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)