Miroslaw Balka is an artist who displays elements as separate pieces of work. The works he creates depicts an element of separation and distance. This is highlighted by the juxtaposition of materials and their non existant relationship with eachother. Each piece of work is created with precision, as each piece is created with precise measurements which is designed to depict a corporal element.
The piece [diameter]7,5 x 159 x 16,5 – 195 x 47 x 90 – [diameter]6 x 18 cm is a set of three objects, a wooden sculpture that presents a table is displayed. It is constructed of softwood and coated with chalk and glue. Foam is also used within the table sculpture, it is soaked in salt which has crystalised, Balka has previously noted that he uses salt to represent a trace of himself. In relation to the idea of constructing each piece, the salt could possibly be used in a way to present his manual labour, i.e. his perspiration. Alongside the table sculpture, on a separate wall is a steel pipe that also contains salt, and then in the middle of the floor is a steel cylinder object. The salt in each piece combines them together, yet the actual materiality of each one does not link or interact with one another.
I like the distance of this piece and the subtle linking of each one. On the surface it appears that each object juxtaposes one another however underneath the aesthetics they relate in regards to human interaction which is obtainable through the construction. I would like to use the link between separation and conjoinment in my own work as I feel that it aids the idea that everything is not as it originally appears.
For the installation i felt that i began pre occupied with everything merging, i am attempting to essentially display 3 different elements and display them through three different objects, each of which are different materials and different mediums. Because of the enclosed space i am installing in everything seems conjoined which has positives but also negatives.
This was a major block for me, as i began to question the space i had picked to present in and wondered if the separated regimented nature of the collages in frames would create a barrier between the two instalments. With the installation i wanted separate pieces of work but an underlying containment which is in fact a difficult task as i began to realise. Therefore i decided i would look at the artist Miroslav Balka, an artist who displays separate pieces of works all in one space.
Monika Sosnowska is a polish artist who uses space as a canvas, the space is used to display a sort of 3 dimensional painting. Sosnowska treats space as the medium element for her work and designs projects to fit into the space she has designated and created. Sosnowska transforms physical space into something more vast, she attempts to transform physical space, into a mental space which therefore conjoins the way we view the work to the way the space makes us feel, which plays on the element of human existence, and our personal position in the space and the impact it has.
The piece “Structural Exercises” presents seven sculptural works all of which are inspired by her home countries socialist past. All sculptures of work are constructed from materials that are linked to constructionist low paid jobs a clear depiction of the socialist power of the working class. The materials used are materials like concrete and reinforcing rods. These are common materials used in construction jobs and have been used to reflect the dominant political and social systems that are apparent in society. In addition to this, the piece can be described as a busy scene, a sensory overload. All pieces of work juxtapose eachother some are linear and slick whilst others are chaotic and abstract, possibly displaying a clear contrast between the discipline of bourgeois culture and the chaotic nature of the working class work load.
I like how each sculpture claims a space yet it does not correlate with the work adjacent to it. No sculpture mirrors another and is more of a depiction of claiming space than a curation of aesthetic pairing. When choosing the work i will be displaying as a final piece display I would like to take into consideration some of the methods that this artist uses. Sosnowaska takes into consideration the movement of people, each sculpture confronts you, it traps you in a space forcing you to confront the issues at hand. Therefore I would like to display work that will trap an audience, make them feel enclosed but not overpowered. I want the space to compliment the work, and depict a thought process that is validated by the work, not just be a wide space that has walls,
Robert Morris Robert Morris is an American sculptor, conceptual artist and writer. Morris has been regarded as one of the most prominent theorists of minimalism. Morris looks at materials as a way to make art interesting. Using materials is a direct way of challaneging the former popular mediums such as painting and drawing as the medium material is interesting in its own right. Paintings and drawings are complex, they are designed to include minute details that we as an audience find interesting. In contrast to this materials are “readymade”. Materials have natural fibres , this means that when using them an element of control is lost, this is because the genetic makeup of them allows them to command they way they want to be displayed. The genetic fibres of them determines whether they are mallable or not and this in turn means they will only hang or sit in certain ways. The material is always in control which displays a clear subversion from other practices as in painting and drawing the limitations are set by the artists skill, however, with a material the material is the medium and it commands how it will be presented.
The piece “Untitled” displays tan felt hung from a single nail, and is designed to dissolve the image of conceptual art being an object, this piece goes beyond object. The piece displays the material for what it is, the felt looks untouched it looks like it is in its raw processed state. The use of a single nail allows the material to flow and display the idea that despite trying to mould the item, the material will always command us.
I like the idea of displaying material for what it is, I like the component of giving away ownership in this piece, Morris has displayed it yet the material has a presence of it own and I feel that the main objective of this piece is to display this factor. In my own work I will look into hanging material to see how it responds to being hung and how it reacts to juxtaposing different materials that I will attempt to hang from it. I will also see how a material will react to having weight hung from it or placed on it.
Joseph Beuys is an artist who is interested in his own personal relationship to materiality, in particulsr his relationship to the world of objects and their relationship to the ready made. Beuys work is also interested in the idea of American consumer culture, which relates to his ideas of an “extended definition of art.” His work strips the useful nature of objects which aids to communicate his interest in social and cultural trends.
The piece Carpi battery is a clear contrast of the three elements Control, disaster and domination. A lightbulb is attached to a lemon, which is depicted to be a power source, however the bulb will never light up as the lemon will never conduct energy. Through pairing the two, Beuys has stripped the lightbulb of its usefulness and in turn its value, it is now just an unusable lightbulb that is used for pure aesthetics, linking to his ideas on the readymade. Despite this, a clear link between control and domination is displayed. Beuys is in control of this object he can easily make it reusable but the important element is, he choses to lessen and remove its value to create an aesthetic value. This displays a clear element of his practice which is to eliminate concepts of subject formation and its use. The formation of the connected lightbulb and lemon displays no use apart from aesthetic pleasure which therefore displays a challenge between culture and need.
I like the lighthearted nature of this piece and have begun to realize that art can be art just because it is, not everything needs a use to be art. I have also realized that just from not having a use doesn’t necessarily mean it falls into the category of decorative. I wii begin to use this idea when transforming some of the static sculpture balls ive made into something different as I develop my practice.
From this artist i have learnt that not every object has to have a purpose, and by not having a purpose doesn’t make it less important or less interesting than any other artwork.
Tim stoner is an English painter. Stoners work focuses on light, it looks at how painting needs light and how it uses it. His paintings display an element of flatness, as humans we are rhythmic, and this is implied in his figures. In contrast to this his idea is suppressed by the nature of painting, as painting will only allow anything to be two dimensional which in turn relates to the idea that painting can be deceptive similar to cinematography. I begin to note through his work that painting will always be an unfinished practice.
The piece Interior, 2015, is vibrant and colorful however it is static. The piece is very chaotic; it shows disorder yet due to the nature of painting it is suggested that there is structure in this image. I like that the piece although it resembles a home setting, possibly a bedroom, you are still given the freedom to interpret. This is due to the lack of identity within the piece, the figures appear to display a person, and the items appear to resemble personal items such as a desk and a chair however this is not confined as a clear identity has not been given
I like this element of “unknowing” and is something that I would like to present in my work.
Jill mcknight is an artist who works with material, Mcknight makes objects and contrasts the nature of the object to the material she has made them from. From previous exhbitions it is apparent that Mcknight likes to present the objects she makes as stand alone. Mcknight likes to use simple/ found objects to create her pieces, many use house hold items such as chicken wire and cardboard which I find interesting as these cheap materials have been used to create pieces that are displayed in a male bourgouise setting of the white cube, i also find it interesting that Mckinght uses materials that do not correlate to each other in any way.
The piece “Vessels” is made from the materials paper, clay and food safe varnish. The pieces look delicate and have a similar aesthetic to oysters and oyster shells. I think these pieces have a beauty about them, they look vulnerable yet fleshy possibly relating to another idea of displaying connotations to a vagina. They curve and have been moulded in a way to correspond to the floor setting, they don’t entirely sit onto the floor allowing shadows to form and possibly relate to the idea that despite not being made out of expensive materials they still have a right to not be fully placed on a floor as they still have value.
I really like the intricate nature of these pieces, I also like the idea that their shape and form is open for interpretation it is completely subjective. They are designed to be beautiful and have purpose. They are fused together well in regards to the idea of mismatched materials and this has given me the confidence to try something like this.
I also feel that these pieces act as as a large container of our subjective thinking process, something that i have also previously tried to include in my work (collages.) The “Vessels” store our thoughts and guess of what they might be, and this is something i would like to include in my own work.
https://www.jillmcknight.com/?lightbox=dataItem-ixp2uhel – vessels