I treated this seminar as an experimental exercise to try out two new wall works, one of which was planned and one quite spontaneous.
Version 2 of my coloured paper works. These cut outs are parts of my drawings that have been rehashed together, randomly to start make a new language. Version one was much more controlled and the objects were more joined and in a big oval, the feedback I received spoke around the controlled manner in which I had set the works out, so for the 2nd version I broke it up a bit to create individual works. This is more successful as a way to create a new language. When the shapes were all linked it was viewed more as a whole, breaking them down begins a more definite link to the idea of pictographs.
Still very much in the experimental stage of things.
The two sculptures I was showing with the wall works:
The scale between my cut out coloured paper wall works and the sculptures did not balance, the sculptures feeling too big and heavy for the wall work, or the wall work seeming too small. What I thought worked well was the positioning of the sculptures. I placed them as if they were gazing at the wall work, they became the viewed and the viewers – or perhaps the makers of the wall work. When the coloured shapes became more individualised it made even more sense that the sculptures could be part of the creation of this language. I did not get feedback on this as the second crit was focused around my wall drawings and not on the coloured paper works.
There was a big difference with the second wall work when I drew the wall size charcoal drawings , the fine lines of he drawings could have been dwarfed by the sculptures however the size of the drawings created a balance with the heavier plaster sculptures.
My intention coming into this seminar was to see what the sculptures reationship to the wall works would be. How would the scale of the two deifferent mediums work together? How would they read together? Would they even have a relationship?
The feedback of the wall drawings were that they were able to take the viewer to a place they did not recognise, they reminded them of cave paintings (as they were directly on the wall I found this reading pretty obvious but then again it is exactly what went through my mind as well as I was drawing them) . Lily made a valid point in that the wall drawings were reminding her of far away places, back in time perhaps but when she looked at the sculptures slippers it brought her back to the present. Is this a problem? Is this my way of not getting lost? of planting myself in the present?
The surrealist drawing exercises were brought up, I will write a seperate blog about this but it was quite a surprise when I read of techniques that match mine. I am not a surrealist artist but am interested in the idea of tapping into the unconscious mind.
My artist statement spoke of pareidolia, the act of seeing something in an object that doesn’t exist, for example seeing a face in clouds. The act that most humans do of trying to search out something they can recognise to make sense of the unknown. This was successful in my work as viewers picked out shapes in the drawing and the c.p works and began naming them. Pareidolia has entered my work once more, it was a strong interest a year ago in the first January seminar
My artist statement also spoke of my fascination with imagined worlds and anthropological curiosity. Upon reflection of the idea of building other worlds, I do not wish to create any kind of imagined world, I thought I did before I had fully contemplated the consequence of this. It feels incredibly hemmed in to think about my work in this way. Although the idea of imagined worlds is limitless, so it is quite ironic, I do feel this kind of suffocation if I was to attempt to create a particular place – for instance like Margaret Atwood has the capability of doing in her futuristic novels. I would rather have snippets of things that may be from another place. Perhaps the viewer can piece them together to create their own kind of world the objects may reside in. But it is not important to create anything solid.