Part 2 in 10 seconds: Strongest Lines of Enquiry:
‘For Bourgeois, art was a means of “survival,” not a free career choice, and there was “no escape” from it. The “catharsis” or “sublimation” that it brings may be personally therapeutic, but its “vibrations” reach beyond herself to “universal” emotional situations. “Art is a way of recognizing oneself, which is why it will always be modern.” “How do we deal with our wounded?” is how she formulates the challenge of an artistic vocation.’
See Bibliography for reference above- I have now added this page to my main menu on the blog- which I hadn’t realised I had forgotten to do too even though I’d been dutifully keeping it acting on feedback to Part 1
Part 2 in 10 minutes: Developing review of strongest lines of enquiry
For joining it has to be sample 5. This piece has 3d form: sturdiness, suggested depth and view through a space, yet also a fragility. There is the beginnings of later samples’ bridging space- joining being much more than simply uniting. I was able to extract much more visual inspiration from this piece by altering photos and playing with ink sketches and tiling selected views in my sketchbook. There is a pleasure in tearing masking tape as well as the semi-translucent property of this resource. There is also a sense of spine and ribs and I wonder if this played into the later mummified wrapping of Broken Barbie.
A possible additional sample from joining would be the wire and organza sample (ex2 sample 6). This piece takes the suggested ribs of the above sample and starts bridging the gap with these. The joining takes place away from the surface at the apex of the curve. The quality of space within the piece is still very similar but the joining has a levity – it is as though the join lifts the surface – the join could pick that organza surface up and fly away with it. Whereas in sample 5 above the joining seems to be giving a backbone – a rigidity, a strength to each element of the piece.
Whilst many others samples were innovated, these two pieces seem to offer further potential for exploration. The wire thread seems to be emerging as a strong feature of this part, mimicking the quality of line that results from biro and blindsketching. There is a freedom and expressiveness in this material.
The final sample that I would choose from joining for selection and reflection is the above soldered sample for ex 5 (ex5 sample f). Whilst this is a first attempt at soldering and I discovered I could not get the solder to adhere to the waxed paper surface, a surface brought forward for samples in Part 1, I think the result has a visual impact that is worth experimenting with. I need to discover a way of ‘annotating’ the surface with this wiry thread- I wonder having experimented with the 3D gun currently in my studies fro Part 3 that I am unearthing a possible means. I like the contrast between the contours of the paper and the rivulets and droplets of the solder. I especially like the questions that the piece leaves – what is this landscape, where is it? With the way my developing creating is going (into the landscape of the mind) I don’t think this sample is exhausted of possibility. Thus I select it in.
On to wrapping!
This was successful as it marked a radical change in my understanding of wrapping and allowed me to break free of the restrictions of my previous sampling. It was a conceptual change and a symbolic change. Choosing an object that speaks to me symbolically and metaphorically was very important – and it also marked a departure from sampling that followed course notes into sampling that followed my intuition and need to express. This sample also open the potential dialogue between create and object, object and audience, audeince and creator.
Broken Barbie (see above for images)
Broken Barbie built on Flint. The piece moved wrapping of the flint into many layered wrapping, again obscuring the chosen object within. It has layers of form as well as layers of meaning and layers of symbolism. This piece allowed me to connect a real cry from within into and onto a piece. The wrapping became a process of communication rather than a technical process. this was another fundamental breakthrough in my understanding and creating. It also teaches me that not everything has to be shared! Some things can remain hidden but these can add to the poignancy and message of the piece. Layers of wrapping are like layers of a story, every time we come to it we might notice something new, everytime we revisit it we bring the place we are now in along to communicate with the layer that now speaks.
Grit and Pearl:
This piece pushed layering further, wondering how far this process could be explored. This is important for me as I was having to generate new but along a specific line of enquiry rather than generating and innovating another apparently unrelated sample. This piece has taught me that sampling can evolve in series. At the start experimentation must be broad and wide-ranging, playful and experimental, then when the trail is picked up this line should be pushed further and further to see how far it will go. This is a journey from my starting point of wrapping, rather than going back to course notes and staring another road out. A new door opens with this piece: what is the potential of an artwork to transform, heal and transport wounds. Back to Louise Bourgeois’ concern over the challenge of artistic vocation: ‘How do we deal with our wounded?’
I am beginning to feel more confident in my use of the sketchbook. Interestingly although I have asked for all my work back from the assessment for ATV, in actual fact given the choice now, all I really require back are the sketchbooks. If I keep this in the front of my mind it helps me understand the purpose and importance of these to me, and ultimately to an assessor. On reflection I feel I have tried to include sample-making in the sketchbook this time, building on previous feedback from my tutor (part 1 feedback). I have also gone beyond the confines of the sketchbook sketching to a me-size scale and exploring intuitive and expressive line-making. If I had to select the one are of the sketchbook that is integral to this part it would be these works (also shared here) and most importantly the angry sample that woke me up to my own psychological limitations as well as the potential for expressing myself in a language other than words.
I have continued to hunt for contemporary artist whose work speaks to me, and to document this research. I have shared some of this research in my blog, maintaining a Bibliography as a new page (but only realising today that it was not apparent on my menu – hopefully this has now been rectified). With my tutor’s feedback sharing that it is not always easy to work out exactly which artist really inspired me it is important that I take more care sorting between reviewing an artist’s work for my own research and interest, and reviewing the IMPACT of artists that have really inspired me. In this part the most prominent artist has been Louise Bourgeois. I initially came to her work in ATV, but as is now apparent, didn’t really engage with the concepts behind her work, nor did I fully stop and engage with her pieces in order to understand what I was looking at. With the publication of the text ‘The Return of the Repressed’ I have discovered an artist from whom I have much to learn, especially the context of her work. The inner landscape. Psychotherapy and Art. She is my key artist conceptually for this part. As for artists who have impacted my sample making in process I must acknowledge the key piece of Nic Webb’s ‘Bound Form Bay’ and ‘Shared Vessel Poplar’ and Megan Singleton’s ‘Eight Thousand Daughters’. There is a direct link between their use of chosen medium and what I tried to make my samples do.
In this new review and reflection I hope to have shown that with the timely guidance of my tutor and her constructive criticism I can begin to select more effectively and clearly. I still have a lot to learn.
I must remember to allow an idea ‘to fully bloom’. There is enough summer in me.