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