Visual Arts

Tania Perez Cordova

Mark Quinn

Creating wax pillow (pillow -> of body -> of space) experimenting mesh to create fascia

Site Specific
Manipulating boundaries and lines (Verb list: of breath)
Moving constructed boundaries (walls, paths, cones), “Nadi Sanchalana (Rapid Breathing)”

Thinking about fascia and its fragility, thinking about how a fragile material can be supporting a dense structure.

Berlinde De Bruyckere

Ivana Basic

Ana Mendieta

Alina Szapocznikow

Semester 1

Owairaka – Mt Albert Heritage Walks, Auckland Council, 22 May 2011, 18 March 2022
https://www.aucklandcouncil.govt.nz/arts-culture-heritage/heritage-walks-places/Documents/owairaka-
mt-albert-heritage-walks.pdf

Owairaka/Mt Albert’s History, Honour the Maunga, 2019, 18 March 2022
https://honourthemaunga.org.nz/owairaka-mt-albert-history

Lana Lopesi, False Divides

Paul Gauguin, Two Tahitian Women on the Beach, Oil on Canvas, 1891

Meredith Mendelsohn, Why is the Art World Divided over Gauguin’s Legacy?, Aug 3
2017, {https://www.artsy.net/article/artsy-editorial-art-divided-gauguins-legacy}

Selina Tusitala Marsh, Two Nudes on a Tahitian Beach, 1894, Auckland University
Press, 2009

Manulani Aluli Meyer, ‘Indigenous and Authentic: Hawaiian Epistemology and the Triangulation of
Meaning,’ in ‘Handbook of Critical and Indigenous Methodologies,’ (SAGE Publications, Inc, 2008), 221

Margaret Wertheim, ‘Lost in Space: The Spiritual Crisis of Newtonian Cosmology,’ in Bill
Bryson (Ed.), Seeing Further: The Story of Science and the Royal Society (London: Harper,
2011), 72.

Auntie Denise Champion and Rosemary Dewerse, “Big Boss or Dark Emu? Indigenous wisdom for the academy” Religion Matters (awaiting publication).

Manulani Aluli Meyer, ‘Indigenous and Authentic: Hawaiian Epistemology and the Triangulation of Meaning,’ in ‘Handbook of Critical and Indigenous Methodologies,’ (SAGE Publications, Inc, 2008)

Semester 2

Rua

Ministry of Culture and Heritage, “Taonga Tūturu Protocols,” https://mch.govt.nz/nz-identity-heritage/taonga-tuturu-protocols

DigitalNZ, “Lisa Reihana: in Pursuit of Venus,” https://digitalnz.org/records/36294010/lisa-reihana-in-pursuit-of-venus-infected

DigitalNZ, “Les Sauvages de la mer Pacifique (1804-1805),”
https://digitalnz.org/records/31925721/les-sauvages-de-la-mer-pacifique-18041805

Taylor&Francis online, “The Art of Contested Histories: In Pursuit of Venus [Infected] and the Pacific Legacy,” https://www-tandfonline com.ezproxy.aut.ac.nz/doi/full/10.1080/00223344.2019.1702516

Taylor&Francis Online, Noaman G. Ali, Reading Gramsci through Fanon: Hegemony before Dominance in Revolutionary Theory, https://www-tandfonline-com.ezproxy.aut.ac.nz/doi/full/10.1080/08935696.2015.1007793

The Met, Shigeyuki Kihara, Fa’a Fafine: In the Manner of a Woman, Triptych 1, 2004-5, https://www.metmuseum.org/art/collection/search/538528#:~:text=built%20with%20ACNLPatternTool-,Fa’afafine%3A%20In%20the%20Manner%20of%20a,Woman%2C%20Triptych%201%202004%E2%80%935&text=Shigeyuki%20Kihara%20is%20a%20multimedia,identity%2C%20indigenous%20spirituality%20and%20colonialism.

Digital NZ, Unidentified Woman, Samoa, https://digitalnz.org/records/22794481/unidentified-woman-samoa

Digital NZ, Andrew Thomas, 1855-1939, Majuro Islanders https://digitalnz.org/records/22793427/andrew-thomas-1855-1939-majuro-islanders

CBS News, “Andy Warhol portrait Marilyn Monroe sells for $195 million, smashing record for most expensive work by a U.S. artist ever sold at auction,” https://www.cbsnews.com/news/andy-warhol-marilyn-monroe-portrait-195-million-auction/#:~:text=New%20York%20%E2%80%94%20Andy%20Warhol’s%20%22Shot,artist%20ever%20sold%20at%20auction. 

MoMA, “Andy Warhol: Marilyn Monroe, 1967” https://www.moma.org/collection/works/61240.

Jonathan E. Schroeder, “Andy Warhol: Consumer Researcher”, Advances in Consumer Research, Vol. 24 (1997): 476-482.

Toru

Monash University MUMA, ‘Fiona Connor: Wallworks’ https://www.monash.edu/muma/exhibitions/previous/2014/fiona-connor-wallworks

Monash University MUMA, ‘Fiona Connor: Wallworks’ https://www.monash.edu/muma/exhibitions/previous/2014/fiona-connor-wallworks

TATE, ‘White Cube’ https://www.tate.org.uk/art/art-terms/w/white-cube

Brian O’Doherty, Inside the White Cube: Ideology of the Gallery Space, University of California Press 1986 (14-16)

What is movement?
Recreating gestures;
To breathe
– Sealing organic objects with plastic bags, plaster, container
-Breathing into plaster making neg space
– Thinking about neg space hollowing out object
– Organic matter, time, decay, growth of life – maggots

To repair
– Mending object, space with material (Concrete, papier mache)
– Cultural repair, Identity repair (preservation, deconstruct -> reconstruct)
– Memory (Resin -> objects)

To construct
-Hypernormalisation / Technofeudalism (more, more, more)
– Of excess (playing with scale, magnitude, amount)

Wet lab workshops
Learning clay, plaster, silicone mold making – finding loose plaster mold making creates happy accidents. Opportunities to manipulate object when still wet.

Thinking about Fascia in relation to Richard Seras verb list

“thin casing of connective tissue that surrounds and holds every organ, blood vessel, bone, nerve fiber and muscle in place. The tissue does more than provide internal structure; fascia has nerves that make it almost as sensitive as skin. When stressed, it tightens up.”

Visually seeing fascia as the casing, the carrier, the wall which holds everything. Our own breath is limited to its own walls, thinking about the space in-between, the breathing out space in the lungs, neg space etc.

For my final work I combined elements of my experimentations to create a cohesive exhibition. Feeling the most drawn to it of all my works thus far, the centre piece became a projection of the ghostly, figure-like drapery situation work. I then positioned the same fabric used for the figure so that it might ’emerge’ from the wall as if the river were continuing, drawing the subject of the work (the fabric figure) out with it to exist in the same space as us, river and person as one. Suspended from the ceiling are 5 icicles, 3 made from plaster, 2 from ice (I had to suspend the icicles at the very last minute so they aren’t included in the pictures). The permanence of the plaster icicles is juxtaposed by the natural impermanence of the real icicles.

This work is a fluid conversation between the impermanence of natural life and the human desire to create permanence. In the video, the fabric represents a median between the human and natural world. It is designed and set up by human hands, yet its interaction is natural. The wind blows it gently, it almost looks as though it belongs. Physically it is permanent, but what it represents is fluidity, a natural rhythm.

Then the work is extended into the studio space. The fabric ‘river’ and human made ‘icicles,’ continue this somewhat awkward, somewhat harmonious conversation between natural processes and human processes. The fabric is an attempt to bring the situation into the space, as continuation of the river. The icicles join in the conversation, testing just how processed a natural thing can become before it is completely detached from its original form. The plaster icicles are almost too fake to be recognised, but positioned in relationship with similar ones made from ice, they are just recognisable enough. As the ice melts, it is absorbed into the ‘river,’ an abstract and almost mechanical recreation of natural cycles.

Experimenting with setup

Lana Lopesi, “Te Moana-nui-a-Kiwa” False Divides. September 2018. 22-25

Manulani Aluli Meyer, “Handbook of Critical and Indigenous Methodologies, Indigenous and Authentic: Hawaiian Epistemology and the Triangulation of Meaning” 2008.

Peter J. Boettke, “Capitalism”, n.d.
https://www.britannica.com/topic/capitalism

Spark Notes, “The Communist Manifesto: Summary”, n.d.
https://www.sparknotes.com/philosophy/communist/summary/

National Geographic, “Communism”, n.d.
https://education.nationalgeographic.org/resource/communism

Auckland Art Gallery, “Walls to Live Beside, Rooms to Own: The Chartwell Show.”, 2022.
www.aucklandartgallery.com/whats-on/exhibition/walls-to-live-beside-rooms-to-own-the-
chartwell-show.

Centre of Contemporary Art, “CoCA Centre of Contemporary Art Toi Moroki.”, n.d. coca.org.nz/exhibitions/precarious-balance/untitled/.

Chartwell, “Untitled by Matt Calderwood”, n.d. https://chartwell.org.nz/seeing/collection/untitled-133/

Matt Calderwood, “Found Objects”, 2016 http://www.mattcalderwood.com/#/objects/

Coming into this brief I really didn’t know what I was getting myself into. I wouldn’t exactly call myself a photographer but since I didn’t want to do sculpture I forced myself to get out of my comfort zone and see what this was really about. After all this work getting my pieces done and installing it for the final assessment, I would say that this brief is a whole lot easier than painting. It is much easier to produce a larger amount of work. I’d like to say that the work is already out there in the world and all you have to do is capture it, whereas painting is all done manually. This brief ultimately got me to do things I never would have done, such as cyanotypes and photograms. These processes were somewhat entertaining to me and led me to having more fun than I initially thought I would have for this brief. If I somehow manage to find myself doing photography in the future I am glad to have learnt the things I have during this brief.