Author: Kayla

My first development draws and furthers ideas that i’ve identified upon reflection of my 3rd initial assemblage. Ideas identified in the 3rd initial assemblage I wanted to develop further, illustrating a more strong concise narrative of Feminism specifically deriving the idea linked from symbolisation of women and periods, as opposed to mental health (A concept that was more present in the 3rd initial assemblage). By selectively utilising a smaller variety of materials I have been able to execute an assemblage that presents the viewer a more concise, stronger narrative of feminism through the assemblage. I have chosen scissors, a singular tampon, almost empty birth control tray, red jasper crystals and a selenite crystal bowl. All these materials channel representation of strong empowering values and issues concerned around feminism in todays society.

When reflecting on materials this assemblage they collectively raise awareness of Feminism as the birth control and red jasper crystals when mindfully considered together in the assemblage arises initial thoughts of periods, fertility in women and concerns of unjust sexual activity expectations between women and men in current times. Red jasper crystals from a spiritual perspective serve with assistance in grounding the individual and is aligned with the root chakra. It is important we embrace the theme of the Divine Feminine, especially during todays time where as a collective society that is becoming more open minded and accepting to people of all diverse backgrounds and cultures. By using red jasper crystals this signifies a sense of grounding and alignment that everyone should channel into when connecting with their Divine Feminine. I don’t connect the word feminine to be related immediately to ‘women’, as femininity is a characteristic every human carries, though how much they resonate and connect with that side is dependent on the individual.

I have included scissors in this development, as they generate a loud statement upon initial observation of assemblage. The way in which I have chosen to assemble the materials depicts a strong narrative of feminism, as the scissors are positioned in a way which is about to cut the tampon string; this depiction I feel can be described as loud and/or with power, as the assemblage is a still piece, yet providing a sense of being on edge, or drastic. This drastic sense the assemblage presents us immediately draws in the observers attention, leaving viewers pondering curiously about the why? Why are the scissors depicted in mid action use?

In this development I have furthered ideas from my initial assemblages by identifying different aspects and combining those in this development. Upon reflecting on my 3rd initial assemblage I observed different ideas correlating with the materials used while also identifying concepts I could further in my developments. These being the birth control and the red crystals, correlated with embracing themes Feminism amongst the assemblage

In my 2nd initial assemblage I utilised paint in a non-traditional way, this was by creating a pink/red liquid formed by mixing paint with water. I transferred this idea to this development in assistance to communicate with clarity a narrative of feminism. Upon observing the assemblage, a tampon has been used in place of the lid, using the paint water to expand the tampon, I could fully seal the opening. With a few tampons slightly open laying around that wouldn’t be utilised for their initial purpose, I repurposed these tampons, furthering links to narratives of feminism throughout all materials in this assemblage.

Placing the amethyst crystals as a base for the assemblage, a base for the centrepiece this directly reflects narratives of feminism through a assemblage of personal founded materials. Amethyst crystals from a spiritual perspective are natural calmer, providing clarity for the mindset, relieving stress, strain and anxiety, alongside providing assistance in spiritual awareness while opening and enhancing your intuition. Utilising this as the base of the assemblage brings forth a calmer presence in the assemblage. Feminine traits are commonly linked to motherhood from a traditional perspective, the tampons reflect a link to periods, thus embracing ideas of the Divine Feminine that mothers carry.

A personal connection between me and this assemblage is formed as I carry strong opinions and views around feminism. Through linking ideas of the Divine Feminine through the visual language in the assemblage this identified the Divine Feminine in mothers, as a daughter of a single mother who has three daughters, I resonate strongly with this idea founded in this assemblage. This development was created with a vision to further communicate concepts of the Divine Feminine through personal founded materials. I have executed an assemblage that when reflected on, arises and identifies idea of feminism and/ or the Divine Feminine, specifically around mothers, conveying appreciation and acknowledgement that being a mother is difficult and is a matter of trust the process and your intuition.

Materials chosen to for this development are from materials utilised in my initial assemblages. By restricting material options, this boosted my creative thinking for this brief, allowing me to channel majority of my energy and creative thinking towards the process of forming developmental assemblages, doing so mindfully resulted in deeper conceptual ideas, many of these can be correlated to ideas discussed in my theory lectures.

This development I wanted to approach the assemblage process in a way that goes against how selected materials would traditionally be placed together. This depicts a subtle change of traditional use, arising curiosity in the viewer as to why each item has been carefully placed as it as opposed to placing the items in the bowl and loose crystals underneath the bowl. This assemblage differs from other assemblages, containing the loose crystals only to inside the selenite bowl while the coins and medicine bottle reside outside of the bowl. Upon observing this assemblage deeper we can identify the necklace to be the centrepiece, and the link between the coins, crystals and medicine bottle.

Utilising the medicine bottle came from my natural reaction to ‘repurpose’, the first development assemblage derived from my 3rd initial assemblage, utilising only the birth control tray from the medication in the 3rd initial assemblage . I happened to have the coins in eyesight, with intention to play with energy and attributes the coins may add. Upon addition of coins I immediately was presented with reflection to balance scales, depicted with very loose conceptual visual language. I observed the assemblage and kept in mind the materials and ideas they brought forth, the materials mindfully depict a simple summary of ideas that the artist is balancing on the scale, capitalist expectations concerning money and their (mine, Kayla) own medical issues, while using spirituality (represented by crystals) to support the individual alongside counteracting energy draining aspects of day-to-day life.

From my initial assemblages I wanted to develop the more simple ideas and concepts I drew from the assemblages. I have furthered an idea drawn from my last initial assemblage which concerns itself with geometric shapes observed in random material. By interlocking two necklaces of similar character (both being of sentimental value) we can notice the three shapes the necklaces create. My thought process correlated the interlocking circles to a ‘Venn diagram’. A Venn diagram aids in illustrating various ideas in a logical, thought out process, personally my idea of a Venn diagram assists in identifying common denominators between different ideas, concepts, people, things and more, resulting with a logical way to mindfully sought out what these common denominators are, encouraging a non-biased mindset on the individual.

For this development assemblage I limited my material selection further from my room to then solely immediate items near me at that current time. Materials chosen are my partner and I’s jewellery that resides right next to the bed, or is being worn on us, as well as two crystals that I keep on me everyday, a selenite crystal and a tigers eye. The selenite crystal bowl continues a sense of fluidity in my assemblages and developments alongside providing a distinct centrepiece in the sculpture, immediately drawing your gaze to the bowl. Continuing to observe this assemblage the selenite bowl resides on top of the two interlocking necklaces, in the section I identify as for ‘common denominators’.

Moving away from a literal sense, if we observe the necklaces while mindfully thinking of traditional art, we can relate this in our mind to colour theory. Colour theory is a key factor considered when creating traditional artworks. Once again, this idea can be correlated to my idea of a Venn diagram, identifying the common denominator (example: common denominator of blue and yellow is green)

Throughout this brief I have furthered a personal connection with my creative works in all areas. By carefully considering the materials, process and criteria I can provide myself, as opposed to cutting corners, I have founded a new appreciation all creative works. From this brief (and all other briefs this year) I have succeeded in finding 100% satisfaction with every creative work I produce, as if it isn’t the final product then its a learning curve, something to develop on. By seeing, identifying and breaking down the positive changes of my new approach to creative processes, Ive learnt, benefited and continue to use my skills learnt that great fully assist in communicating ideas and concepts through visual language.

This week our focus when creating sculpture works has shifted from drawing on our environment and surroundings, to gathering materials and assembling them into new forms. The idea is to use ‘Real things’ founded at our disposal that isn’t related so much with traditional art materials.

I had a various amount of personal items that I brought down to Tauranga for lockdown. I choose to limit myself to the items in the room I was staying in which limited my options, instantly allowing my mind to form ideas rather than continue to form a mental map of items in the house I could use.

My first assemblage I began with the first items I saw on my dresser. These being a decorative Hennessy bottle, jewellery, rice bowl, coins, CD’s, succulent. The difference of the tasks from the intentions to the assemblages is that we were shifting our focus from integrating the space and environment to concentrating on a specific assemblage, removing the influence of the environment on the piece. I have given a neutral background to the best of my ability, accompanied by natural lighting.

This assemblage I have simplified at first. Filling the Hennessy bottle with water and stacking the bottle on top of CD’s. During this process I was keeping in mind the neutral setting and lighting, I then thought about coloured water to differentiate the Hennessy and water from the neutral background further. I then wanted to add to the bottle as it felt quite naked without the cork (I had lost it), so addition of jewellery around the bottle neck was made. By turning the CD’s on the stack as I did it gave to me the feeling of stairs or the path to something upwards. The decorative Hennessy bottle takes away from a traditional presence, integrating a lighthearted almost spiritual sense with the amethyst adorning the bottle.

Already 2 assemblages into this task and I can already reflect on the ideas and way I resonate with this sculpture task. As using already founded material Ive been able to attach a narrative alongside the sculpture, this is a result of the materials utilised.

My 3rd assemblage is pushing out of my comfort zone, further a personal narrative in my material assemblages. We can first notice the shift into a deeper personal narrative by the materials chosen, red jasper crystals, selenite crystal bowl, and my medication. After assembling this assemblage I took about 5-10 minute to observe and reflect, I can across themes of mental health, self care, and independence. As by using crystals and crystals to hold my medication it is a sense of self care and independence as I founded the tools of crystals through discovery of spirituality. Spirituality has assisted me through my mental health journey and upon recoveries.

Utilising more items founded on my dresser I have compiled a collection of items I use day to day when leaving the house. All a collection of items that tell a story, a timeline even, we can see this as I have included a license plate which is from a past vehicle of mine and a mask that I happen to wear day to day in 2021 due to COVID. I love this assemblage and its a compilation of items I would take out day to day from 2018to 2021. The rainbow lanyard on my keys is from my first vehicle when I was 16, licence plate from my car in 2019, a veil (worn for spiritual reasons), and sunglasses.

Through these assemblages Ive founded a broad variety of ways I can depict personal and new narratives, these being personal and non-personal founded matters. I want to incorporate this new skill/ tool in my own personal creative works.

I do wish I had used more ambiguous founded materials, ones the contain less representation, though I have founded new processes and skills in this task already in how I form and depict my assemblages

With my next assemblage I wanted to break away from subconsciously creating a personal narrative alongside the materials used for the assemblage. I quite enjoyed the circle created from the necklace, from both view it is aesthetically pleasing to the eye for the assemblage. This is an idea I will push further in my developments to include founded materials used in an ambiguous sense.

Genesis Belanger is an American artist based primarily in New York. Her work explores and observes the visual and consumer culture in modern America alongside addressing themes such as Patriarchy. Works of Belanger that I am looking in inspiration for this brief are her ceramic sculptures, as she blurs together styles of Pop Art and Surrealism, depicting concepts through sculpture. Upon first glance, Belanger’s works present us with colourful, well composed, light heartened and almost a whimsical sense to her pieces. Further observation of her works allow us to notice the details of her works, where the soft coloured everyday items take on physical human features.

Kiki Smith is a German born American artist whose works areas themes of sex, birth, regeneration and mortality. One of Smiths core reasons to create things is to experience the process. Her style ranges amongst mysticism, catholic iconography, anatomical study, folklore and folk art. Kiki smith was a leading female figure of the late second to the early third wave of feminist art. I admire Smiths works as she explores and concerns herself with the figurative representations of nature and the anatomical body, primarily concerning her anatomical works with the female body.

Today we were tasked with to head outside and familiarise ourselves with our surroundings and settings available to us and proceed to intervene the site or create it into a sculpture in some way.

At the end of my moms street there is a field me and my sisters frequently spend time in, I took this as an opportunity to sit and consider the environment. Looking at the tree above me that was stripped of its leaves I thought would make a good washing line, it was basically the backyard of the street. Gathering my clothes I wear day to day, and a peg bucket (it was clearly printed on the bucket too which gave it a nice direct literal sense to the concept I was attempting to intervene the space with.

In my moms backyard there is a clearing near the garden my cats tend to all hang around, though they don’t all get along so i find it quite fascinating seeing the cats all occupy a space but with distance to be in their own bubble. Using random items from inside I gathered together and created a table as a hub for the cats, I placed cat biscuits and water in bowls. While I was trying to document the cats they were together curious, coming up one by one. There was a moment when two of the cats, Whiskey and Bree came up together and ate and drank together, though before I could document them they both scattered.

In the field used in the first site intervention, I chose to revisit this space and intervene in a natural sense, using only materials already in the space. In this overgrown shelter there were tiles and wood tucked away, using these I randomly placed them amongst the space. Intervening with geometrical shapes in the space. I loved the idea of intervening in a natural environment and being able to return it to its natural condition using only founded materials in the space. It gives a sense of connectivity to that space and everything inhabiting or occupying the space.

Tracey Emin is an English artist widely recognised for her autobiographical works. Emins works cover a broad variety of mediums such as drawing, film, photography, neon text, sculpture and more. I admire Emins work as she depicts her personal experiences through visual language, working alongside themes of love, loss, grief, and more.

The two works I’ve shown below are sculpture works of Emins that depict deep personal experiences, these expressive works encourage the viewer to share an intimate moment with the work upon observation. To me pushing deeper connections with yourself and the work you produce pushes your work into a a new stage I recognise, establishing an intimate close personal connection with your works.

Bruce Nauman is an American artist whose works explores a variety of mediums such as sculpture, photography, neon lights, video, drawing, and more. Naumans works reflect ideas and similarities of Tracey Emins work, rather than diving deep in a narrative of personal experiences Naumans work still presents a conceptual understanding alongside the works. Nauman and Emin are a great example of artists who use similar mediums though the execution of works is entirely unique.

Upon first observation of Naumans works I felt as if I was presented with some sort of themes of interlocking, connective ness and/ or religion. It’s these first themes that pop into my mind that give me more curiosity to explore his works and the depths of the themes and narratives. Naumans works over time don’t fit into the same category of style, rather his timeline or works shows where his curiosity is being pulled and Nauman proceeding to explore that medium or idea further. Naumans work concerns itself around a key idea, this being the experience, in ones environment, language or body and more.

Richard DuPont is a post-conceptual American artist whose works spans over a range of mediums such as sculptures, paintings, prints, installations and more. Upon first glance of DuPonts works its clear that his subject is from inspiration of the human body, his themes explore issues of the human body, self perception and self identity.

With my personal interpretation of DuPonts work I’m immediately planted with a conception of ‘morphing the human body’ in my mindset, as his works are the subject of the human body that has been altered in a non realistic way.

From this initial artist research I’m resulted in a few key ideas to take away and resonate with my works and that is to find a personal connection with my works, whether it be the process, final meaning, or all together. Ive found the artist I admire the most are artist whose works explores ideas and themes that the artist is thoroughly passionate about and this definitely shines through in a personals creative works.

Today’s task encourages us to explore domestic spaces by intervening in them: altering, reconfiguring and/ or exchanging objects so that in turn our body’s relationship with this space in altered. We were encouraged to take time and observe the space before proceeding to intervene the space.

This intervention upon observation reflects ideas of minimalism, personal identity. For my first spacial intervention I gave myself a limitation of space and materials available for intervention, both being sourced in my bedroom. I choose to alter the current materials already positioned in my room to remove any sense of identity to the room. Collectively these many subtle changes resulted the room to majorly shift energy as all items that were related to personality or identity were altered to depict nothingness. Stripping away individuality of the space, providing us with a standard room that could be viewed in advertisements or the stock standard photos placed in picture frames.

During this intervention I wanted to misuse common furniture as an alternative common furniture. New Zealand ingenuity at its finest. I limited the materials to items found in the current room, the intention was to intervene this domestic space by utilising the dresser as a shelf for the plants in the room. I have positioned the plants randomly inside of pulled out drawers. By choosing greenery as the only material to intervene this space it clearly depicts differences, and the bizarre way I have intervened this space by transforming it into a plant shelf. The mismatch of materials in the space these being the dresser used inside as opposed to greenery being associated with outside we can observe an aesthetically pleasing intervention of materials not traditionally paired together.

Furthering on the approach from the previous intervention, misusing common furniture, I have relocated to the kitchen. We will be intervening the kitchen, though this time I have altered my personal criteria of materials. As art materials are discouraged to be utilised in a traditional sense for this brief I have intervened the kitchen with my main art supplies, assembling a makeshift art station. Upon deeper observation of this intervention we take deeper interest in the canvases. The way of which the canvases have been positioned relates my thoughts to geometrical shapes and the affect they have on creative works. Addition of canvases thus altered the space to feel more structurally composed as a result of various square sizes invading the space.

This task encouraged me to consider my environment and space around me. Connections made between creative works and their environment result in a large shift of how to observe the creative works, thus ultimately affecting the portrayal of the creative works, altering energy, ideas and concepts identified from any creative work.

This week we were first tasked with creating 1 minute sculptures, incorporating a body part and using what’s already around us. I loved this task as time went on it made for a fun quick activity making you think quickly, utilising founded materials.

Throughout this brief I was able to explore materials and processes with creative freedom. At the beginning of this brief I generated a variety of processes through experimenting with different and new materials, then observing the visual result. Through these experiments of generating processes I found new and more intriguing ways to approach my art making, breaking away from only traditional art processes. Above are 4 works I created that I feel best engage with the briefs focus utilising multiple mediums being acrylic paint and pastel. A combination of techniques and ideas from my art models is relevant in my final works.

This brief has challenged my art making and thinking processes, forcing me to break out of habits and explore a variety of mediums, a few being acrylic paint, watercolour paint, charcoal, pastel and more. On top of a variety of materials I expanded my choices of canvas, from old fabrics and curtains to paper and cardboard, all materials providing alternative pathways of news ideas and concepts. Balancing both figurative and abstract themes into one work has been a challenging and fun experience as it has opened up my mind to ways I could expand my own personal art style. Paint without a whole intention has been my saying to myself throughout this brief as I often found myself caught up in finer details rather than taking core ideas and creating works from those.

Bernard Frize is a French artist whose works focuses around a variety of materials and techniques. Frize is an artist whose works explores a minimalist approach to painting, depicting abstract compositions.

Looking at Frizes works in reflection to my own, I take note of the variety of colours in each stroke, seeing how each interlock and connect. The second image I’ve selected of Frizes work shows a simple way to change the way you can alter your work to give a different feel The brush strokes beings angled feels as if the colours are moving, not still-life whereas the others loo still in time.

This work I’ve inverted the background colour to a black as opposed to a white, I wanted to observe the change in energy the background can give. I notice where I’ve used the paint roller to create the structure the colours appear as if they are almost glowing, presenting a different vibe to the other works though one that ties in nicely reflecting the same theme throughout while fitting the brief and furthering my exploration of my ideas.

Pulling new ideas from artist models I’m experimenting with the distortion of the room using paint rollers to make a smooth blend and give a natural distortion with the paint and then go from there. This work I used mixed media, a combination of acrylic paint, soft pastels and vivid. I got much more control and a better outcome than i envisioned from the paint rollers so this is something I want to push and play with a little as I’m able to get long straight lines and smooth blends in my gradients. I’m choosing to stick with a colour palette of pastels primarily pink and green, I find they compliment each other nicely on the paper and present a soft comforting energy.

Mini paint rollers! They have come to be one of my favourite art supply as they give a smooth blend and application of paint. By applying white or another colour of my choice on the paint roller I achieved my smooth gradients. Using some tips and tricks I like to use for printmaking I was able to work out the most effective way to achieve what I wanted with the paint roller.

In this experimentation I’m playing with the original image I’m referring to, by making a full stair case and including couches and a girl from pervious experimental works. I love the outcome of this work as it presents with a surreal feeling from the line work, colour choice and simplicity. Moving forward I’d love to see how I can extend the surreal feeling either through an altered composition or even colour palette.

Starting with an initial look at the final product above out of all the developments I’m immediately presented with a light and eery vibe with vibrant soft colours. This work is a combination of all my experimentations and developmental works. Different ideas have been pulled from almost every previous work to produce this one. This work I feel is an extension of the above experimental work as with altering of composition and colour palette I feel as if i was able to extend the surreal feeling we get amongst this piece. Using the technique with cardboard to create squiggly lines I was able to make her hair, I pulled the girl more forward in the composition to give more attention to detail, through this I was able to add more colours amongst her hair and have the white shine through in the squiggly lines appearing as if her hair is shimmering.