Showing posts with label Site Specific. Show all posts
Showing posts with label Site Specific. Show all posts

Thursday, September 1, 2011

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.

Monday, January 24, 2011


I took part in an outdoor exhibition Migration at the Newton Park campus of Bath Spa Uni. The artworks address the theme of ‘Human Interaction with the Environment’ and aim to to encourage students, staff and the wider community to take advantage of the beautiful natural

The concept for my work was inspired by non-spaces, where the outside is borrowed like in shakkei lit. 'borrowed landscape' to draw the outer landscape into the immediate space by 'capturing it alive'. This collapses the view into a space that is in constant flux changing with the position of the viewer and “natural” elements.

And this is the structure in situ:

I enjoyed its simplicity which correlated with the simplicity of the concept, and a rather fragile appearance. I wish however I have designed the structure to be more mobile so it travelled to different locations throughout the duration of the show. This is something to keep in mind...


Tuesday, June 15, 2010

The Function of the Studio

In 1971, in his article “The Function of the Studio”,  Daniel Buren wrote: “Of all the frames, envelopes, and limits...which enclose and constitute the work of art (picture frame, niche, pedestal, palace, church, gallery, museum, art history, economics, power, etc.), there is one rarely even mentioned today that remains of primary importance: the artist's studio”.

Buren believes that the studio is the only place where artwork is truly at home. This is a dilemma I have been faced with when having to reinstall my own work. My “installation paintings” include references to the space they are created in, as well as to the objects in the studio or other artists’ work. When moving the work, the meaning of these elements changes or is lost altogether and therefore any re-installation requires re-thinking and re-working. 

Marsupium, June 2010, installation with paintings and mixed media, dimension variable

Saturday, April 10, 2010

Between Functionality & Decoration

Richard Woods explores the spatial ambiguities of patterns and textures are explored through his hand-printed wood-cut floors and elevations. 
The installations are inspired by the joyously vulgar D.I.Y. movement that swept Britain in the postwar years.Though his work may be about falsehoods, it’s ultimately more about the distance between what the imagine and the reality. 
Richard Woods, Logo no. 41 Crazy Paving no.4 with Print Block Doors, 2010, mixed media, dimensions variable

Monday, March 1, 2010

With Space in Mind

Binary Translations, Nov 2009, installation with window colour palette, sound file, Braille code projection, photo kaleidoscopes, dimensions variable

I have designed this work  for and around the project space at the university.
The trigger idea was to use web based software to translate the aspects of the space e.g. into colour palette, kaleidoscopes, Braille or sound. 
The colour palette for example was based on the view from the windows, and the view then has been replaced by the colour blocks of layers of plastics.
I have then created a sound file based on the image of the replaced window view.

Sunday, February 28, 2010

Site Specificity

Developing the concept of tableau further, another approach is to explore connections to art institutions and relationship to space in- and outside of the gallery.

‘White cube’ as neutral framing for the work is discarded in favour of a space where subject and object come together to create an ‘aesthetic experience’ (as per Miwon Kwon).

The viewer is no longer a disembodied Eye but is instead a Spectator involved as Body in Time.

The viewer becomes self-conscious and participates in the construction of the meaning of the work. 

[Adrian Schiess, Malerei (monochrom), 2008, inkjet-print and effect-finish on aluminium composite panel , 218 x 246 x 2 cm]
Adrian Scheiss’s paintings do not create an illusionistic picture planes but allow the real space to enter the work through reflections. He wants his paintings to exist in the moment at the specific place: ‘the light, the color, the viewer, his mood, the time, the site are parts of this happening’. The viewer is faced with an experience of open, all-over seeing and a fragmented meaning.