Ryder Morey-Wheale, Untitled, 2012 (deleted flickr account)
found: [x]
Sunday, 24 May 2015
Fernanda Gomes
works [x]
"Physical space conditions work as it conditions life. My intention is not to tie physical, architectonic space to a physical situation, but to a state of mental and emotional concentration, where shapes are present not only as originating from a certain space, but also from a certain moment. What I want to create is a moment of pure space-time."
Do the characteristics of physical space condition your work?, Fernanda Gomes
interview [x]
This is one of her large scale installations - unfortunately I was unable to find a version of this image that was actually sourced properly, so I don't know the name or materials used, which doesn't help much for interpretation, but i can see pillows and fabric (perhaps sheets). In my journal I recently brainstormed some words about the idea of a safe hiding place. That was what I thought of when I saw this image, although less, the more I look at it - the stark white lighting and very little variation in colour is uncomfortable and over-revealing, the light isn't particularly gentle. Something to consider if I'm to pursue that idea in my work.
I love these objects that Fernanda creates - they're quite beautiful. They seem to be made up of pieces of old things, which gives them a domestic feeling. Some of her other larger sculptures and installations are made from used furniture.
Places to look for materials: demolition, secondhand stores, hard rubbish
"Physical space conditions work as it conditions life. My intention is not to tie physical, architectonic space to a physical situation, but to a state of mental and emotional concentration, where shapes are present not only as originating from a certain space, but also from a certain moment. What I want to create is a moment of pure space-time."
Do the characteristics of physical space condition your work?, Fernanda Gomes
interview [x]
This is one of her large scale installations - unfortunately I was unable to find a version of this image that was actually sourced properly, so I don't know the name or materials used, which doesn't help much for interpretation, but i can see pillows and fabric (perhaps sheets). In my journal I recently brainstormed some words about the idea of a safe hiding place. That was what I thought of when I saw this image, although less, the more I look at it - the stark white lighting and very little variation in colour is uncomfortable and over-revealing, the light isn't particularly gentle. Something to consider if I'm to pursue that idea in my work.
I love these objects that Fernanda creates - they're quite beautiful. They seem to be made up of pieces of old things, which gives them a domestic feeling. Some of her other larger sculptures and installations are made from used furniture.
Places to look for materials: demolition, secondhand stores, hard rubbish
Thursday, 21 May 2015
Phyllida Barlow
Untitled: Hoardings, 2012
untitled: hoardings, 2012
timber, scrim, cement, black felt, paint
600 x 1400 x 700 cm / 236 1/4 x 551 1/8 x 275 5/8 in
timber, scrim, cement, black felt, paint
600 x 1400 x 700 cm / 236 1/4 x 551 1/8 x 275 5/8 in
Installation view:
Kiev Biennale, 2012
Photo: Fabian Peake
Kiev Biennale, 2012
Photo: Fabian Peake
- form
- colour
- weighting
- scale (contrast in scale)
Wednesday, 20 May 2015
Marie Lund, Stills
[x]
found curtains stretched over wooden frame
Many of the materials used in Marie's work all have former lives; a history.
The faded irregular stripes on the curtains are a result of years of sunlight bleaching them in their windows.
found curtains stretched over wooden frame
Many of the materials used in Marie's work all have former lives; a history.
The faded irregular stripes on the curtains are a result of years of sunlight bleaching them in their windows.
Karla Black about her approach to art
'I prioritise material experience over language as a way to learn about and understand the world.
Maybe I want to mix paint into a particular colour, or touch a certain material like cellophane, or scrabble around with some powder, in this sense, I think that my work begins with an exercising of the unconscious, which is experimental.
All I can really say is that I do what I want to do.That's the most important thing to me. For me, making art is about freedom. I decided early on that I would give myself permission to do what I want. In terms of what actually transpires, that means if I like colour I'll use it, if I feel like working with a particular material I will.
It's difficult enough to make anything, so I think I may as well enjoy myself as much as I can by doing what I love. I don't think too much about what I'm doing, in terms of exactly how the process goes, and what my behaviour is, or I would paralyse myself. Too much self-consciousness would kill it, especially in the beginning. After a work is finished, I think more about what it is and I give the work a title. I look at what I do in a psychoanalytic way and how the whole process pans out is a bit like 'acting out'; like behaving and then thinking afterwards "What have I done?". I behave, then I think about it afterwards. All of my works turn out different than what I expect - some more than others. I'm not the kind of artist who has an idea and then tries to make the idea exist in reality. But i'm not flailing around in the wind either. I know a bit about what I'm trying to do. It's difficult to explain. I have an open process that allows for my own limitations, as week as those of the physical world, but I am incredibly precise about formal aesthetics. I am obsessed by the relations between material, form, composition and colour, and when my aesthetic decision is final, I want nothing more than for it to stay like that forever. There's a delicate transition between trying to be free and open in a process and making something 'good' at the end.'
S Martin, B Ermacora, A Braukmann, and M Green. Living In The Material World. 2014
Maybe I want to mix paint into a particular colour, or touch a certain material like cellophane, or scrabble around with some powder, in this sense, I think that my work begins with an exercising of the unconscious, which is experimental.
All I can really say is that I do what I want to do.That's the most important thing to me. For me, making art is about freedom. I decided early on that I would give myself permission to do what I want. In terms of what actually transpires, that means if I like colour I'll use it, if I feel like working with a particular material I will.
It's difficult enough to make anything, so I think I may as well enjoy myself as much as I can by doing what I love. I don't think too much about what I'm doing, in terms of exactly how the process goes, and what my behaviour is, or I would paralyse myself. Too much self-consciousness would kill it, especially in the beginning. After a work is finished, I think more about what it is and I give the work a title. I look at what I do in a psychoanalytic way and how the whole process pans out is a bit like 'acting out'; like behaving and then thinking afterwards "What have I done?". I behave, then I think about it afterwards. All of my works turn out different than what I expect - some more than others. I'm not the kind of artist who has an idea and then tries to make the idea exist in reality. But i'm not flailing around in the wind either. I know a bit about what I'm trying to do. It's difficult to explain. I have an open process that allows for my own limitations, as week as those of the physical world, but I am incredibly precise about formal aesthetics. I am obsessed by the relations between material, form, composition and colour, and when my aesthetic decision is final, I want nothing more than for it to stay like that forever. There's a delicate transition between trying to be free and open in a process and making something 'good' at the end.'
S Martin, B Ermacora, A Braukmann, and M Green. Living In The Material World. 2014
Tuesday, 19 May 2015
Theaster Gates
Links:
[x]
[x]
'Gates's sculptural practice is also based on remnants—humble materials "potent" (a word he favors) with associations. He saves furnishings and pieces of derelict buildings, formerly inhabited by black people, for reuse in his sculptures. His aesthetic is minimalist but infused with a strong sense of narrative; his thronelike, custom-upholstered shoeshine stands, stacks of plates embedded in concrete blocks, and framed, rolled-up fire hoses all speak to aspects of black history and black daily life.'
Untitled (Plates), 2011, the Armory Show
This work really appeals to me aesthetically, and links in with my previous work relating to sentimental memory. The plates as a common domestic object can be strongly linked to memory, for example, I can remember the pattern on the plates in each of the homes I have lived in. At my parents' house the plates were ceramic with a single blue ring around the edge, my grandmother's were brown glass, my first home stay owned clue and white decorated china, and the place I live now there is a collection of different plates, aztec and floral and plain colours, some with chips, all from different op shops.
Then the concrete, a purely industrial material I find to be very raw and lovely - it can be formal or organic, and I like the contrast of that when it's used.
[x]
[x]
'Gates's sculptural practice is also based on remnants—humble materials "potent" (a word he favors) with associations. He saves furnishings and pieces of derelict buildings, formerly inhabited by black people, for reuse in his sculptures. His aesthetic is minimalist but infused with a strong sense of narrative; his thronelike, custom-upholstered shoeshine stands, stacks of plates embedded in concrete blocks, and framed, rolled-up fire hoses all speak to aspects of black history and black daily life.'
Untitled (Plates), 2011, the Armory Show
This work really appeals to me aesthetically, and links in with my previous work relating to sentimental memory. The plates as a common domestic object can be strongly linked to memory, for example, I can remember the pattern on the plates in each of the homes I have lived in. At my parents' house the plates were ceramic with a single blue ring around the edge, my grandmother's were brown glass, my first home stay owned clue and white decorated china, and the place I live now there is a collection of different plates, aztec and floral and plain colours, some with chips, all from different op shops.
Then the concrete, a purely industrial material I find to be very raw and lovely - it can be formal or organic, and I like the contrast of that when it's used.
Saturday, 16 May 2015
Harry Morgan, Entropy
[x]
‘Entropy’ considers the architectural differences between the solid and liquid state. Exploring how the materials occupy space, the linear structures of glass demarcate space without necessarily occupying it with solid mass.
I like this because of the use of industrial materials, but also the way that glass is used; that is, it's placed in a way that the density of the panes create interesting planes of shadow and light, depending on what angle you see it from.
I've collected images from other artists that are visually similar, and use some of the same materials:
Benoist Van Borren
Theaster Gates I will include in another post
‘Entropy’ considers the architectural differences between the solid and liquid state. Exploring how the materials occupy space, the linear structures of glass demarcate space without necessarily occupying it with solid mass.
I like this because of the use of industrial materials, but also the way that glass is used; that is, it's placed in a way that the density of the panes create interesting planes of shadow and light, depending on what angle you see it from.
I've collected images from other artists that are visually similar, and use some of the same materials:
Benoist Van Borren
Theaster Gates I will include in another post
Friday, 15 May 2015
James Turrell, views on light
“I’m interested in having a light that inhabits space, so that you feel light to be physically present. I mean, light is a substance that is, in fact, a thing, but we don’t attribute thing-ness to it. We use light to illuminate other things, something we read, sculpture, paintings. And it gladly does this. But the most interesting thing to find is that light is aware that we are looking at it, so that it behaves differently when we are watching it and when we’re not, which imbues it with consciousness. Often people say that they want to touch some of the work I do. Well, that feeling is actually coming from the fact that the eyes are touching, the eyes are feeling. And this happens because the eyes are quite sensitive only in low light, for which we were made. We’re actually made for this light of Plato’s cave, the light of twilight.”
[x]
[x]
Wednesday, 6 May 2015
A Clear Midnight Poem
THIS is thy hour O Soul, thy free flight into the wordless,
Away from books, away from art, the day erased, the lesson done,
Thee fully forth emerging, silent, gazing, pondering the themes thou
lovest best.
Night, sleep, death and the stars.
Away from books, away from art, the day erased, the lesson done,
Thee fully forth emerging, silent, gazing, pondering the themes thou
lovest best.
Night, sleep, death and the stars.
Walt Whitman
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