Showing posts with label Plastic Constructions. Show all posts
Showing posts with label Plastic Constructions. Show all posts

Sunday, June 12, 2011

Untitled (Blue is For Boys / Pink is for Girls) presented in Project Space, Dartmouth Avenue, Bath

“It is not so much difficult to have the real equivalent but public is meant to admire the perfective of the fake.”
Umberto Eco,  Faith in Fakes: Travels in Hyperreality  
"The display of realistic objects may portray a non realistic world; nevertheless a non realistic object may portray a realistic world. The verdict of what is the true reality and what is not, relay on the most elusive and convoluted connections within human culture, nothing empirical can prove its existence and this is the object’s ongoing changes in faith."
Daphna Weinstein, Telling Lies Short 

Saturday, June 11, 2011

Untitled (Blue is For Boys / Pink is for Girls)

I have delayed this post as I was testing some new ideas that were consequently included in the degree show.

I have been thinking a lot about the density of my work. How fully packed it is when it becomes an installation, all surfaces covered, overlapping - almost one large sculptural construction. This it leads to number of considerations, like the balance of work and site. I would not say that my work is trying to be site specific but definitely site sympathetic. It responds to the shape, light, fixtures and fittings and then it overlays itself onto the existing with its fake reality. The concerns about the density is that it overpowers the existing canvas of the site. 

Therefore one of the ideas I wanted to test out was to allow the space to enter the work.  The fragments would need to stand for the whole or suggest some bigger meaning then their physical presence. 

At the same time the illusions of overload and feeling of confusion could be retained through scattering the fragments and applying different rules for linking the objects. Certain elements were placed purely to act as a balance to other objects whilst others referenced the site, art history, literature etc. Eventually many found elements were replaced by their "manufactured" equivalents.

There is also a great potential to reconfigure the arrangements in multiple ways. I am not too sure what it means yet but I find it intriguing as the recyclable ability of art and twisting the meaning is something I have engaged in other ways before...

Some of the detail of the arrangements. The working title is Blue is For Boys / Pink is for Girls.

Monday, April 4, 2011

Restructured / Destructured

I am intrigued by possibilities of transposing the work further. Can I recapture the key elements through photographs or photomontages or just plainly rework the acutal pieces so they are offered another life where they can become something else? 

I am fascinated by the recycling and subverting the structures, refusal of the fixed and permanent. I guess it is not enough to just use the temporal materials, even the solid elements are interpolated, restructured and destructured.

@ These Words I Seek Are Not My Own
Her Sunday Best

This piece was recycled in the purest meaning of the word. It actually ended up in the bin and then lovingly rescued it just before the bins were emptied. 

He is all Front

Sunday, March 20, 2011

Living Space for Uninheritables

These Words I Seek Are Not My Own

These Words I Seek Are Not My Own: presents new work by eight artists whose practices are imbued by a specific interest in extended painting. The exhibition attempts to address the continually evolving collective understanding of painting through a diverse range of outcomes and installational elements.

"All painting is (at the same time) material, space and activity. It may or may not have a singular (sur)face and it may not hug the wall. It may appear as a projection across the space of architecture, as multiple surfaces separated from a fractured support, or as a collection of playful but useless objects. These 'paintings' are not mere images of things, but inhabit space as things in their own right, sometimes functioning as props and triggers, working to invoke faint memories of other things - almost but not quite abstract, and almost but not quite painting."  

From 'The Spaces of Painting' by Linda Khatir which accompanied the exhibition

The title of the show was a text by one of the participating artists created in response to an intimate unravelling of the artists’ practices, a piece of work alone, layered and acting as catalyst, enveloping the practices and sparking and extending new responses.

An essay
on the practice of extended painting written by an artist and writer Linda Khatir gratefully accompanied the exhibition .

Organising the details of the show - proposals, communication and marketing - was pretty time consuming but a good learning curve. During the exhibition week, I had to divide my time between Bristol, Bath and London so my set-up time was effectively limited to one day. I was moderately pleased with the work I put in given the time constraints, though one of the pieces has since evolved in the studio into a more intriguing proposition (I will post the image later).

Overall it was a strong show, holding a variety of artistic responses, with a respectable turn out including general public.

There is a really good summary of the exhibition posted by a fellow artist Natalia Komis:
Natalia's Blog Entry for These Words I Seek.

My work in the show:


I finally feel I am getting better control over these new materials, with the newer constructions exploring more confidently meaning inherent in basic processes processes like covering/uncovering, scrounging/stretching, leaning against the wall. Little anecdotes and humour, incidents and repetitions are adding more layers to the basic references.

He is All Front


Somatic Mutation


Monday, January 31, 2011


I thought of testing a couple of ideas during the breakfast club. The first one was the idea of trays with luminescent liquid, a form of liquid painting that will create colour fields in space. I wanted to immerse transparent architectural images just so the viewer becomes unsure of what is the reflection and what is part of the work and created layers of viewing. It ended up being just one piece, mainly due to cost of the printing and laminating the large scale transparency. 

I have searched long for the right liquid and colour (really wanted to avoid resin or paint) and finally settled on the Halfords own brand screenwash. The feedback was focused on the liquid -
seductive, luminous, strange, changing with movement. It supported other works rather void of colour and seemed to hold the space together.

Liquid Pool, front view
I loved the way the erect structure echoed Charlotte's work (in the background)
The second idea was inspired by shade awnings. I wanted to play with a vague relationship to painting (framed and wall based) and design aspects. The piece had lightness, thought the grid layered with images and memories was possible too fixed back/ too attached by the frame. Lack of lightsource was also a problem as the viewer seemed to be stuck on the surface instead enjoyng the transaprency.

This piece was too in conversation with other works (Katie's and Alex's)
Both pieces were rather small in scale and seemed swamped by the space. I would have liked to make them in series so they start having more of the presence but again the time and cost influenced the outcome.

I am surprised how framed both works became considering that my main reason for using plastics was the transparency and spatial feel already embedded in the material. It is the structure holding the material that seems to be the problem.

Alex's instalation
The idea for this club was to put together artists with interest in space / location / architecture and allow for relationships to form through these innate interests reflected in the works.

Wednesday, December 15, 2010

Plastic Constructions - TUTORIAL

This is the wall piece I have created in response to thinking about the issue of wall in painting. The piece has got a  clarity that the previous installations seemed to be missing. Its simplicity could inspire my free standing pieces that are slightly less coherent. 

I was suggested a couple of references - John Frankland and Jorge Santos.

Frankland installs wall inspired surfaces inside a gallery. Richly coloured and with the appearance of solidity, the object is in fact intensely fragile, its surface constructed from stretched polythene. The sculpture, which can only essentially be experienced as a surface, is ambiguous, referring to the internal architecture of a building, the language of painting and the physical experience of the cinema. 

[Matt's Gallery, John Frankland: New works, 1996]

Jorge Santos has a knack for turning the world outside-in. His photography, sculpture, films and drawing call up memories, filling interior space with ghostly doubles of buildings and nature. Brushing up against a gallery wall, you might discover the gentle protrusion of a wrought-iron fence, realised as a white stucco relief, or look down to find autumn leaves reflected in a pool of black acrylic on the floor. 

[Jorge Santos 'the world appeared to her reflected by pure inwardness', Spike Island, 2010]