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Author Archives: Kimberley Popple
About Kimberley Popple
Visiting lecturer, Alison Slack.
Alison Slack describes herself as a multidisciplinary artist, currently exploring video and performance. Alison is Canadian and completed her BA (HONS) and Masters degree at ConcordiaUniversity in Montreal. In 2011 Alison moved to Hull.
Many artists employ a certain medium before even contemplating the concept they choose to explore, limited medium is something Alison does not endure. The concept always generates the medium as far as Alison’s work is concerned. The visiting lecturers so far have been rather restricted in terms of their own practise labelling themselves as ‘painters’ or ‘printmakers’ means they will only ever generate work within these specific areas. Medium should NEVER restrict the artist nor the concept. I agree with Alison that in most cases the concept should rule the medium, however on occasion it is acceptable to explore a medium without a concept and still build a successful body of work. Surely the artist has no means of specifying their trade without exploring and experimenting with every medium possible to then be able to eliminate certain processes which do not satisfy them. The role of the artist is to be curious and by being limited to a particular way of working generally does not bare means for creating interesting works.
‘Control the Conditioning’ A series of pill like sculptures in various sizes from that of an actual tablet to 1ft in length. Alison was working with the concept of the proliferation of medication and how easy it is for the public to be prescribed such drugs. The larger pill sculptures are made from wood, painted and silk screened onto, hollow often with things inside them. Alison says that the viewer completes the piece, the objects are meant to be held and always encourages active participation with the viewer as she believes that the audience is an important aspect of any art object. The documentary ‘Titicut Follies’ led to further development of her work.
The American film maker Frederick Wiseman in 1967 went to a Massachusetts mental asylum for the criminally insane to execute the documentary. The film reflects on how the mentally challenged were treated in confinement. I took some time to watch the documentary, its certainly not one for the faint hearted as it features in depth interviews with the insane which are truly disturbing. However mental health issues are widely acknowledged and accepted nowadays, its interesting to consider how such issues were treated before vast research and medication was developed many years later.
As a result of the documentary Alison’s pills started to get larger in scale, “Comfort” is solid inside and is able to be unscrewed. Another piece ‘Pharmed’ was made to be hollow so that things could be stored inside. Alison also made a series of tiny pills made from titanium and steel, at an exhibition she encouraged the viewers to take one.
Alison is also a keen printmaker, her work covers all kinds of printmaking methods and processes. Favouring etching she likes to use multiply plates to create layers, she then rearranges the plates to create various compositions so there are many additions to the prints she makes. Text is often applied to the image, the text comes from a stream of consciousness, random and abstract. Alison explained that this is a fluid way of completing the composition. Titles of the works are also selected at random, viewers will to often interpret and pass judgment of a work through the title before even viewing a piece. Believing the title should not empower the work and judgement should be passed for the work itself and not its title.
Alison uses herself as the medium in many of her video works to explore different ideas. “Body” is a short film were a piece of fabric with the word “Go” written onto it is wrapped around her ankles. Alison’s intentions for this work is to explore the notion of being lazy, how in today’s society we are always suppose to be busy and to understand how this reflects upon the individual. Toying with the concept of keeping busy and how this is referred to as a positive aspect of life.
Keeping the films simple in terms of editing Alison generally doesn’t use many editing tools. Nor does she change the sounds included in the videos, in most cases she uses the original background noise and loops it throughout the piece.
‘When The Body Forgives The Mind’ A compilation of performances exploring the concept of the Duchenne Smile the only genuine smile that we have. Ultimately it is the mind that controls the smile. While enduring these performances Alison would record herself smiling at different intervals for certain lengths of time, from ten to forty five minutes. It soon became physically painful and a chore, playing with the notion that a smile is a positive reaction met out of a happy situation. A contrast between something joyful which then becomes torturous.
‘Trading Skins’ A performance piece for two puppets and a puppeteer. The work features a life size sculpture of herself made from part mannequin part silicone. The piece almost fits the description of performance, installation and sculpture. On the right hand side would be were the life size dummy was situated and to the left was Alison ready to be manipulated by the viewer, with the puppet strings directly above each figure. I like the concept of this idea, the fact that the audience is in full control over the work means they have the opportunity to be the puppet master playing Alison and the mannequin in any which way they choose. However people weren’t to keen to interact with the piece, maybe this is due to the very little personal space between the viewer and the work. Alison seems to put herself through a lot of physical strain to complete her projects, explaining it was difficult to let her body completely relax. Trying to act like a puppet was extremely strenuous.
The piece was centred around a photograph hung on the wall between the puppet and herself, the photograph is of a puppet like tattoo that covers the full side of her body. The tattoo was the inspiration behind the whole project. Alison found herself asking what does it mean to have a tattoo in terms of your identity.? Does it change the way you feel inside.? Do you consider your skin and your body as a reflection of who you are? or is your body just a shell and you, yourself come from your thought processes.?
‘Mobile Home’ Another performance piece exhibited at the Stattbad Gallery in Berlin. Alison lived in the children’s play house for a week while the gallery was open and left when it closed. While in Berlin Alison would buy things to build the home environment and at the end of the exhibition she sold everything she had accumulated while living in the house. Examining the idea of what its actually like to have a home when so many don’t, the home is a reflection of self surrounding ourselves with objects of our taste. The idea behind ‘Mobile Home’ developed through life circumstance and how easy and often we have to pack up our belongings and move on. Travelling a lot made Alison realise that prioritising necessities, having limited possessions and leaving things behind is now a common occurrence in society. Selling the items she had collected in Berlin was a way of expressing how easily objects can be disregarded.
While Alison was in the house there was a live video feed so people could see what was happening inside, if she was to leave the house Alison would always leave a note to say she would be back soon. It was left up to the viewer as to whether they wanted to interact with her. Alison felt almost as if she was hiding, hearing voices from outside the house the observers questioning if there was anybody in there. Some viewers like a lot of her work seemed to afraid to engage with the work. Alison bought some porcelain dolls that she called her ‘friends’ the dolls went everywhere with her and she documented this by taking photos. When the exhibition finished she even sold her friends emulating the concept of social networking websites were you can have hundreds of so called ‘friends,’ yet how many of these associates are actually true friends.?
All the work Alison produces tends to develop onto another theory or idea to push forward. Taking the concept of the ‘Mobile Home’ she explained she would like to re address the idea and make the home portable. Some sketches confirmed that considering the basis of a snail home would be more successful.
If Alison where to revisit the ‘Trading Skins’ project she would consider having the puppet and marionette working on a single circular track so that the puppet and puppeteer would stand in the centre which would make it easier to manipulate and create movement.
Every work is a springboard to another idea. Alison says her practise works harmoniously when she isn’t just focusing on one project to one timescale. The enjoyment comes from working on various projects and mediums at the same time. Consequently there’s always side projects that work continuously.
‘Sound Maps’ and ‘Hearing Spaces’ are projects that Alison is currently working on. The sound art projects are based on ‘Browns Illustrated Guide To Hull’ published in 1891. Alison started the project by visiting the locations described in the book and making sound recordings of these places. The intention is to put these sounds into the form of an Origami Fortune Teller. Using old maps of Hull, so when its opened you press a button which will play the sound of that specific location. The sounds when edited are her interpretation of what a city sounds like, distinguishing the relationship between noise and city. Every city has a certain sound which Alison is trying to extract and have them heard through the little maps on the Origami Fortune Teller. This will encourage active engagement with the viewer/listener that Alison is always searching for. The idea for this project stems back to a project undertaken in Sweden, previously working as a teaching assistant for the course ‘Electronics For Artists.’
There are many aspects of Alison’s practise that I admire. Pushing the comfort boundaries when working with different mediums is something I intend to apply to my own work. Listening to Alison’s lecture was very inspiring, being the only artist who included ways in which she would alter and re address previous works to make them better was comforting in a way that nothing is perfect and there is always room for improvement. As I’ve often seen that some artists infrequently question their works on an in depth level, Alison definitely does this and as a result her projects become much more intriguing. Overall I found it difficult to pick fault with this lecture and as a result I gained knowledge that I can then apply to my practise.
Visiting Lecturer. Julia Soares- McCormick
Julia is a costume designer who graduated with BA (HONS) in design. Studying at Nottingham Trent university Julia has worked in theatres on leading shows such as ‘My Fair Lady’ starring Liz Robertson and Tony Britton. An American novelist who wrote a book ‘The Re-incarnation Of Anne Boleyn’ featured one of her blue gowns on the front cover.
Julia now designs and makes costumes privately amongst presenting lectures, costume displays and period fashion shows, where she explains her role as designer and touches upon the practical aspects of Tudor costume design and assembly, from initial idea to the finished garment.
Firstly its interesting to consider the basis in which Julia forms ideas for her costumes with regards to the Tudor period. Of course there is little visual evidence from the era and Julia has to rely on portrait paintings of the time to create as close to an authentic reproduction as possible. There were four costumes featured at the lecture Mary Queens Of Scots, Anne Boleyn, Elizabeth I and Henry VII. It was certainly refreshing to see such a fantastic array of colour and physical presence of the work.
My attention span soon quickly dwindled as I could imagine that rather than being in a lecture room I felt I should be back in primary school sat with my legs crossed and my hands on my lap. It seemed as though the talk would have been more suited to a juvenile audience due to the extensive bombardment of history facts that seemed irrelevant to most people in the room. I think the topic of conversation should have been prioritised for ‘her’ practise rather than facts ready available on the internet.
Julia seems to employ a light hearted approach to the displays and talks she does which appears to be beneficial for a different audience that is evident by feedback on her website. Yet personally I felt that the information I was being fed was of very little use to me. I was more interested in the process.
Julia explained each costume one by one. It takes 2-3 weeks on average for Julia to make the finished garment. Only then will she make the jewellery, headdresses and fans to fit the costume. After we had reached the description of the second dress it started to become relentless and repetitive. The dresses all had a similar cut, a similar material, a similar design, similar jewellery that all seemed to be constructed in a similar way. I think the talk should have been delivered with more consideration for the people from other practises that were present. It felt almost expected that we were all suppose to no what a ‘Twar’ was or ‘Spangles’ and why Tudors liked slashed sleeves.
The talk then moved on to explain the components of Tudor underwear, which where extremely important for making the dress sit and fit right. The underwear was made up of a corset, chemise and the underskirt. The chemise was worn because the dresses were made from silk and could not be washed, they protected the dress from sweat regardless of what social class you were everyone would wear one of these. The poor would have a cheap fabric and the King would wear his edged with gold. Many of the dresses were back laced as the women would need a servant to dress them which indicated wealth. The lower class would have lacing at the front commonly portrayed on period TV dramas.
The Corsets are based on the original Tudor/Elizabethan shape made to flatten the stomach and push the chest up. These were made from a non stretch linen. To create the shape in the Tudor times they would use whalebone for the channels stitched into the corset. Half sprung steel is now used as an equivalent. Julia explained that the tabs at the bottom of the corset are to smooth the hips and distributes the weight and pressure which makes it more comfortable.
A Roll or Rowle was worn tied below the waist as they thought it would make the women appear smaller. The Roll was fashionable until around 1790.
Julia’s husband made an appearance dressed in the Henry VII costumes she made. It features interchangeable sleeves which where popular at the time. The sleeves were a sign of wealth and were given as presents. Trousers were unheard of, breeches or tights would have been worn instead.
Overall the lecture was useful for the factual based information received. Yet I had hoped to leave with a greater knowledge of the skills needed to produce the costumes. Maybe there should have been some design evidence or some preparatory visuals to aid the vast amount of information we were given. On a positive note its clear that Julia is extremely passionate about the work she produces.
Re-visiting Key Concerns as Curator.
The job of curator within a gallery after considering it for a while I gather would have varied expectations of your role as oppose to someone who worked with work that was in the public realm.
I understand that the gallery curator must have a good grasp and extensive knowledge of Art History. I would imagine that there are different roles for each curator with regards to the other necessities needed as promotion or resources within the gallery for the audience. For example brochures, programmes and advertising. If my understanding serves me right then certain curators with different specialism’s whether this be 16th century paintings or contemporary 3D formats it only seems right that people have there specificities, especially as I have discovered so many exhibitions that have clearly not had this role boundary consistent.
I am aware that as a curator not only within a prestigious gallery but there is the aspect of education and its unheard of now that a gallery wouldn’t have a children’s section, even though this hasn’t always been the case it is something many would take for granted in this day and age. So who deals with that sort of thing. The gallery curator might also have to collaborate intensively with other aspects of the working gallery fundraising, marketing, teaching/educator and various other people within a full working team. I think its interesting to consider how the curator would cope with undertaking new ideas and modes for exhibitions. I Find it very difficult or have done in the past to constitute a constructed opinion of the way an exhibition or installation has been displayed within the gallery space, I’ve possibly found this difficult as I can only remember on very few occasion were the way the curation had framed the work actually impacted my general opinion on the work itself. I don’t know whether I am right to say but I have found the curation process and the visual appearance not only of the initial work on display but the surroundings the attention to detail really effects the way in which you see the work. I guess I am making the point relevant once again about being able to cope under the switch between approach to innovative creative thinking and of course when the traditional situation is best suited. Planning, organizing and diversity within oneself I can for see being the key.
Curation, Grave Situations ‘This Is Not A Grave Stone of Matt Hopper.’
There are many aspects of the curator’s responsibility that in this entry I will try and revert back to within a relevant context. The purpose of reflection is an important factor for the reasoning of discussion within the blog. To create awareness of things that haven’t gone necessarily to plan or to document problems I have encountered through the curation process, to verify my thoughts and realise potential via the written word.
The realisation of curating the chosen work in a gallery space was something that really unsettled me. I feel as though I am aware of the outcomes and the aesthetics value of the work within this environment, I guess this is because of the way I feel towards the way in which the work has already been curated within a somewhat ‘traditional’ gallery space. However I did consider if the piece would benefit within a gallery situation, what would I do differently,? as I have so clearly pointed out fault and stressed my reasoning for why it didn’t meet my expectations. The only way I could foresee ‘Tombstone’ in a gallery space would to be through an installation, a sense set in a specific way to reiterate the ‘journey’ in which the work has taken.
Just to recap what Matt has said prior to this entry, ‘ the work itself is no more than a recollection, the process and the journey creates the work.’ Although I understand the opinion of the curator is irrelevant I still felt worthy to respect his thoughts, therefore in ways of curation I felt as though ‘Tombstone’ should take another journey into the unknown as it has done so many times before. I think its important to consider the artists intentions of their work and the curator should have a good understanding of this in order to create a harmonious vision. It is evident that Matt has already considered the aspect of photography to document his work visually. Is the gravestone itself the indented work or does the photograph take over as a result.? If the photographs were to be the end piece of work then Matt has contributed and captured images that really provoke the viewers thinking. I Knew somehow there would be a way possible to make a connection with the intended location and the context of the work itself. With regards to my own practise I can understand why the outdoors appeals to a creative way of thinking. When embarking upon the journey of curation with ‘Tombstone’ I felt there was something overwhelmingly beautiful about taking the work into the open with no real expectations. I didn’t want the work to appear out of place and I found that trying too hard to overcompensate for this wasn’t a good approach, it seemed as though when I was there it looked appropriate, as I processed the images I completely changed my mind. For these images my hopes where high but I felt completely deflated when I had viewed them.
A selection of the images I was Unsatisfied with.
These photos in particular look very much out of context and have to relevance through a visual aspect either. I found myself asking once again as I did with the Richard Wilson discussion the interesting topic of how work meets space. Does the work take form in a certain space or is the space already existent and ready to hold work. I didn’t want anything to look to staged, I think it can appear extremely tacky. I like the idea of chance.
I was very aware of the elements that day and fortunately the weather was in my favour for a change. I realised a darker backdrop would give the work a completely different character, as I walked the full length of the perimeter the photos seemed to capture certain streams of light, shadows and reflections became quite interesting. The auburn tones created a hazy atmosphere, an autumn day provokes the idea of a cycle where colours change, leaves fall, fade and die an epitome of life and death itself.
I am mindful that perhaps the location seems rather obvious to the audience, this is why the image I have chosen as a final commitment has no huge give away at glance of a specified area. I understand however there is a suggestion. To justify my decision from an aesthetics point of view, I think it’s an approach of harsh reality everybody is aware of death as much as they are conscious of living and therefore I don’t think it would be judged out of place, I wanted to provoke this idea. I want people to question the work with relation to what you perceive it to be almost straight away, but because of the text you realise you are completely wrong.
I like this image for its compositional qualities. I am also intrigued by the tombstones whereabouts it almost looks as if its waiting something or someone. It promotes an apprehensive emotion. The gates in the back ground appear menacing.
I like to think of this as an element of contradiction because of course visible to an outsider that is were the piece belongs with the association of the brains automatic acceptance. The gravestone states otherwise ‘ This Is Not A Gravestone Of Matt Hopper.’ Of course my concern must always be with that of the viewer. How the work would be perceived because of the location.? People would most likely encounter the work by accident. A dog walker passed at least every 3 minutes. I felt a sense that what I was experiencing should be a graveyard but my eyes deceived this statement. The cemetery is extremely overgrown but I like the natural components but I don’t agree with fly tipping in a location that should be respected as sacred grounds. I think it could be considered as immoral. It seems that in today’s society’s views and expectations have completely altered the same said for art within the public space.
Some of the places I situated the work in really didn’t work, I have selected a few of the photos that I feel I’m most happy with and others I am not so keen on. There were many unusual details within the natural environment. Varied trees sweeping and towering down almost as if creating a shelter, I tried to make use of all of the everyday occurrences I.e. gaps in the ground, broken branches and generally take an overall consideration for what was around me.
The image I decided to finalize my idea upon was that of quite a peculiar sense. When I look at the image I feel a huge presence of life, a habitual awareness. On this occasion fly tipping created the display of confusion. I managed to get this shot at many different angles and they appear quite interesting, I would even consider saying that the more of focus images work better as a composition than the one I have already picked. However visually they are very distracting and there is a clear need to be able to recognize the work. When I look at the image I find it confusing and I think this will work well when questioning the reasons behind it. Its almost as if somebody is waiting, waiting to go or for someone to come back.?
Curation Task, A discussion with Matt Hopper.
I thought it a valuable idea to take some time to talk with Matt as to how the work came about. I had many questions to ask and after digressing on many occasion it was clear that the work had an intriguing story all of its own.
I think its important to discuss and explain some of the reasoning into why I chose to curate Matt’s work in particular. This was not a light hearted decision. Especially as I vision Matt’s work as a whole as he has produced some beautiful drawings that have real character. I’m aware I discussed on a previous entry some of the important aspects of the curators job. To recap I mentioned the appropriate ways of handling an artists work without feeling somewhat involved and by conceiving a connection can be a misleading mishap. However I do feel it vital to have a clear understanding of the artists interpretation and hopes for the work itself. I did feel quite apprehensive when approaching Matt about his ideas. I realise there is a deep connection within his work and his estate in which most of the works are based, I can respect many of the reasons in which artists find need to articulate emotion through their work. How, why, what, when? are all aspects of consideration within ones mindset. I contain no bias towards the basic needs for oneself to be expressed through the creative process. I did not want to invade this privacy however I did want to discover as much as I could.
‘THIS IS NOT A GRAVESTONE OF MATT HOPPER’
Photo’s taken by Matt Hopper.
I was interested to no if this piece had been exhibited before. He confirmed it had been displayed in an exhibition within the sculpture section in the Rope Walk Gallery in Hull, where it was placed rather carelessly upon a white plinth which I expressed I felt had no relevance to anything, I felt they had not considered at all the aesthetics point of view but also the meaning of the work. Matt says he has not thought about the way in which it should be portrayed through the curation process, however the piece itself has travelled extensively to various locations to be photographed. The beach at Hornsea, Rudston Monolith, in the car departing, in the estate and most alluringly in a skip. This photo seemed to be well and truly stuck in my head. I remembered reading not so long ago in a paper regarding the lack of burial spaces in public cemeteries and began making connections to an aspect of site specifity. Could this photo displaying a gravestone in a overflowing skip be a crude statement? As I continued looking I became overwhelmed with the relation to some harsh reality, are we destined for the scrapheap? Is this what really awaits us, a disregarded notch upon society.
As with the task for the curation at The Ferens I will make some drawings as an initial plan and to work out the best way in which to get the most from the work and the chosen location. Matt also has many drawings that should be mentioned as all of these works as a whole have strong relevance and reference to the relationship between the estate where he has spent numerous years. The drawings are a reinterpretation of location through various technique, in which mark making, tone and real intricacy designates the image. He says there is a spiritual presence throughout his work.
Although ‘Tombstone’ has already been exhibited once before I would never have imagined it to have been displayed on a white plinth, a somewhat traditional way of demonstration seems inappropriate here as I consider the piece very much contemporary with very little to defy a traditional setting. I was intrigued to understand how the journey has impacted Matt’s approach and practise towards further pieces. He explained that the work itself is no more than a recollection and it’s the process and the journey that makes the subsequent back bone of the collection. The journey is of upmost importance and therefore leads the basis of his work. That said, I began to make connections with regards to process and the journey not only the physical element of the works excursion but in a metaphorical sense too. The spiritualistic virtues of the piece and the pilgrimage within that sense could be understood as an afterlife or maybe even a rebirth. A final resting place in an idealistic location.
To gain a better understanding of idea and theme behind Matt’s work I realised there wasn’t an introductory starting point and had no intended meaning before undertaking the premature building process. The meaning for Matt began after the making period and seemed to slot into place as ideas emerged.
‘The work just evolved’
Not only did I want to gain a better knowledge of ‘Tombstone’ in particular, after discussing various topics I began to question all of his works and ideas as a whole. It was apparent that a lot of Matt’s work has a uncontrollable nostalgic feeling to it. I admire this, it makes me think of memories whether these are good or bad, safe places and home. The work is also a great bearer of mystery too.
‘Looking back to push forward, taking the past and preserving for the future’
I felt this a welcoming way in which to summarise what I felt Matt has achieved with his work, as many have questioned whether a new direction would be of more benefit.
I want to stress the importance of different settings in which the work could be situated, would this define the image? would it create the work? changing the setting as a result would this adjust the work itself and its meaning, if any. There should be evidence of the ‘Tombstones’ journey. Instead of this being in written form or photographic maybe this could be documented through a map. This could be a final edition and an artwork in its own right. The places visited with ‘Tombstone’ were selected randomly by going for walks where location was chosen and discovered. Could the work be destroyed,? burnt, smashed, crumbled, recycled and made into something else these are all factors in which we discussed as keeping the work ongoing. Would this then become a representation of the cycle of life and death? This triggered my thoughts towards cremation and re-incarnation.
I knew after the chat I really had to find a brilliant place to put the work. I thought about humour and the ‘Tombstone’ maybe I could find somewhere which would convey the opposite of the visionary.
Visiting Lecturer, Richard Wilson
Unlike my previous entries documenting the works of the Visiting Lecturers, I feel as though I should mention that this entry will be much less specific in terms of process, theory and the contextualisation of ideas within Wilsons work. This is apparent as I have felt it difficult to find a connection with any aspect of his work. Non the less I have no intentions of disregarding this fact and of course the lack of connection is still extremely relevant to my practise in the form of comparisons as were I am at current with my own work and were my work may lead me in the future. It is still beneficial to value the differences when making links, on this occasion with regards to diverse contrast I will try to keep this as a form of documentation in general for useful reference for the foreseeable. I always consider that although something at the present doesn’t seem appropriate it may well have its uses at a later date.
Richard Wilson has been making work for around 40 years, with his key works spanning over the last 10 years. The works are site specific and are developed with the idea of engineering in its many forms. Twice over Wilson has been nominated for The Turner Prize. He constructs his work using disregarded objects that are no longer used for their intended purpose. These are most commonly man made structures. ‘Slice Of Reality 2000’ is composed using an old merchant shipping vessel. Wilson often finds and accumulates many of his topics and material through auctions. He has also worked with the aesthetics of a plane in flight incorporating this into a monumental installation within terminal 2 at Heathrow Airport ‘Slipstream’ which will be displayed form 2014. He regards his work as temporary but did question the reality of how long a piece maybe situated within the ‘temporary’ boundary. 20:50 is the only piece considered within his practise that is classed as a permanent feature at The Satchi Gallery. Although I have not experienced the true potential working within a 3D format I can still admit that his works are extremely complex. It was interesting that Wilson mentioned the impact of notion and how this has inspired many of his pieces. Notion within an art based format seems only something that would be impossible to capture and articulate, however Wilson seems to do this at ease. Playing with architecture and a good knowledge of various practises has influenced his ideas. Although I cannot relate directly to Wilsons practise I can nether the less understand his comment regarding the assumption of space. This made me question the role of the curator once more, how do people within various fields bring something new to the table.? The works almost gave a tardis like feel a ‘spatial conundrum’ within a gallery environment. This made me query the space as a major benefactor to the work it portrays, is the gallery space created with the intentions of the piece to be placed straight into.? Wilson says the piece is made for an already existing area, should all art forms within a gallery capacity be constructed in this way.? Its it right to make the basis of the work with the influence of its situ before even considering the main aspects of theory regarding the work.? Not all of Wilsons work is site specific. Wilson regards his pieces always to be constructed within the place of feature never to be placed without that as the main form of consideration.
‘Butterfly’: 2003 was created in a public environment. The main benefactor of this piece was a film which documented a light aircraft in flight, capturing numerous summersaults in mid air. After seeing this film I understood the relevance of notion within the work. A film was also made to document the actual making process of the assembly of the installation. The film somehow became the piece of work within itself. With many of the other visiting lecturers I’ve concluded that some as individuals are not so open to the aspect of different materials and methods this was not the case with Richard Wilson, I got the impression that he has pushed his work in many ways over the years and this is clear through the progression of work. The film documenting the process of the installation captured the essence of the event. The sound became part of the film itself without this being intended. Wilson said the film helped in the process of analysis as a whole and became a record of the deconstruction of time. I feel it significant to make conjunction between society here and the role of the artist once more. Wilson has made works to be situated within derelict buildings one of which ‘Turning The Place Over’ 2007 in Liverpool. This as a purpose seemed to help reiterate the deprivation of an inner city location, it took something that was considered abandoned and made this into a contemporary feature of regeneration in a place that has such history and culture. I think art has a real importance in contributing to the regeneration of cities in order to keep things current and progressive through generation. The piece itself is the actual building which has been cut into. Wilson had to gain legal takeover of the building to oversee the project. He mentioned he does not regard this work to have any commercial properties in a way of promotion but instead wanted to capture the notion of the city.
Curation at The Ferens Art Gallery.
This is a recap of some of the issues I raised on the previous blog, however I have tried to direct more of my thought towards the responsibilities and duties that would be necessary when thinking of improvements to make after considering the children’s room and the second floor gallery which exhibits 20th Century British Art.
I have tried to consider how to achieve full potential of both area’s within the gallery itself. I figured the best way for me to articulate my intentions was to make a series of simple layout plans to examine some of the problems that could be improved through some consideration. While making these drawings I tried very hard to imagine the room completely empty, free of anything previous to create a ‘bigger picture’ which I could then place onto paper. I felt the drawings would help trigger a way in which to describe the process with words. Its not only the aspect of layout but the context of aesthetics I feel important, what I saw in The Ferens lacked this. Practicality, access, coping with the large amount of children and visitors in one space and really making the most of it. Especially as the gallery space bares entrance to the children’s resource area. I would be unquestionably adamant to replace or restore the skylight, as it certainly does not give a good overall impression.
Taking in all of the necessary aspects of responsibility as curator, I have no doubt that there should be no trace of a persons previous contact with the piece. The curators opinion is completely irrelevant and their should be no impact upon work through the curator, other than delivering the piece in an appropriate way for another audience. However I can understand the trust placed upon the curator from an artists point of view, the curators obligation is to always think outside the box. There are many aspects to consider especially when it comes to making plans within an allocated space so that everything runs smoothly. The approach to genre, medium and a vital awareness of understanding towards the needs of the audience, the situ and the work itself.
The examples of planning are to complete a visual synopsis of my thinking, I find it easier to explain and portray an idea through visual rather than the written word.
My Roles And Responsibilities As An Artist.
I feel my role is a responsibility, to allow other people to look and analyse my work to possibly influence their own as other artists have done to me, this is something I wish to aim towards. Art is a powerful form of communication as it can impact some ones feelings and question without actually having any contact, art should define who and what we are. I believe this because I see it as a summary, art does impact culture, therefore culture impacts art. Art can bring social harmony to places in conflict or in general. It is important to me to realise my discipline within my work, coming back to a manifesto setting a mission statement to justify my reason for making art. Discipline also comes into play when thinking about how I will tackle my work processes and how I will treat my work.
History in art is also something which relates back to culture and responsibility especially if you were some one who is commemorating or creating a piece for site specific i.e. doing it justice. Through history and the study of traditional and past art forms is a record which will be passed onto other generations, using this blog as I have said before will help me to keep a chronological order to my work, making it easier for people to discover an incite as to what my work aims to achieve . Art is a vital way to document our collective presence so that future generations have a recollection of what once was. Art is a deceptively intelligible way to access cultures that might otherwise be misplaced or forgotten. The artists have strong influences on the development in society through creative thinking impacting social change which can come from for example, visual artists, politicians and journalists. Art creates a diverse dialogue and brings important issues to the public eye. Art touches upon different societies, bringing world issues to distant populations which are vital when raising awareness and understanding between cultures. The artist has the ability to convey ideas through class and culture due to its lack of reliance on language, therefore it is a powerful tool of communication that should never be taken for granted. I guess if you were to work in a smaller community, inflicted by deprivation and social hardship, the artist would play the role of enhancing community engagement, creation of community art helps citizens to work together to share visions of their ideals, values and hopes, finding creative solutions to social issues which have long been a tool of protest and insight to change to draw attention to environmental issues and poverty. The focus on art within a type of environment can promote equality, improving quality of living in a means to cope, a way of expressing however this maybe communicated.
I feel it is important to express what I feel about roles which I cannot see myself being involved in. The way I work generally has no logic to its method. I enjoy becoming lost in the engagement of materials surface and mark making. Therefore something which is more graphics, digital and time based are not something I can see myself taking on, especially not in the foreseeable future. However I wish not to rule them out. Right now I have to focus on what is achievable in the deadlines I have, I have to be realistic in the sense that for me these art forms are another project within themselves.
Frances Kelly, Visiting lecturer.
Frances Kelly, born and educated in Hull has had many years within the art based industry. With experience in varied fields. Fashion, printmaker, lecturer, exhibitor and textiles. Kelly also has 25 years experience as a graphic designer. Not only has Frances Kelly got a vast knowledge of many areas it, seems culture is something that she finds enjoyable. Having had residencies in Cyprus and China. Kelly has also participated in exhibitions in Europe, UK and USA. The lecture seemed to be mainly based upon a residency in China August 2012 at The Guanlan print making base. After a short period of time analysing my thoughts as the lecture continued I came to the conclusion that I couldn’t shake the ‘tourist’ like documentation. That said, there were some interesting observations made for example the way the base was run by hierarchy of technicians. I felt Kelly did convey a good dialogue in the sense of promoting an experience somewhat. I learnt also that the technicians printed the image through each process and you are the bearer of the work in someway.
There seemed to be a definite consideration to valuable traditions that have been adopted through generations. It almost seemed like a ritual of process. Each member of the team depending on their skill had allocated jobs, it seemed a noble way of earning your place as a valuable member, with real dedication to your craft came more responsibility. The team of technicians all had individual specialities within their personal practise, the examples of their work were truly incredible. I did learn a lot about the culture of that particular area through the lecture, I’m not sure however that I was expecting a diary entry of daily irrelevant natural occurrences. I appreciate that I now have an incite into how different culture can be. It provoked cultures and how they can promote feeling and impact how the working practise is undertaken. Importantly there was clear evidence of discipline applied by the people who dedicate such time and skill to the printmaking process. Tradition seems to play a relevant part to their work aesthetics and I found this invigorating.
The photography aspect of the lecture regarding aesthetics what rather pleasing, beautiful scenes that really captures the essence of tranquillity. There was no surprise Kelly felt such a connection and true motivation to make work in such peaceful surroundings. I was aware of some of the remaining reminders of conflict and war within the images. Nonetheless I felt I saw very little in regards to having the sense of a bigger picture, a context through visuals, there was very little to judge other than that small section of what must be years of previous knowledge in such diverse areas that maybe there should have been a mixed focus. I couldn’t help but feel I was watching a documentary in some ways, I had more grasp upon the heavy basis of culture based themes than I did of any real printmaking or solid influences that were of conclusion to the residency. In spite of this I don’t believe it to be a negative aspect to the lecture, just a verification of the event and proceedings. I am very much keen to learn and discover awareness of cultures and their proficiency within art. I do recall myself asking a question repeatedly in my head as the lecture went on, how did the culture impact her work? should it have? did it have any real impact upon the theme of the work undertaken while in the surroundings.? I cannot help but feel quite opinionated that regardless of the advantages of vast technology there is nothing more rewarding that drawing your recollection of daily actions, a drawing is a photo with so much more to offer in a sense of the control the artist has over the viewer by showing them their own interpretation rather than what is evident. I think if the boot was on the other foot I would have felt it necessary to document my experience through physical work through theme and paid less attention to photo documentation. I appreciate the importance of keeping these as records but for me my records should and would have to be suggestions of process. Therefore I would question whether culture would have impacted my work much more directly as appose to the route Kelly took while in China. I must admit that after what seemed to resemble no more than a visual take away menu I began to get extremely restless and unfortunately lost interest on few occasions. Maybe there needed to be a specific approach to the intentions within the works and print processes, regrettably I couldn’t say that I felt a definitive connection in any way with the work I was shown in Kelly’s lecture. I was un amused. I am aware that some of her other works seem to employ more excitement. Kelly’s experience in varied fields certainly intrigued me as I would have liked to have seen an overall variation of her work through different disciplines. I also felt the lecture lacked contextualisation, as each slide went on I could only think but why? why are you telling me this.? Subsequently I thought about some of the experiences I have had when contemplating my work within a whole new context and this is a constant question especially if you are faced with new surroundings.
I don’t know if sometimes with new culture or any new experience in fact carries a naivety of the unknown. A way in which would almost be undutiful not to influence your work in some way. On many adventures I have undertaken where culture differences are relevant I realised my records consist of small drawing usually pocket size as a way in which to record visuals even if this is to simply make reference to a certain feeling. I concluded that my work evolved subconsciously when placed within the unknown, I believe this to have been because of my surroundings. I discovered an unrecognisable stylized image upon my paper, exposure to the unordinary is a natural way of recognising the world. It really makes you question the unanswerable. The ‘culture shock’ reality regardless of the context can really open the eyes of the some what ‘outcast’ individual. Its always good to view something with new eyes. Culture can not only generate a subject in which to focus on but it can also generate the practicality through drawing or desired medium. Being subject to new things brings value and diversity to world relations.
Kim Popple Fine Art 