READY-MADES II
Again, taking a household object and finding 5-6 fairly obscure things to do with it, changing it's conceptual reality...
Wednesday, August 17, 2011
Sculpture: Material and Conceptual Investigation
READY-MADES II
Again, taking a household object and finding 5-6 fairly obscure things to do with it, changing it's conceptual reality...
Sculpture: Material and Conceptual Investigation
READY- MADES
The concept of the Ready-Made isn't a very new one. In fact, if you look around you today, absolutely everything seems to be a copy of a copy, or a remake of a previous idea or taking an existing idea or object/s and 'reorganising' them to change their materiality and meaning.
"...The term found art—more commonly found object (French: objet trouvé) or readymade—describes art created from undisguised, but often modified, objects that are not normally considered art, often because they already have a non-art function. Marcel Duchamp was the originator of this in the early 20th century" (http://en.wikipedia.org/wiki/Found_art)
There's a great history of found art and readymades, so the investigation really should start with Duchamp, in the sculpture realm. But this doesn't stop there: anti-art, found art, found poetry, altered books - it's all a great big mix up of materials giving you a new sense of the 'objects' being.
So, in this exercise, I took a few items found around the house, and 'verbed' them - did something to them - that alters their material state.... so it's a bit of a journey really. Some examples take more thought. The egg box - it was painted, fed to the birds, driven over by a car, punched, and then hung....
The concept of the Ready-Made isn't a very new one. In fact, if you look around you today, absolutely everything seems to be a copy of a copy, or a remake of a previous idea or taking an existing idea or object/s and 'reorganising' them to change their materiality and meaning.
"...The term found art—more commonly found object (French: objet trouvé) or readymade—describes art created from undisguised, but often modified, objects that are not normally considered art, often because they already have a non-art function. Marcel Duchamp was the originator of this in the early 20th century" (http://en.wikipedia.org/wiki/Found_art)
There's a great history of found art and readymades, so the investigation really should start with Duchamp, in the sculpture realm. But this doesn't stop there: anti-art, found art, found poetry, altered books - it's all a great big mix up of materials giving you a new sense of the 'objects' being.
So, in this exercise, I took a few items found around the house, and 'verbed' them - did something to them - that alters their material state.... so it's a bit of a journey really. Some examples take more thought. The egg box - it was painted, fed to the birds, driven over by a car, punched, and then hung....
Monday, June 20, 2011
Materiality and Context - resolved colour
White -
Thoughts:
So, I thought I'd put my resolved piece up.
I found this particularly challenging, because I had set myself a few rules to a. move away from
colours and 'choices' I would usually make and b. I had fixated on a site I wanted my piece to be
hanging, so I hoped even as 'white' it would stand out and represent time and space (influences Alexander Calders kinetic sculptures).
The thing I found most challenging about white, was the portrayal of motion, along with texture and form... Texture that complimented the cement/industrial surroundings I saw the white piece in.
The other thing that I realised was how 'bride' like or 'timeless' the introduction of white and transparency was when I photographed the piece. I had added a few bars of music in the original dress, and they fell down during the photographing of the piece, so I decided to cut the 'dress' off the mobile, and I suppose I found myself quoting 'Bride Stripped Bare' by Marcel Duchamp, which has
got to be one of my favourite pieces of all time. There is a sort of 'happenstance' about this piece which I have always battled to achieve, so with 'White', I attempted something similar.
Material and Context - extended colour exploration
White - monochromatic variations
I found researching a particular artist often lead me to a larger group of interest. I felt it was difficult to state with this project that any one artist influenced a singular piece. For example, Alexander Calder, Marcel Duchamp, as well as Nike Savvas and others influenced my thoughts on how I wanted to represent Time and Space on most of the pieces....
For Form
Duchamp's use of glass and Savvas/Calder's use of kinetics their works often come up in the pieces I've made. Transparent perspex in Ex. 3, Project 3, was an idea from Duchamp's 'Bride Stripped Bare'. The incorporation of 'happenstance' and spontaneity (as seen with Jessica Stockholder's work) affected the creating of 'White' (Ex.1, Project) came about after I'd explored 4-5 colours, and decided on a site. Only then did I set myself rules for choosing materials and giving myself 4 hours to make it in... this allowed a certain amount of performance and spontaneity to stay in the pieces, which I feel I often lack with final works.
I found researching a particular artist often lead me to a larger group of interest. I felt it was difficult to state with this project that any one artist influenced a singular piece. For example, Alexander Calder, Marcel Duchamp, as well as Nike Savvas and others influenced my thoughts on how I wanted to represent Time and Space on most of the pieces....
For Form
Duchamp's use of glass and Savvas/Calder's use of kinetics their works often come up in the pieces I've made. Transparent perspex in Ex. 3, Project 3, was an idea from Duchamp's 'Bride Stripped Bare'. The incorporation of 'happenstance' and spontaneity (as seen with Jessica Stockholder's work) affected the creating of 'White' (Ex.1, Project) came about after I'd explored 4-5 colours, and decided on a site. Only then did I set myself rules for choosing materials and giving myself 4 hours to make it in... this allowed a certain amount of performance and spontaneity to stay in the pieces, which I feel I often lack with final works.
Material and Context - initial colour exploration
Exploring the connotations of colour... through diarising
Material Investigation - thread and stocking contd. resolved
The objective here, was to expand on the thread and stocking piece, by exploring time and space... implied receptacle of space - where it flows or is received.
The more obvious elements being hanging, or fallen objects and moving pieces where time is continuously in motion. I enjoyed the chaos of the string against the more methodical rounded forms - much like a bar of music there are notes following on from eachother to form a beat in a bar, or a space in a bar of music.
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