection and interaction with the source (material) only. I also want to continue experimenting with shape and movement, kinetic experiment is still an interest and perhaps this will take place with an audiovisual installation or even the natural progression of sunlight as the effect moving through the day. Additionally, to enhance further appreciation to such beauty I would like to play around with size, almost like a useless attempt to create a solar panel to heat artistic discussion rather than electrical productivity.DE

Descriptive summary- Shinae

At the moment, I started to use resin and white clay to create a new form/shape of the bottles. Glass blowing is very limited to make a shape which I want to make, so I changed plan to use resin and clay, and resin comes good, and I still need a time to work with clay.
First time, I wanted to make a real weird unique forms so make viewer to think is this a bottle or the bottle which shows the movement of melting or others… and that time when I make the pottery (bottle shapes) using slip cast and clay, and when they broken, I thought that what about using the broken and useless potteries and put them altogether and make a new object/ art work. They can be the rubbish but I can make them an art work I think, so shows that how objects are used and how people interact with them. Also how they represent the value in the work. The audience is asked to question whether what they are looking at is functioning in the way that it appears to. I think non-functioning object creates a nice design of the sculptures.

Descriptive summary- Brydie

In order to make new work i will keep generating it in the same way that i have throughout the semester as it seems to be effective in leaving me with a variety of outcomes which all have a subtle link to one another. I have found a white air-drying putty that has been helpful in allowing me to quickly flesh out any ideas that i have, it also carries less weight and associations than using something like clay, making the work more ambiguous and interesting to me. I am thinking about producing a set of drawings and/or diagrams that will become starting points for a new body of sculptures. I have been reading about Sarah Lucas and Claes Oldenberg which appears to have refreshed my work as I was about to hit a wall of confusion a week ago. I have done some experimentation with sound and video to accompany my work (Jim i have yet to show these to you) which has been enjoyable as it is new to may so i may continue to do so, mainly with sound if it seems appropriate to whatever it is that i am making.

Work that i produce forward of here will still be loosely based on domestic life. It will also adopt notions gender; what it is to be male/female. Stereotypes interest me as they are often humorous although sometimes derogatory and crass. I think this interest has come from looking at Sarah Lucas and the rawness and sexuality within her work. I also have an interest in mundane or everyday issues or moments such as growing old or a hug, whether or not these ideas will become important to my work I am yet to find out. Things that are commonly said like "loosing your marbles" and "pick up your balls" in a metaphoric way may be interesting and/or funny to present literally. The personification of objects seems to also be evolving out of my work.

YoonKyung

Descriptive summary Ritchie

After creating my fire drawings I noticed the marks I created were actually negative spaces of wood that were left unaltered by the welder. This brought up the idea of positive and negative spaces and the importance of the negative space in an artwork, without negative space positive space wouldn't exist. Moving forward with this idea I intend to investigate ways of creating a sculpture by taking away material rather than accumulating it. Creating a negative space, or a 'reverse sculpture', where the subject of the work is the presence of an absence. Asking questions of representation.. can something be represented by nothing?

To create these works I'm going to move from the mark making processes into processes of removing information/deletion, but still working with the element of chance to decide the aesthetic outcome of the works. I'll begin using the easily accessible sculptural materials such as wood, ceramics and metal, but start to thinking about less traditional materials and the possibility of site specific works.

Descriptive summary- Matt

From the findings of my previous sculpture and research, I aim to make new work which moves on from making visual connections, where one thing leads to the next. The last act using previous work was examining a material shift, imprinting crow bar by force onto the aluminium bottle. The result was a dent. I’m interested in this residual dent; it got me thinking about how two masses meet one another and result in a state change. There is still that idea of engulfment and consumption of form; which one has taken over the other? The object which made the imprint has intruded/imposed itself on another. As the objects forcefully meet, they are temporarily combined into a singular form, separated only by their chemical make up. Only removal of one object returns them back to a new singular state, however there is one or two altered forms. Resulting form could be seen as a new metamorphic object: one part one object and one part the other object. The dent is still trying to hold onto both of the original objects. This space is often void, containing no mass or materiality. It is just air, unable to assume the role of a lamp post in your blind spot or that panel beater you’ve always gone to…



I guess from these analogies of a dent, I’m going to use objects, materials and processes to make work which explores the nature of gaps and their betweenness. Metaphysically does anything touch? A simple example I can think of is how our bare feet are made up of atoms, as timber floor boards also. However, when we walk in bare feet on the floor we do not combine with it. This must mean there must be some miniscule gap/void between the atoms in our feet and those atoms of the floor boards? I aim to explore this idea of a tight void space on a larger or more representational scale. Although this atomic gap will be there (but not to the naked eye), works will hopefully talk about some of these notions in different scale, material, form.

Nathan Coley, 2006

Task for week 9

This week you are asked to complete two activities.
1. compile a group of studies that explain or consider your artwork plans for the next three weeks. These can be drawings, lists or the record of a material process.

2. Please write a two paragraph piece on the subject of this future work. Consider it from two perspectives. Firstly what you are going to do to make new work? and then secondly,what you think this new work will mean?

Please post this piece to me for placement on the blog,(before Thursday 14th)

Formative Feedback

Hi All
Formative feedback has been posted to each student individually. I am happy to meet with individual students during tomorrow's session and discuss the rubrics, especially in relation to your plans for the remainder of the course.

Thanks
Jim

Crit Information

Crit Session 1: Discussion and Formative Feedback

Occurring over two class sessions:
Session 1 Week 6 23 April
Session 2 Week 7 30 April

Session 1
These people, seen in session 1, can collect completed rubrics following the end of session 2, on Thursday.
Akura
Richard
Hannah
Soo Hyun
Emily
Shinae
Brydie
Ellen Claire
Zac

Session 2
Renee
Sian
Yoonkyung
Sung-Hi
Matthew
Lia
Ruby

Please attend both sessions

Renee

Description
I have had trouble starting this project as I just wanted to experiment in the workshops but wasn't making anything that was worthy of this project.
I have however got starting points that I am now developing.
My 1st idea was to experiment with the make up or creation of people and objects.
Another idea was to experiment with the shape of a circle/ring and the different readings I would get from this shape when materials, size and colour were changed.
I have experimented with clay, plaster and wax so far.
Regarding to my 1st idea I did a cast of my face and made a mold out of wax which was set in different layers of colours, this is meant to give an idea that these colours represent me in a certain way relating to cultural influences?
I do need and want to get different interpretations from these objects at the crit though so I can resolve it further.
I havn't really got much of a diagram because I've hit a wall.

In regards to research with the 1st idea I liked artists that did self portraits and face molds such as, Jo Lee and Agnes Arellano


And with the second idea my research has been mostly about the meaning of a circle, Religon, Feminism, Earth, Life.

Akura

Description
Initially I was interested in disrupting habitual perceptions surrounding everyday objects and developing contradictions between objects and there functions.
The objects of my attentions were cotton buds and sewing needles. I sought to make casts from these objects, to develop an understanding of casting and mold making materials and processes.

So far I have found myself drawn to, and producing work with cotton buds. My interest in sewing needles has since waned.
I am particularly drawn to the hesitant, unsettling feeling cotton buds evoke when taken out of the home or healthcare context. It is startling how an object so ubiquitous and familiar can suddenly become intimidating and cautionary for one to hold.
This awareness created between the body and the object provoked me to investigate this further by exploiting the estrangement or disjointedness of an object when removed from its usual context, associations, materials and function, specifically with casting.

Having made cast piles of cotton buds in rubber, latex and silicone crammed together in a plastic, de-aerated mold I was struck by the new, bodily qualities the materials introduced in to the casts. The latex casts once dried turned a dirty yellowish-brown, which resembled the colour of pus. It is by far the most disturbing of the casts. The latex smells to high heaven like an infection and has a rather organic appearance. The silicone molds resemble the colour of semen and have a slimy, slippery texture. I have experimented with cutting away the excess silicone and now I see the casts as chromosomes or microscopic bacteria made visible to the human eye.


Research:

Rachel Whiteread. Venice Biennale 1997.
Fine Arts Library
759 W593b
Pg 29-35

- An interview with Whiteread which has and still is assisting me while I am working with casting materials and there manipulation to create new sensations in my work.

Soo Byun

Ruby

Description
I am working with the idea (in short) of presence found in absence. I am investigating this idea in three different directions.

• Firstly, by re-arranging and photographing stranger’s inorganic junk, I create new narratives from possessions that are no longer wanted, recreating life in the lifeless.
• Secondly I plan to look into what it is in an object that draws us in, what provokes the imagination. By selecting small enticing objects, I will detract from them their contexts or properties which make them enticing or attractive and place them in a new form, to analyze their effect in a new environment
• Ritualistic Space. The space or place in which we interact/play/react. To these objects

The photographs are named Car. Boat. House.

Between them are the domestic connection, of the American dream for wealth, expectation and fulfillment. But they are made intentionally shabby, through the photography medium and the materials of junk. They are an impression of the used, and a playful approach, like of an imaginative child to bring those ideals and qualities back, and to make use of what we have here and now.

The objects will be displayed with the intention of being picked up, played with, tried on. They are also to provoke a childlike experience to make use of the familiar, discarded. I will manipulate small enticing things to provoke imagination.

The ritualistic space will be explored to create a place possible of these



Reference:
I have been reading
Emerge : Sue de Beer / [text by Shamim M. Momin ... [et al.] (2005)
Call number: 770 D2865 at Fine Arts Library

Sue De Beer takes many of her narratives that run through her films and photographs from short stories and extracts from friends and writers, I have looked at the way I which she has translated the text to image, such as ‘Burnt’ By Trinnie Dalton pg 55-56, which influences the emotion and imagery, such as symbolic use of sue de beers work such as the relationship between pop culture and horror films for example, seen in Black Sun images pgs 116-126.

Lia

Ellie

Description
'All art aspires to the condition of muisc' - Walter Pater
Perhaps I can find a way to elevate art to this condition, by translating visual art into a musical language.The work I am developing investigates the function of the music box as a way to catalogue and store information. The original found music boxes store data, i.e. the songs 'encoded' on them, which are simplified to a basic geometric pattern. I'm interested in the translation of information: from a visual language, into an audio language, by means of a tangible object. We humans naturally hunt for patterns in everything we experience. Music itself is just a collection of sound patterns. My work attempts to draw parallels between pattern-hunting in the two mediums by translating found visual patterns into music using the music box. I'm interested in the tension between mathematical/ mechanical order vs. human imagination/error, and also the tension between ramondomness and the human desire for pattern.

Emily

Description
So far, I have experimented with thin metal, natural light, transparent objects (glad wrap) and reflective surface. I am finding difficulty with keeping the miniature structure upright at the moment.

I see the structures exploring the interaction between the object and reflection. I want to make works with an appreciation for natural objects that can defy gravity.

Factors of interest:
• Weird central points of balance – goes beyond natural world elements
• Balance, large-scale, architectural
• Light – reflections
• Movement: continuous, flowing movement
Should I focus on one of these or some or all?


Reference
Immaterial: Brancusi, Gabo, Maholy-Nagy. (2004)
Available at Fine Arts Library 709.04 133b

Matt

Description

My ideas have changed since the beginning of this project. Initially I felt bound to the rubber chicken and bottle and was mainly interested in changing their materiality. Since this experimentation, I have been thinking - a rubber chicken is a rubber chicken and a bottle is a bottle, whatever material it is made out of, so what comes next? At the same time, some of the forms I was making started to remind me of how nature can take over a form and create a seemingly impossible new form. An example of this is the aluminium bottle cast forced inside the rubber chicken and an image I found of a snake eating a baby hippopotamus. The rubber chicken and snake are left in an intermediate metamorphic state referencing the form they have just consumed.


From this idea I have became interested in process and how making something can lead to the formation of new visual and practical connections for producing new sculptures. At the moment I am working on two pieces which investigate transformation of objects and the process that created them. One is a mold made out of broken glass bottles, which takes on a form resembling a bulging section of a snake. The other is a sculpture of a snake, part transformed into the crowbar I used to smash the bottles for the previous mold. From these, I aim to carry out different processes to make new works which follow on in a connected way from the previous sculptures.

My rethought approach to this project is to make my sculptural process an inanimate object, where the processes used and connections made within the body work can be observed by an audience.




Reference
A book I’m reading at the moment is Franz Kafka’s Metamorphosis and other stories (833.91 K12Fm). Metamorphosis is the first story (about 50 pages), it’s funny and interesting. There’s a bit on wikipedia.com about it as well: http://en.wikipedia.org/wiki/The_Metamorphosis

Kathryn

1. Description of My Project

Ideas:
- Hope
- Giving & Receiving
- Value of an object and how it can change
- Mass production of objects

I became interested in lucky paper stars and how something that is considered valuable (as a gift and the apparent ability to grant a wish) has become such a mass produced, commercialized product.

I am also interested in how something so vulnerable and very much worthless (material-wise) is transformed into something powerful, to which people invest their hopes into – regardless of whether they actually believe in the idea of a wish being granted. People claim they don’t believe it, yet they still keep clinging on to these objects of apparent value or power.

By bronze casting each paper star, I am playing with the idea of value – the process and the outcome. Bronze is more valuable than paper, and while it takes less than a minute to create a star out of paper, it takes days to prepare and cast a bronze star.

Also, starting a mission of collecting 1,000 paper stars with each one containing a different person’s wish written on it and initialed by them, I’m exploring the concept of hope, mass production-yet-not, giving and receiving, and again, value.

I have come to realize that process is a very important aspect to my project, and the outcome may stay as an unfinished/process-based one.

Shinae Suh

Shinae Suh
I have experienced with the glass blowing, aluminum casting or plastic (Ezy cast) casting to make the singular unique bottle shapes, and give them functions on to the sculpture; what it means to be functioning, how projects are used, how they look like to the audience.. I decided to create objects which makes them singular objects and gives all different forms, functions and values to them; investigate the form and potential meaning of a found object. Also I will try to use other materials to create an interesting combination of materials providing multiple associations for viewers.

What interests me:

+ Glass blowing- can’t make exactly same forms all the time, like massive produce.

+ Photo- (Keep taking photos at the moment; can be documentation)

I think photography becoming sculpture- sculpture as installation and installation confined within a vitrine, in a sense framed.



Reference:

World sculpture news 57. Spring 2008. Pg 57-62

www.imma.ie then research Michael craig-martin, who is one of my artist model.

Brydie

The craftsmanship and detail that goes into “arts and crafts” such as knitting and crochet has become important to my work. Not denying naturally occurring flaws or signs of the artist’s hand. Calling household tasks “mindless” was demeaning to their beauty and integrity so I made a switch.

My work so far draws parallels between what have been considered specifically “men’s jobs” or specifically “women’s jobs”. I am interested in the details within these mundane objects, especially in the way they interact with light. For example the car door seen in my photo: recently removed from my own car draws on Jeff Thomson’s Lace works using metal and a plasma cutter. I attacked my door with a softer and more feminine pattern, taking away some of its rigidness. By painting it white I have also removed some on the roughness previously seen in the sanded-back metal and burnt red paint. The white finish opens up the possibility of projecting images onto its surface.

My latex doily's look decidedly like pancakes – drawing on the idea of a woman’s work being in the kitchen. In light of this I have presented them on tracing paper which resembles cooking paper where they sit like a saucy pile of pancakes, wet and glossy.

The interest in the way the light interacts with the objects can be seen in my photographs and stemmed from painting onto a metal pot and platter – cancelling out the reflective surface. The tarnishing and dirtiness of these objects is important as it speaks of their past lives in the kitchen rather than coming sparkling new – straight from a factory of mass production.

Link to reading : http://www.journals.uchicago.edu/doi/abs/10.1086/589595?cookieSet=1&journalCode=wp