I remain concerned at copyright, so the artist’s images will be linked to from this post, but for my reference I will use some in my sketchbook in order to develop my material.
I was drawn to Daniel’s 3d work because of his multimodal approach – he connects scultpure with arcitecture with installation and performance art. Arsham’s artist statement on his website hooks me in with its nods towards playfulness, interconnection of art forms and:
‘environments with eroded walls and stairs going nowhere, landscapes where nature overrides structures, and a general sense of playfulness within existing architecture. Arsham makes architecture do things it is not supposed to do…’
I am curious about the idea of making things do what they are not supposed to: making the fabric cease to flow and be soft by having moulded its surface in plaster. I wonder how I can challenge my own and an audience’s perception of a textile; I am also taken by his idea of reawakening ‘existing architecture’ when he hides people behind the ‘blanket’ of a wall as in his 3 dimensional work – the piece I was intially drawn to being: Hiding Figure. Working with gypsum to create concrete, a material and industry that I have grown up around and am watching in its decline (factories and cement works being “improved” by being razed to the ground and soulless housing estate replacing their crytal windows and 1930s towers). I like how he has made the ripples of the fabric in the concrete and then explores this surface further by degrading and creating a false sense of decay that inspires his self-applied title of ‘archaeologist of the future’.
In his object collected on Snarkitecture, Arsham teams up with Alex Mustonen to experiment in a new territory between art and architecture:
‘The name is drawn from Lewis Carroll’s The Hunting of The Snark, a poem describing an “impossible voyage of an improbable crew to find an inconceivable creature.” Snarkitecture investigates the unknown within architecture – the indefinable moments created by manipulating and reinterpreting existing materials, structures and programs to spectacular effect.’
I feel there are echoes with our work in the domain of Textiles – what is created in that space between textiles and arcitecture, textiles and performance, textiles and sculpture. What happens on these boundaries and in the No Man’s Land between. is this still an unexplored space or are contemporary Textiles artist making tracks into this land? How can I continue to create innovative and imaginative work within this project molding surface and them embellishing or manipulating them?
‘Snarkitecture’s approach focuses on the viewer’s experience and memory, creating moments of wonder and interaction that allow people to engage directly with their surrounding environment. By transforming the familiar into the extraordinary, Snarkitecture makes architecture perform the unexpected.’
Interestingly the focus is on the viewer and their interaction wiht the environment, almost as if the objects are catalysts to change rather than agents of change themselves. I know that my making is creating change in me. I know that my drawing is beginning to cimmunicate something of my expression and feeling – I feel that where I am at and where these two artists exist are in similar but quite different dimensions, more like another Lewis Carroll text, ‘Alice Through the Looking Glass‘:
‘Let’s pretend there’s a way of getting through into it, somehow, Kitty. Let’s pretend the glass has got all soft like gauze, so that we can get through. Why, it’s turning into a sort of mist now, I declare! It’ll be easy enough to get through—’ She was up on the chimney-piece while she said this, though she hardly knew how she had got there. And certainly the glass was beginning to melt away, just like a bright silvery mist.’