Wednesday, 23 June 2010
Monday, 7 June 2010
Thursday, 3 June 2010
Wednesday, 2 June 2010
Form, colour and placement are the three elements of my work that are paramount in my thinking
The interrogation of found objects is a key starting point, photographing, illustrating and casting them in an obsessive way to understand the significance of the object to me and it’s possibilities.
Further investigation consists of dissecting the object or positioning the object in thought provoking environments.
The idea of reclaiming a forgotten item and transforming it into an art form interests me. Thus the work has been transposed from one thing to the next.
Juxtaposing certain objects into a playful frenzy of colour-coded expression is a point of reflection where I look at the aesthetic need of the work and question the ideology of the piece.
Process has become a key element to my composition. I work zealously with particular objects until I am completely satisfied, pulling them apart, stripping them of their previous identities, generating and accumulating a diverse nature to my body of works.
I carefully consider the materials I use. Putting diverse resources together interests me as much as exploring the idea of how sculpture is a three-dimensional art form, which interacts with the space around it. The texture, denseness and context of the sculpture can provoke different moods for the concept behind the piece.
Interested in the order of chaos, the way I arrange the components to an art piece is often chaotic yet juxtaposed into thought out assemblages which I hope communicate with the viewer, and how one object placed next to another can change the pretence of the original identity of the object.
I am interested in the narrative to the object, interlinking with their own relationships with familiar objects, creating a new dimension to the object, creating "precisely choreographed" installations.
More recently I have been looking at the book ‘On Longing’ by Susan Stewart and trying to understand a fascinating analysis of the ways in which everyday objects are narrated to animate or realize certain versions of the world, whether its miniature books, eighteenth century novels, tom thumb weddings, tall tails or an object of tourism and nostalgia.
Looking at scientific diagrams for inspiration. Drawings of molecules, atoms and DNA interest me as the connection point of each particle has an interesting structure, which complies with my own practice.
My work might not have a direct link to these inspirations. However after a closer look the viewer might be able to make the link, I don’t want my work to be overtly scientific as FORM COLOUR AND PLACEMENT are the main elements that drive my work.
However looking at these resources is an important stepping-stone in the process of my work helping me formulate ideas.
Watching Documentaries on the natural world, planet earth and Evolution inform my practice taking in information and
Being interested by natural formations of the earth, pattern making and the formulation of genetics drives my work to a deeper level. These sources of information have an effect on the way I think about placing an object within a work.
For example a leopard’s spots look randomly formed however there is a complex pattern system that forms in a very ordered way, this is very similar to the workings of how my work is formulated.
My work has a heavy connection to the order of chaos and reflects the interrogation of how components are put together weather it is two pieces of cotton or a plank of wood and a ball of play doe the materials I work with are the foundation in communicating with the viewer.
The Materials I work with are imperative to my practice however I don’t restrict myself to a certain theme of found materials I am interested in the elements of the earth however I mainly work with manufactured objects of the readymade! Mainly mass-produced, `I think this interests me as the idea of the duplication of an object can transpose the initial object into a new light forming new meaning.
The interrogation of found objects is a key starting point, photographing, illustrating and casting them in an obsessive way to understand the significance of the object to me and it’s possibilities.
Further investigation consists of dissecting the object or positioning the object in thought provoking environments.
The idea of reclaiming a forgotten item and transforming it into an art form interests me. Thus the work has been transposed from one thing to the next.
Juxtaposing certain objects into a playful frenzy of colour-coded expression is a point of reflection where I look at the aesthetic need of the work and question the ideology of the piece.
Process has become a key element to my composition. I work zealously with particular objects until I am completely satisfied, pulling them apart, stripping them of their previous identities, generating and accumulating a diverse nature to my body of works.
I carefully consider the materials I use. Putting diverse resources together interests me as much as exploring the idea of how sculpture is a three-dimensional art form, which interacts with the space around it. The texture, denseness and context of the sculpture can provoke different moods for the concept behind the piece.
Interested in the order of chaos, the way I arrange the components to an art piece is often chaotic yet juxtaposed into thought out assemblages which I hope communicate with the viewer, and how one object placed next to another can change the pretence of the original identity of the object.
I am interested in the narrative to the object, interlinking with their own relationships with familiar objects, creating a new dimension to the object, creating "precisely choreographed" installations.
More recently I have been looking at the book ‘On Longing’ by Susan Stewart and trying to understand a fascinating analysis of the ways in which everyday objects are narrated to animate or realize certain versions of the world, whether its miniature books, eighteenth century novels, tom thumb weddings, tall tails or an object of tourism and nostalgia.
Looking at scientific diagrams for inspiration. Drawings of molecules, atoms and DNA interest me as the connection point of each particle has an interesting structure, which complies with my own practice.
My work might not have a direct link to these inspirations. However after a closer look the viewer might be able to make the link, I don’t want my work to be overtly scientific as FORM COLOUR AND PLACEMENT are the main elements that drive my work.
However looking at these resources is an important stepping-stone in the process of my work helping me formulate ideas.
Watching Documentaries on the natural world, planet earth and Evolution inform my practice taking in information and
Being interested by natural formations of the earth, pattern making and the formulation of genetics drives my work to a deeper level. These sources of information have an effect on the way I think about placing an object within a work.
For example a leopard’s spots look randomly formed however there is a complex pattern system that forms in a very ordered way, this is very similar to the workings of how my work is formulated.
My work has a heavy connection to the order of chaos and reflects the interrogation of how components are put together weather it is two pieces of cotton or a plank of wood and a ball of play doe the materials I work with are the foundation in communicating with the viewer.
The Materials I work with are imperative to my practice however I don’t restrict myself to a certain theme of found materials I am interested in the elements of the earth however I mainly work with manufactured objects of the readymade! Mainly mass-produced, `I think this interests me as the idea of the duplication of an object can transpose the initial object into a new light forming new meaning.
Thursday, 27 May 2010
Monday, 24 May 2010
Friday, 21 May 2010
LOGBOOK 2009-2010
"After constructing Installations from the various objects I have collected, I thought about the logbook I kept over the past year recording each object I found and used in my work, each object is treasured and i wanted to illustrate this logbook with a portrait created through photography of each object, reproducing it in the best possible light as if it is a living creature.
I find this fascinating as I am glorifying the forgotten object by giving it its own personal identity.
The date when i found the object is very important as it acts as a progressive history behind my work and gives my work a narrative."
I find this fascinating as I am glorifying the forgotten object by giving it its own personal identity.
The date when i found the object is very important as it acts as a progressive history behind my work and gives my work a narrative."
Thursday, 20 May 2010
Saturday, 15 May 2010
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