I am inspired by Ramos’ work as she is able to take the sense of familiarity inside our homes and present them in a completely different way with the simple act of changing the colours and placement of these objects. Especially when these installations are put in an outdoor space in “Heavy Soil”, we as viewers start to question our relationship with these familiar, comfortable spaces and objects. I touched on this idea in my site interventions too. I brought spaces that were comfortable and recognisable to me and took them outside, in a completely different environment. From looking at Ramos’ work, I think that it would be interesting to create a surreal atmosphere with familiar spaces .
To start off, I thought of ways I could ‘decorate’ the nature around me. I noticed that I could utilise the hooks on my umbrellas to investigate how these ‘real’ sites can operate as part of a sculpture. By simply intervening in this site by adding umbrellas, the tree becomes a statement within my backyard. It is also reminiscent of Layne Waerea’s work ‘(waiting for) Free Rain” where she hangs buckets on a clothesline to collect rain. However, there is a sense of irony as the weather was very nice and sunny when I took this photo. The sun was very bright, and it was actually like I was capturing and collecting the warmth through these upside-down umbrellas.
While spending time in my backyard for this task, I found it very peaceful to take a break and be outside for a while especially with some nice weather. I thought of a way to combine this comfortable environment with an indoor setting in which I find peace in. That is when I take a break off my devices and play guitar or read. Especially with the long hours I spend on my devices during lockdown, closing my devices and disconnecting from them immediately changes the level of comfort in my own room. By bringing my guitar and this whole space outdoors in nature, it elevated this sense of peace and disconnection with stress.
Similar to the spatial interventions I did, I decided to combine two completely different environments together through this site intervention. The grass and this outside site definitely operate as a significant part of this sculpture. Bringing in an everyday, domestic environment amongst nature helps create a narrative for viewers as well because it is such a surreal, unexpected environment to see. Perhaps seeing a hair straightener; an appliance buried in the grass makes people question where it’s plugged into.
The clothesline already operates as a sculpture in my backyard every day. It is a site which operates outside but it also functions as a domestic space. With different clothes being hung there, it’s like we are creating a site intervention there every day. Continuing with the idea of combining directly opposite sites together, I replaces clothing with some food from the kitchen. There is a humourous aspect to this and also allows people to come up with their own narratives. It is interesting to combine the kitchen; a domestic space with another domestic space outside.
Sandy Skoglund is most known for her photography and installation works. Her work is recognised for her brightly coloured, surrealism imagery. She explores human emotions and our relationships with space through her work through Ideas such as discomfort, familiarity, humor, ease and anxiety. Skoglund designs entire environments which she creates in her installations. Through photographing these installations, she is also able re-visualise these spaces. Through this she examines how a camera captures and environment versus how we see them through the human eye.
Sandy Skoglund, Revenge of the Goldfish (1981) Dye destruction print, mounted
She creates a relationship between reality and imagination through these installations. Through these surreal, almost hallucinating atmospheres, she mixes the artificial with the natural. Skoglund combines two environments together by allowing dream-like, surreal atmospheres to collide with domestic spaces in her work. This made me think about the spatial interventions I did, of transforming my laundry room into my bedroom and high tea. Combining the very domestic setting of a laundry room with spaces of pure relaxation also create a surreal environment. Although my work so far isn’t fantasy-oriented like Skoglund’s work, I feel like the atmospheres link to the unexpected, surreal imagery of her work.
After creating the ‘one-minute sculptures’ yesterday, I found interest in showing an object in a way that is not usually used. Similarly, in today’s task to make interventions to a space, I wanted to explore how I can alter and reconfigure a space into a setting that is not usually used for. The laundry room is a domestic place where the only habitual response we have is to do the laundry. That is why I thought this would be an interesting place to intervene so I can experience this somewhat spacious room in a completely different way. I transitioned the space into a space I was able to relax and have a cup of tea and some biscuits. Relaxing or eating is an action that would usually never take place in a space like this where the only purpose is to wash clothes and collect clutter. I think this whole scene is pretty humourous too, especially when I played some classical music (as you can see in the video below) to further activate change in this space to fit the state it was in. My laundry room is cluttered however, the more I was in it, the room became cozier and I could actually spend hours in it. Because it is such a confined space, I felt secure and comfortable when I transformed the laundry room into a bedroom. I did this by laying down my blankets, bringing in some books and my laptop which usually keeps me company in my actual room.
Erwin Wurm is a contemporary Austrian artist who explores a range of mediums in his practice including sculpture, performance, photography, and installations. His sculptural practice focuses on the idea of representation in a playful attitude. He focuses on familiar objects and presents them in a new light and explores the different possibilities of an object. Wurm’s sculptures truly create a bridge between abstraction and representation. Wurm’s sculptures also show how humor plays a key part in his making as well. Wurm is able to alter, the reality through manipulating and distorting everyday, recognisable objects in his sculptures.
Erwin Wurm is widely known for his One-Minute Sculptures where a set of pictorial instructions are presented to a viewer involving an action with an everyday item. One-Minute Sculptures are a way for the viewer to temporarily become the artwork itself. By involving the viewer for them to become one with the artwork, the conventional sculpture to viewer relationship is erased. Instead, it prompts viewers to question what a sculpture could be. It is only permanent when a photo is taken of these one-minute sculptures. Wurm allows our very own body and our relationship with objects to create temporary sculptures.
Erwin Wurm – One Minute Sculpture, Freud’s rectification (Philosophy digestion)
Erin Wurm – One Minute Sculpture (Marianna Cerini CNN)
Today’s task was to create 8 one-minute sculptures, inspired by Erwin Wurm. It was interesting to think about how my body and actions can become a sculpture with the objects I was using. It was also helpful to relate the objects to a verb to capture the action in these one-minute sculptures. Some verbs include cradling, sandwich-ing, holding, hugging, and hooking.
While making these I had to think about how these objects can become a part of my body as well. I examined the possibilities of these objects and the way they can balance on my body and create interesting visual ideas.
Throughout the Process Into Image brief, I was able to develop processes through experimenting with materials and analysing the visual outcomes of each work I produced. Down below are 5 painting that I have produced over the course of this brief, which I believe engages with the key concepts of exploring the different possibilities of paint, as a raw material. Through broadening my painting vocabulary, I was able to develop a working method to generate and maintain the impetus. From exploring the fluidity of paint as a wash and utilising gravity to let the paint glide on the surface, I was able to establish a painting process that I thoroughly enjoyed. This was to first create a wash of colours, then to move my surface around to let the paint drip around and to finally draw an outline of the subject with a dry paintbrush. I enjoyed working with this method as a loved the imagery and visual outcome. I could analyse the relationship between the fluidity of the paint and the way they bleed together, with the dry outline placed on top which frames the work together. After this process became habitual and worked in an intuitive manner, I incorporated new surfaces and textures which elevated my work more. With the covid-19 restrictions put in place, I was also able to think critically about the possibilities of the materials I have on hand.
working on a larger scalecollaging brown paper and magazine clippingsworking on new surfaces – carboardpainting on handmade paperpainting on packaging
I realised that I could try and paint on an A3 by combining 4 A5 pieces together. The seams aren’t too noticeable too. It was definitely freeing to paint on a larger surface. The process was more effortless on a bigger scale as well.
I also incorporates a little bit of collating by pasting in some magazine pages and brown paper before I painted the wash on top. I think this is an element that can be appreciated when looking close up. By looking at the painting without the final outline, we can see how the drawing on top truly frames and solidifies the work together.
Helen Frankenthaler is a significant figure who expanded the possibilities of abstract expressionism by exploring the ways of color-field painting. She truly created a bridge between the two movements. She is known for her experimentation with different mediums and unique ways of interpreting landscapes and subjects. Frankenthaler Invented the Soak-stain technique where she would use unconventional methods such as acrylics on unprimed canvas to let the colour soak into the canvas. She lets the colours puddle, on the surface. This way the colour does not sit on top of the surface, it rather sits within the surface. She engages with her subconscious and spontaneously lets herself create these pools of colour. Without looking at the title of this work, the placement, the shapes, the colours and the way the paint stains the canvas on “Beach Scene” already suggests the beach scenery in the work.
Beach Scene, 1961 (Helen Frankenthaler) Oil and crayon on canvas
Western Dream, 1957 (Helen Frankenthaler) Oil on unsized, unprimed canvas
I believe that Frankenthaler’s work connects to the way I have utlised my medium and surface throughout this brief. I am interested in with the way she embraces and showcases the way the paint soaks and moves on its own on the unprimed canvas. In my work I also let the wash move on its own, letting the droplets of paint slowly seeps into the surface as it dries.
Francoise Petrovich
French artist Francois Petrovich is known to work with a wide range of mediums, exploring themes such as adolescence, childhood, and nostalgia. Petrovich also experiments with different formats and scales through her work. She enjoys working with large formats, allowing her to work on the floor where she is able to incorporate body and movement as a process to create her paintings. Petrovich shows the relationships between lines and colours through using mediums such as Ink and watercolour. She believes that drawing is a critical part of creating stating that “It is the drawing that gives the line, the frame that sets the colours, It is a whole.”
Sans titre, 2017 (Françoise Pétrovitch)
2020, lavis d’encre sur papier, (Françoise Pétrovitch)
I think this connects with my work, as I find importance in the final outline that I place on top. The drawing on top of the wash of colours in my painting truly acts as a frame that set the colours in their place. Petrovitch also finds that the outline is also an important aspect which truly brings the piece together.
Rita Ackermann
Lines play an important role in Rita Ackermann’s work. She creates Illusionistic paintings where figures are both seen and disappearing, bridging the gap between the figurative and abstract. Ackermann is able to let figures and recognisable imagery emerge from unintentional, spontaneous marks. Working on a large scale with her body movements is important to her too, to make gestural marks on the canvas. The Lines in Ackermann’s work is able to shift in and out of figuration and abstraction. She also utilises newspaper clippings, photographs, within her work which also brings textural elements which compliment the figurative/abstract marks which she makes.
Rita Ackermann, Mama, The Best Is Always Yet to Come, 2020 Oil, pigment, acrylic, china marker and oil crayon on canvas
Rita Ackermann, Mama, 2018 Acrylic, grease pencil and oil on canvas
I am inspired by the way Ackermann is able to engage viewers with her combination of figurative and abstract marks. I feel that her process and outcome is almost like directing the wash, drip, outline mode which I have painting with. The figurative outline drawing sometimes sit in the background while the chaotic bundle of colours are in the center foreground. It is interesting to see how I can play with the sequence and layering of the different processes I can paint with.
Today, I experimented with collaging in magazine pages and brown paper into the subjects of the painting rather than painting on top of it. This was a better way of incorporating the magazine clippings in my painting while still working with the wash, drip, outline manner.
I always find facination when creating these unique, individual drips from the wash layer. I am able to spontaneously move the paper around the create drips which mix and bleed with each other. The small dots I create around the subject have naturally become a thing I do it every painting I’ve done so far in this manner. feel like I’ve truly developed a habit and a proccess which is satisfying and joyful to me.
What I find intriguing about this proccess that I have developed is the way the painting comes together when a simple dry brush outline is placed on top of this messy, blochy, unrecognisable puddle of wash. Especially here with brown paper collaged and a brown wash background on top, It truly just looked like different shades of brown mashed together before the outline was painted on top.
While I have experimented with painting on different surfaces like magazine clippings, cardboard, packaging, and handmade paper, I still enjoy my orginal method too. I was definitely interesting to see how I could develop my proccess through using new surface mediums.
