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.