A wee bit of official stuff for you! This week there’s a Recorded Tutorial. Basically we’ve to present the current state of our studio work and talk about our progress complete with a written report on what we’re doing and intend to do. Its a bit wordy and maybe a bit too ‘arty’ for some, but thats art school…
This semester my work has taken the form of Assemblage Art. Having scavenged and collected a store of objects from human teeth to a pair of 1919 binoculars, I was drawn to the overall concept of ‘free association’, an unconscious associating of seemingly unrelated objects. In the summer of this year I began collecting old encyclopaedias’. These books fascinated me with the apparent jumble of issues; academic tutorials on physics would be followed by an article on ‘How to Bake a Chicken Pie’. I am interested in the idea of seemingly unrelated issues being channeled together and therefore being assigned a common theme. Although the issues in these books did not flow by subject matter, their common factor was simply that they had been bound together in this book for others to observe. This excited my interest in documenting and presentation, I have always been fascinated by the ability to simply change a setting and thereby completely alter a context; one of the most famous examples of this would be Duchamp’s ‘Fountain’.
When something is put into a gallery space, and even more so when it is put into an isolated framework, the level of significance and the way in which it is viewed is completely changed. In my artwork I have a great interest in framing and documenting smaller works, I enjoy the importance this isolation can bring a found object. I have previously worked in photo frames and large boxes, I wanted to advance my study in third year by moving onto more solid capsules. The construction and form of these capsules is of great importance to the overall aesthetic of the piece and therefore a significant amount of time has been dedicated to making six circular wooden boxes. The technical structure of these capsules has so far been the biggest challenge this semester. I have been making good use of the advice and resources offered in the Fine Art Workshop and my technical skills have progressed greatly. Making the capsules for this project has been time consuming and challenging. However, I am happy with the final form these have taken and am now eager to arrange and assemble scenes within them. There is an intricacy to encasing logically unconstructed ideas within a solid structure. With the objects being seemingly unrelated in any other context, the viewer is given a freedom and opportunity to perceive their own relationships as well as enjoying the spontaneity of the visual itself. I have found inspiration when creating this project from the works of Christian Boltanski and Arman (who’s work I was able to view at the Pompidou) with their ability to assign emotion to regular objects such as biscuit boxes and lightbulbs. Also, the work of Will MacClean was brought to my attention when visiting the City Art Centre earlier this year, out of the many assemblage artists I have researched his subtle compositions are some of the most affecting.
Having collected objects, text, photographs, printed images and produced drawings and mini assemblages over the course of the semester I feel my work is now at the more experimental stage of seeing what ‘works’ in my final capsules. The piece is centered on the action of storing and keeping fragments of objects and text, I feel memory is always a theme therefore that emerges in the overall concept. This idea of maintaining images and layering fragments is reminiscent of the mind and its ability to recall and retain. So, in their visual representation of free association, my assemblages are commenting on the unconscious mind as a collector. I have made plans of each box, each with its own identity, however, I prefer a more physical approach when it comes to this stage of the assemblage. When making the capsule structures, rigid plans were necessary for the success of the construction, but in the installation of the content within the boxes, I feel a ‘trial and error’ approach is more efficient. I feel the concept itself allows for context to emerge and grow as the work does. When placing objects together, narratives and relationships are formed in a more natural way. I am on schedule with the development of this project, there is still a lot to be done, but I am confident and enthusiastic about the final outcome.