Whilst I have been thinking about work in relation to elements such as light and air, I have also been thinking of work that has a relationship with time, whether a particular moment in time or a process of change over time. Previous work with moulding and casting balloons looked at making solid something that was associated with constant change i.e. breath. Here I wanted to continue the experimentation using the form of the balloon but now introducing an actual process of change and disintegration, a process of freezing, making solid, then melting. I like the idea of time based sculpture, of form that only exists for a limited period and that is visibly changing as you are watching. Water seemed to be the most obvious and accessible choice to begin this experimentation and again casting the inside space of deflated balloons. I put dress maker pins inside the water balloons as I thought an additional visual reference point would help appreciate the changing form of the ice. Similarly I was interested to see what happened when the water forms froze around other solid objects, in this instance the freezer rack and the potential visual tension that this relationship produced. Through talking about these ideas with a new creative contact, I learnt about the work of the artist Anya Gallaccio, whose work I intend to explore further.
Sunday, February 26, 2012
Parthenon study, Folding III
Folding - Baroque I
Folding - Baroque II
Folding - Baroque III
Petrification means to paralyse with fear, amazement, or awe. To convert into stone or stony substance, to make hard or fixed, lifeless or inactive. To deaden.
What human impulse lies behind carving human flesh and fabric folds into stone. Ephemeral, supple, bloody and pulsating into a substance so solid and immovable, lifeless and pristine. Is it the same impulse or denial that makes me smoke, makes us build houses in the sand or manufacture cosmetics? The irony is that even stone crumbles and chips away, that entropy is inevitable and nothing is invulnerable to external pressure.
'when we dead awaken' is the title of Beers Lambert's February exhibition, showcasing the work of four contemporary artists responding to the themes of Henrik Ibsen's final play. The play's protagonist is a sculptor and explores the relationship between artist, muse and the creative process. I am particularly interested by the idea, published in the gallery's press release, that 'the artist exists as the bridge between the inanimate and the inspired'.
This statement reveals itself to be particularly poignant in relation to the work of Anja Ronacher whose seemingly inanimate portraits of deteriorating Greek carvings and heavy curtain folds, carry with them a meditative and self reflecting weightiness that suggest both human presence and absence.
Baroque is 'of a style of art, architecture, and music prevalent in the 17th cent. that is marked by extravagant forms and elaborate and sometimes grotesque ornamentation'.
Whilst at first sight the decimated faces and limbs of the Greek figures in Parthenon study, Folding I & Parthenon study, Folding III, alongside the series of prints Folding - Baroque I, II, III , suggest a lack of direct or human subject the more I learn about the artists work and process the more the notion of subject begins to transform and hover around and outside of the picture frames.
Space is subject matter. Human presence can be held both tightly and loosely in the things our hands touch even if the act of touching happened in the remote past. Anja Ronacher spent hours meticulously manipulating the folds of these theatre curtains before taking her pictures so that the photographs become by her practice both sculptural and alive.
As the series Folding - Baroque I, II, III, Folding, progresses the tight, unnatural folds, that at first fill the frames, give way to more 'empty' space. A deterioration? Or is it that in this process of allowing for space, the balance between 'the inanimate and the inspired' through the artist as conduit, has been redressed?
(photography is mine apart from Folding, which was taken from the Beers Lambert website)
Saturday, February 25, 2012
Wednesday, February 22, 2012
Tuesday, February 14, 2012
Monday, February 13, 2012
focus on environment/architecture/container vs focus on metaphorical objects independent of surrounding space/environment.
focus on environment/architecture/container
here I would consider factors such as:
natural/artificial light and therefore the passage of time or static quality of lit internal environments, the movement of air, the presence of sound, the dimensions and particularities of a chosen space/location such as associative value or physical dimensions.
focus on metaphorical objects independent of surrounding space/environment
here I would consider factors such as:
the process of making, the qualities/visual tension/dynamic and associative value of the materials used, the overall associative and metaphorical potential of chosen forms, the potential of time based sculpture, of change, disappearance, renewal, and revelation within a given time period.
investigating the potential relationship between environment and object.
here I would be interested in the relationship between:
space and form, the direct experience of the viewer in relation to the viewed, the potential of encouraging instinctual connections within the viewer between different elements of the work spread across different physical spaces e.g. in separate rooms/floors etc.
George Vassey on Eleanor J.G Wright
'On The Slade BA, Eleanor J. G. Wright stood out in the clutter for her adept responses to the building. What these artists share is an understanding that art is both cerebral and experiential. The best way to engage an audience is to create work that communicates on both an intellectual and visual level'.
|Anna Hodgson and Eleanor JG Wright|
|Eleanor JG Wright|