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Record of Digital through to human realisation of images through screenprinting, photography and observational drawing of consumer culture
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REFLECTION on what I have learned in the last 8 weeks about Art and Value and Work
Beauty is important as an experience which affirms the other - the final piece and the power of objects in themselves to captivate and entrance is fascinating
I’m interested in history time and in society right NOW and how it compares to other places and times.
I’m interested in archives and telling stories about a time - holding on to fleeting objects
I’m interested in the way we place objects inside systems in ways which create hierarchies between them and the way that an artist as an editor/ curator/ person with the freedom to be playful can reimagine these and harness the power of objects. I want to be the sort of artist who can have exciting ideas about how to reimagine existing frameworks eg like Jer Thorp who played with data as the Archive in Residence at the Library of Congress.
I’d love to work on Local History projects like Holly Graham did in Lambeth. Maybe I should start by archiving things in my own immediate surroundings to show that interesting things can be found out by taking this as a starting point?
I’m interested in STUFF and exploring material culture and object-oriented philosophy.
I’m interested in the idea of MUSEUMS and Galleries and I keep wanting to come back to framing and shelving as motifs to explore display and value - something which links the material world to a system of ideas.
I’ve made a lot of work which I do not like and which does not look like the sorts of images which attract me BUT I’ve consolidated a subject interest which I think is important and fascinating and which I can try and direct my future projects towards.
I would like to gain experience in archives and work on projects within specific institutions sifting through stuff and turning it into something which says something bigger about the world.
I’m not exactly sure how I want people to react to my work. In a way I think I’ve been most pleased when people have had to get up to close to understand what is going on and have spent time with the things I have produced. This I guess is what all artists want - which is other people’s attention. Intricate work which is actually very hard to ‘understand’ may not actually be the solution and I need to play with complexity and simplicity and balancing the 2 in how I present what I do.
I was pleased that at ESOP people said my last scroll painting was ‘Dickensian”. I love painting and would like to look into the genre of History painting (also a style of art which I’ve never really liked looking at) and thinking more about why it is that I love paintings both as a process I do and as objects of value.
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INSPIRATION recap
Artists
Nikolaus Gansterer
Jenny Odell
Joy Gregory
Hilma af Klint
Laure Prouvost
Helen Marten
Haim Steinbach
Richard Hamilton
Michael Borremans
Dawn Clements
Louis Bourgeios
Images
William Morris wallpaper
Camille Henrot
Susan Hiller
Keith newstead
Jesse Darling
Hans Holbein the Younger
Film
Theory
Timothy Morton
Gilbreth archive footage
BFI archive footage
Metropolis
Youtube shopping haul videos
Wallpaper manufacturing process
5 min Whhere is it from videos recommended by Shenice
Podcasts
Artist in the Archive ep 1 and ep 6
William Morris
Bauhaus women
Tippu’s Tiger V and A
Anni Albers
Vand A framing
V and A European salons
The technology trap audio book
potters podcast
simone weil - philosopher in the factory
Great Women artists
Tal R
Orphan Pamuk
Daniel Hicks podcast on new book
Books
middlemarch
my name is red
Objects
Archive
System of Things
Carette
economies of recycling
bullshit jobs
Vibrant Matter
100 Objects
retail design
Ways of Seeing
What does it mean to make work about Pleasiure?
Lectures
Laure Prouvost
Haim Steinbach
Fractals TED talk
Museums
Photographers gallery
V and A archive
American Folk art
Websites
Borsche editions
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painting/ drawing on top of mass produced scroll
first i made a collage of source material I have gathered on physical paper
then i scanned it in to the computer and played with the scale and arrangement on photoshop
i added images from different source materials and representing a mixture of objects and people at different scales and in different arrangements (vaguely based on a shelf pattern and a close up of an object inside a box)
then I made a screenprint of this by exposing the screen to UV light
then I experimented with overlaying my patterns in different ways and also in messing up the screenprinting process and how perfect the copies were - for example by applying painterly gestural marks with a wet sponge underneath the screen.
i was exhausted by how physical printing on a large role was and how often i had to run back and forth to adjust the paper but ive decided that this dynamism and the mixture of painting on the floor and on the wall is important to my process as a way of capturing human energy in the image.
I then worked into the screenprinted images with a mixture of mediums (acrylic, ink, charcoal, pencil, pens...).
I was liberated when Sikela told me to abandon the idea of making an infinite scroll and allow the work to become something in itself. I therefore do not think my scroll is a part of my FMP and I did not leave it in the studio.
The process of making it was important to me and I am excited by having it to work on now. I want to spend time looking at the overlap of images and the mixture of scales and marks as a potential route for representating the hyperobjects concept and breakdown between objective and subjective in the material world.
At the moment I imagine the scroll becoming a representation of a mantelpiece with random ornaments on it - a display of hidden complexity.
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artist inspiration for scroll
http://www.nyartbeat.com/event/2017/1FF5
I remember researching Dawn Clements in Year 10 after seeing her at the Saatchi gallery. She writes about the embracing paper as a material and this turning her drawings into powerful objects which alter time and space in a room.
I really like how she describes her process as starting from one small piece of paper and drawing and expanding outward by gluing more and more parts onto the first drawing. I particularly like the idea of her huge wall drawings of tables and things. altering scale in order to present the monumentality of the mundane ‘things’ whjich clutter up our lives .
https://artcritical.com/2018/12/23/david-brody-on-dawn-clements/
I love how in this article the TV becomes a portal through which Clements escapes the mundane still lives of things in her interior and is whisked away into other interiors eg in hollywood films which intrigue her. My favourite line is ‘The TV in Clements’s studio was her portal from domestic still life into ancient mythopoeic saga’.
I like the idea that her drawings - because they use film as subject matter - show a strange distorted fragmented space and time. I want a similar sense with my work in reflecting on the way our everyday surroundings mix together places, times, bodies, memories, minerals from places so beyond our own everyday bodily sensations and environments.
I don’t really understand why I am making very pop art style work even though I have always been so dismissive of pop art. I’ve listened to a few podcasts on Andy Warhol to try and work out why I don’t like him.
He hoarded things as well and was concerned with mass production and just left behind SOOO much stuff which means.
Malcolm Gladwell - Hoarders and Museums
World Service podcast on Warhol
Edward Paolizzi’s screenprints were suggested to me as inspiration by Tom in print. They do look like better versions of my screenprints and I love the bright colours. But i guess it is full of an optimism and playfulness which I hope my scroll won’t be. I don’t want the scroll to be a celebration of hyperobjects - more like a record of bewilderment and confusion in a world of excess things and interconnections.
I also listened to Ali Smith talking about Pauline Boty. I love how her paintings combine collage.
she is a painter but she uses collage and found images. I love the flattening of the surface and the magic of colour in comparison to the mass produced images.
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Soundscape from 2 different speakers
https://soundcloud.com/user-912201060/lists-collated1
https://soundcloud.com/user-912201060/instaltestsoundscape
I haven’t documented my piece with speakers also in operation. I’m not sure what the best way of getting the sense of walking through a space and journeying through sound.
I keep thinking od Dawn clements long drawings which she did while watching films. maybe I should make a long drawing of my journey through images and objects in the last 8 weeks?
An ‘Infinite Scroll” contained within a box which I make labelled “the universe inside 10cmX5cmX29.7cm”
I keep coming back to the idea of fractals to Barbara Hepworth understanding that a pebble contains the universe and to Klimt’s modest series which depicts her own understandings and musings on the origins of the universe.
I can’t help but love these proofs of humans using their own perception, senses, reflections in order to understand HUGE systems which appear so terrifyingly unknown and complicated and out of reach.
My scroll could illustrate the pathos and the impossibility of this given the chaotic influences andimages i am always digesting but also the beauty in trying to find this unifying system.
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TRACES of OBJECTS and the Infinite Scroll
Objects of Beauty - Joy Gregory
The Bureau of Suspended Objects - Jenny Odell
Haim Steinbach talking about objects and value with Helen Marten
Helen Marten - Parrot Problems
Timothy Morton talking with Haim Steinbach about the relationship between art and philosophy and the idea that there is a reality out there which is real and does exist but can never be known. BUT Beauty is the feeling which proves this.
I love the idea that a book is a rational, contained system ordered and with page numbers of completely disparate and chaotic experiences. Like a monoprint it smushes everything into 1 container.
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Sunday crit preparation
what I need for Tuesday :
- SUIT HANGER for my drawing
- SPEAKERS (Phoebe’s and mine)
- edited sound scape
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Next
my performance
https://youtu.be/GaNnUy7Qfu4
feedback
Obsessive, alarming, makes people think of hoarders, disconcerting/ disturbing from Ellie.
reflection
Need to think very carefully about NOT making a snobbish criticism but instead making a fascination with the weirdness of it all - more Mika Rottenberg/ Helen Marten vibes.
I think I need to make the delivery more erratic - a mixture of tones and sounds and maybe speakers intersecting with voice. I’m not sure that I can be more performative because I was shaking so much. I think that the only thing that I can do is be really serious and fascinated by the lists of objects and the magic of the words I have found and the strange mixtures of things which they combine.
I’m still fascinated by the Hyperobject idea - the dissolution of foreground and background and the idea that everything today is a Fractal.
I need to look at luxury branding and luxury shopping hauls as well and draw parallels between the exuberant language used in both eg look at how to spend it archive as well as the Poundland catalogue archive and fuse the 2?
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COLLECTING WORDS AND SOUNDS
https://soundcloud.com/user-912201060/lists-collated1/s-wAsKqeZs2tf
this is the collated version of the words I have collected which I did not get to try out for the second version of my instal.
I’m not sure whether to try and merge the idea of ambient sound/ shoping ads/ beeps with my own performance. For example, in the critted performance I had the background sound of an add on loop and I changed the volume while I was reading.
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Cleaner Cheese Tomato Soup Rape Alarm
(a note I found on Jane’s table... a shopping list?)
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How would you draw capitalism
the banking system
how the stock market is so disconnected from the ACTUAL product
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Reflection and plans
I am realising more and more that mark making and the way this touchingl shows the effort to understand the strange world we live in is what interests me and what pleases me in other peoples work.
I’ve gathered so much amazing source material to do with representations of big systems, how mechanisms work, how workers movements are made to fit in to a big machine, the sorts of things which are produced, the sorts of ways we organise the chaos of stuff i want to somehow focus on incorporating this into a set of drawings/ paintings.
I am attracted to the arrogance and also the admirable impossible task of making a set of diagrams to represent capitalism by the 11th of May.
I want to look at Klint and Nikolas Gauter(??) use of the diagram to explain their drawings and paintings.
I like how the diagram fuses the gap between abstraction and figuration. I can work out ways of messing with the scale of objects and the times they repeat and whether they are printed or hand drawn or written with words in order to create semi abstracted and semi figurative representations of the impossible scale of the Hyperobject.
In Being Ecological Morton picks out a line in Woolf where she describes a plane in teh sky, a conveersation between 2 women and a bird eating a snail all in one go. This is what I want to do in a painting.
HOW can I communicate the PATHOS of trying to understand something way too big and complicated to understand / grasp through my mark making ?
MONICA HALLER - use of sound and explanatory subtitles directly addressing the viewer and challenging them to think about the massive interconnectedness of their day to day world.
https://hkw.de/en/app/mediathek/video/83863
Nikolaus Gansterer - drawing series reflecting on scientific diagrams. 40 Found Figures is particularly inspiring. its subject matter is the beautiful forms which digrammatic thinking can take. he empties the shapes of words so that they could literally be used to reimagine anything.
He is also an artist who displays sketchbooks - for example he precisely documents a journey by train from Vienna to Tokyo and shows an animation of himself flipping through his work.
He also collects his drawings of cctv cameras. In his work, the hand drawn is an important reminder that despite these huge, ungraspable systems and ourc omplicated world, each of us perceives, bares witness, responds and interprets the world around us.
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