Category : Assignment 5

A5 – Reflection on Tutorial

This course is now coming to an end, and I am quite satisfied with the way of working with my tutor through tutorials, from which I take the notes she is amending afterwards. I am very pleased to hear that my small intimate series of Be Small was considered as one of my strongest works so far (Fig. 1)

An intriguing, well resolved assignment – particularly the final 22 small pieces and their layering and ambiguity. Process and materiality continues to be explored with commitment and enthusiasm. 

 

I was concerned how the starting point for this series Be Large, would be received by my tutor, as iconoclastic work?  She made a very interesting comment that didn’t crossed my mind during the making, although I kept – more subconsciously than discerned – the ‘left-over’ (Fig. 2 )

Fig. 1: 'Be Small - Stretch Your Stretch' - a selection

Fig. 1: A5 -‘Be Large ‘ – leaving behind // photographed on lightbox – would white backing be sufficient or even more convincing? Howe do I want to present it? for assessment? in a gallery space?

 

Fig. 2: 'Be Large ' - leaving behind

Fig. 2: A5 – ‘Be Large ‘ – leaving behind – detail from entire wall frieze // the markings left, of cutting, traces of absence – an index of interaction – forgotten but documented 

 

I could relate my tutor’s comments on the gown to my previous work with the mylar-made patient gown. My rather intuitively made gown, a result from failure to get acrylic paint off Hostaphan foil, is possibly more of a comment and closing a loop back. There is certain playfulness involved and alongside a densely covered front making the gown rather opaque, disclosed. My tutor suggested to allow more ‘space and economy of mark and materiality’ informing the results. At times, it seems I overly enthusiastic and putting too much into one work (see critical review below)

My main interest is more in the two sides, the inside and the outside, the transparency versus the concealing. Thus, to develop it further, I would rather make it more disruptive, revealing more from the inside To make it more ‘haunting’ as my tutor suggested. This gown piece relates also to Tabitha Moses’s embroidered patient gown in the wake of her IVF treatment. Is painting more of a decoration and embellishment of fabric? For me not, the fabric and the painting need to be interwoven. one holding the other, both conveying more a disruptive sense of vulnerability. Overall, 

In the preparation of my assignment, I continued working on those painterly, material sculptures, created through pulling and stretching materials as paint (Fig. 3) . An exploration of visual but also embodied space, as the ones I submitted with this assignment were built on metal hangers as a second element to ‘stretch’- the hanger and the skin (acrylic, latex, or fabric) seeking a balance. It felt quite good to hear how my tutor could relate to these as convincing works in itself. There is certainly space to improve color choice (Fig. 3 right). But there is also the intriguing aspect how shape sand curves are interacting with the viewer and negotiating space. I found the chance of having an online tutorial quite important in order to be able to show pieces that were submitted online only. My tutor responded to no3 (Fig. 3 left) with a strong sense of fragility. It was made from jersey fabric, it is quite stable and robust (much better than latex that may collapse any time). I do find this interesting and important aspect, not necessarily of deceiving, but about not taken assumptions for granted.

 

Fig. 3: A5 - 'Suspended Skin' - hanger sculptures

Fig. 3: A5 – ‘Suspended Skin’ – hanger sculptures // left: No 3, middle: no. 14, right: no. 2

 

During the tutorial we discussed what is at the bottom of my practice and work. It appears clearer now to me how it continued to be a thread throughout this course. Although, some works might be rather of a tangent, e.g. the Object-box as a playful interactive art-game, getting more attention from children than adults.

Coursework

There was not much other practical work during this part (quite some writing had to be done) and the cut-up audio -video piece ‘Cut up my thinking‘ was received two-fold: the speech-scape as such through the distorted cut-up words were intriguing and hold enough space and attention. Whereas, the visuals, especially the moving written text and my hand were not convincing. To apply rather abstract painterly patterns in the background to allow the eye to follow while the brain is trying to catch auditive sense and meaning from the spoken disconnected words. The broken words and sense of dislocation, both key aspect in my practice, came across as effective and unsettling. ‘Unsettling’ appears also a key element in my work, as my parallel project showed. Overall, it is about disruption linear narratives, flat picture planes, and obvious meaning through juxtaposition and layering. 

Sketchbooks

My tutor made the comment that my sketchbooks are getting my ideas through a more intuitive response at times better across. I guess this has to do more with putting one idea alone onto one page, turn to the next, and put my second idea down etc. The space around my markings in the sketchbook seemed also less daunting, perhaps the edges of the book (A4 or mostly A3 sketchbooks) provide already enough structure and frame not to bother too much about.

Critical Review

As this came across through my artist statement, it became clearer to me after our tutorial that also the critical review is more about reflection on practice and less informative. My draft was conceived as too dense, clever, but too much, and too less about my own reflections. A clear message that I can relate to quite well. Time for my final draft to submit. It could be better to write more about my ideas as an enquiry. She also highlighted that my contextual notes, though brief, are very relevant to my subject matter and I could lean more on this approach.

In context of embodiment and aesthetics, my tutor suggested some rephrasing and provided a supportive article about Art and Embodiment

 

Learnings:

  • Allow more space and economy in my mark making and materiality approach to inform the results, less is more
  • Be less illustrative and obvious and embrace more ambiguity through opening more space
  • My enquiry of ideas should lead my writing, and my practice overall.
  • I am satisfied to have found finally a common platform through key elements that I can put in place: in my artist statement (done), in my critical review (to be made clearer) and in my visual works (some are there, some need adjustments, some are out – the latter is also quite a relief not to bother about any longer)

 


The full formative feedback with amended notes from my tutor is available at: PDF 

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A5 – Self-Evaluation

How am I doing against the criteria?

Demonstration of Technical and Visual Skills

I continued exploring my favorite actions of stretching and pulling on other materials. Considering the ephemeral nature of latex from my previous I was looking into stretchable fabrics and other products, e.g. Parafilm M®, leukotape® bandage, Tyuvek®, that has some connection with the clinic and medical practices. I was not able to explore fabrics in depth, e.g. the stretchable Jersey or the translucent cheese cloth, to the extent I would have love to (time constraints). As in my previous assignments I explored different streams before deciding which one would be the final outcome as my submission work. Perhaps, some other would have more potential, a question I would still struggle with and my tutor’s comments here would be very much appreciated. I was more careful and conscious to take edges, color, transparency, and opaqueness into account. I feel the compositional aspects are more informed with this assignment than earlier ones.

Quality of Outcome

The assignment went through multiple stages, each one informing the other, with time in between to reflect before making next interactions. Working on parallel streams and especially working in series allowed me to discern pieces that are more successful than others. Although, the applied color palette for painting was rather on the muted side with layered black lines and texts, I am positively surprised and happy that backlight (light-box) as a performative aspect can brighten it up and give a different appeal to the small scale works. I am aware of the ‘iconoclastic’ approach from large scale painting into cutting it up into multiple pieces. This was a conscious decision informed by my other works (parallel project, critical review). It might be good to get some other feedback on this approach.

I was concerned about quality of my assignment that it could stand transportation, is durable and could be viewed in gallery spaces.

Demonstration of Creativity

During this course I became more aware about certain topics that might be part of what I want to do: transformation of materiality, crossing boundaries of materials and meaning, embracing other media and the performative aspect of light, fragmentation and vulnerability (this is the most autobiographic aspect of my work), and a sense of dislocation.

I feel that since my previous assignment I am more focused on those key aspects informing my work without necessarily being constrained by my thoughts. The making and physical touch of material alongside the performance of the material during the transformation process is informing my visual responses and my final works. At times, I am not sure whether the final outcome supports my intention, but I do embrace chance and the turns my making is adding to the work.

Context

My work is strongly informed by my parallel project and my critical review. Especially moving away from the MRI as visual image to a more sensible approach to skin and materiality helped me to overcome conventional narratives and to let the material as such speak to the viewer. I am very much influenced by a few artist, their body of work I am following now since some time (see various blog posts) and their approaches to materiality inspired me: Helen Chadwick, Jaqueline Humphries, Mona Hatoum, and Richard Tuttle. Also, I am reflecting also on my earlier works for this course (and even make connections to my previous course unit with OCA.

 


Questions to my tutor:

  • Potential of my ‘hanger’ sculptures
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A5 – Contextual Notes

My last assignment 4 on materiality and skin and my critical review on medical imaging and ambiguity were the two most crucial sources that informed my assignment work. How medical imaging and skin are related. The transparent body, the disembodied medical gaze, visual images derived from transformed and machine code. The body as vulnerable object of the gaze being fragmented, distorted and displaced.

During the making, I felt reminded how earlier works done during this course had – subconsciously – informed my practice:

 

I found metal hangers as a good choice to work with. Hangers are used for clothes. Metal hangers are thin enough to provide enough support for stretching but also being not too dominant. I felt inspired to use them by Richard Tuttle‘s work in series Wire Pieces, 1972, although he explored a different subject through it (line, shadow, drawn line – questioning objectivity and subjectivity (Horn ed al, 2015:54-55) – see blog post.

I felt inspired by some of the layered works of Christian Bonnefoi. His works do show a semi-transparent appearance of layered shapes. The work are contained in a frame, something I wanted to overcome by using transparent Rhenalon plate as support, to play with the edges of the plate, the Parafilm material and the paint on it. This triple transparent-opaque dimension allowed me to be not to contained with the rectangle. However, my ‘sculptural skin’ series enabled me to cross even that boundary.

Another informing work that I looked at during writing my critical review, was the notion of Vesalius’s ‘Muscle Man’ studying anatomy (earlier medical gaze) and the skin as fashion accessoire that could be put on a hanger like a coat (see Juan Valverde de Amusco ‘Vivae Imagines’, 1566). The skin as dislocated and displaced material reminded me when I worked on paint materials as such, free from a canvas stretcher. The use of the metal hangers was flexible and thin enough to be even considered more of a material to draw with in space than a rigid frame.

The idea of fabric reminded me on the one hand of Tabita Moses‘s embroidered patient gown (2014) as her visual response to her IVF treatment. On the other and it reminded me of Sam Gilliam’s painted fabric and gown of coats as seen during my visit in Basel.Exhibition: Sam Gilliam ‘The Music of Color’, Basel. This shaping of the canvas and my earlier exploration of the patient gown made from mylar as the ‘object that stands for the body’ resulted eventually in appropriating a real patient gown (thanks to Alan Fletcher for shipping it over to my place from UK) with the transferred paint skin. 

Moreover, there are other artist that inspired with their approaches and body of works: 

  • Jaqueline Humphries and her embedded ‘visual text’ into her abstract paintings
  • Mona Hatoum and the sensibility of the body and its distortion that influenced my work on a back-burner. 
  • Helen Chadwick, especially her approach to interactive and interdependent aspect of embodiment, inside and outside alongside a drive for aesthetics in the resulting works. I explored these works deeply  in my critical review.

 


Reference:

  • Campoli Presti Gallery (2019) Christian Bonnefoi, At: https://www.campolipresti.com/artists/christian-bonnefoi/bio (Accessed 03 Aug 2019).
  • Horn, R., Tuttle, R. J., Butler, C. H., Kläs, E., Tuerlinckx, J., Voigt, J., Gross, J. R., Chaffee, C., Roberts, V., Sullivan, L. L., Yale University, P. and DeCordova Sculpture Park and, M. (2015) Drawing redefined. Lincoln; New Haven; London: DeCordova Sculpture Park and Museum ; distributed by Yale University Press.
  • Moses, T. (2014) Tabitha Moses, At: http://www.tabithamoses.co.uk/page10.htm (Accessed 28 Oct 2018).
  • SFOMA – San Francisco Museum of Modern Art (s.D.) It’s alive! Richard Tuttle creates a wire piece at SFMOMA,[At: https://www.sfmoma.org/watch/its-alive-richard-tuttle-creates-a-wire-piece-at-sfmoma/(Accessed on 20 Aug 2019).
  • Schaffeld, S.J. (2018) ‘Exhibition: Sam Gillam ‘The Music of Color’, Basel’ [blog post] At: https://ocasp.stefanvisualart.com/?p=2175 (Accessed 27 Aug 2019).
  • Tuttle, R., Petersens, M. and Borchardt-Hume, A. (2014) Richard Tuttle – I don’t know : The Weave of Textile Language. London: Whitechapel, Tate.
  • The University of Cambridge (1566) ‘Juan Valverde de Amusco (ca. 1525–ca. 1588), ‘Vivae imagines partium corporis humani aereis formis expressae. Book 2, plate 1’, in Juan Valverde de Amusco (ca. 1525–ca. 1588), V. i. p. c. h. a. f. e. B., plate 1, ed., Antwerp: Christopher Plantin, print.
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A5 – Beyond the Skin – A material Approach

  • A5 – Beyond the Skin – A material Approach
  • A5 – Beyond the Skin – A material Approach
  • A5 – Beyond the Skin – A material Approach
  • A5 – Beyond the Skin – A material Approach

Skin – Sculptures – Disciplined Material – Stretching

Latex was my material of choice in assignment 4. I was fascinated by the response of material -acting and reacting on my actions, at times quite strong forces: pulling, stretching and folding. Actions upon material matter, to feel, to see and to experience what happened and what failed to happen.

Could I apply my latex skin approach with other materials? And how to choose the right ones? Are there right ones at all? Nevertheless, I felt connected with my parallel project, medical imaging, and materials that could trigger some connotations either with clinics, medical, or the medical gaze. All what one could experience as materials that get in contact with one own skin, e.g. as textiles are clothes, clothes acting as a second skin. Bandage, e,g. leukotype, is touching the skin closely, others as Tyvek in the form of protective disposable gowns are less close to the skin.

Considering my rather bold use of canvas stretcher for assignment 4 and my tutor’s comment of using more subtle ‘frames’, I found metal hangers as a good choice to work with. Hangers are used for clothes. Metal hangers are thin enough to provide enough support for stretching but also being not too dominant. I felt inspired to use them by Richard Tuttle’s work in series Wire Pieces, 1972, although he explored a different subject through it (line, shadow, drawn line – questioning objectivity and subjectivity (Horn ed al, 2015:54-55). In this context, I also felt inspired by some of the layered works of Christian Bonnefoi, although his conventional rectangular frame felt too contained to me.

Multiplicity – Stretching and Pulling as Attitude

How to approach this? 

Informed by my previous assignment 4, seeking for alternative materials for latex without rejecting stretching and pulling as important ‘verbal’ actions, and smaller scale works in series:

  1. Exploring the sculptural aspects of skin through fabric materials
  2. Exploring paint as peeling-skin with Hostaphan foil
  3. Exploring the intimacy of stretching as word and through words 

 

Visual Text: Suspended Skin 

I was considering my tutor’s remarks on last assignment re too dominant frame (and too conventional) and was informed for my next decision on material use by:

  • Richard Tuttle’s ‘wire’ work (see blog post
  • the notion of Vesalius’s ‘Muscle Man’ studying anatomy (earlier medical gaze) and the skin as fashion accessoire that could be put on a hanger like a coat (see Juan Valverde de Amusco ‘Vivae Imagines’, 1566)

 

Fig. 1: sculptural skin - the hanger

Fig. 1: sculptural skin – the hanger

 

I got hold of those metal hangers and felt this would be fab framing and interactive material to stretch and pull my paint-fabric-skins (Fig. 2 – 13 – click on one image to open in lightbox view):

interaction – interdependency – holding together

 
=> A series of rather experimental use of various fabrics alongside acrylic paint, some with latex, wire. The challenge was the process of making: to manipulate the metal hanger and to find a balance between fixing the fabric to it, to stretch and pull the fabric, and to find a final sculpture that is stable and ‘stretched’ enough.

A different approach comparing with my latex stretching works from previous part with a focus more on the thick latex paint and finding the point before it fragmented. This time, it was more an interaction between frame and skin. both equally relevant, the one was not stable without the other, an interdependency. 

Considering these skin sculptures and some reclaimed peeled paint from my second approach (see below) I made a series of more interaction between paint skin, hanger and fabric (Fig. 14-16 –  click on one image to open in lightbox view)

=> I was intrigued by the combination of paint skin and fabric (cheese-cloth) and how to arrange them in order that both work together, kind of Moebius-strip (see Fig. 9) in another sense: folded and twisted, both sides visible, though partly concealing and revealing. I chose cheese cloth for its rather transparency (the best I could find around me). I was surprised how much I could stretch the acrylic paint and how the hanger did work to support both.

 


Intermezzo: Skin and paint

My second approach was to work with acrylic paint on Hostaphan with the intention to obtain latex-like skin textures that I could stretch and frame (using above hanger or something else)

transparency – you impact my gestures

 

Fig. 17: A5 - prep the paint - transparency

Fig. 17: A5 – prep the paint – transparency with some notions of Baroque sensibility // acrylic paint on Hostaphan® suspended in front of studio wall; left: digitally composite of two stages of painting (a blur on purpose)

 

=> I think it all went well, I enjoyed applying gestural strokes across the highly transparent foil. Interestingly, the highly visible but not touchable wall impacted my painting. The foil was not rigidly fixed and was vibrating under my strokes. It felt as if I was painting on water

I was very positive that all would turn out for the good. Unfortunately, it didn’t happen that way. Apparently, I applied the paint far to thin (what is thick enough?) and I couldn’t peel the paint of (quite different from a plastic sheet where I could peel of acrylic paint easily). I was wondering whether to stretch with the entire foil? But this wasn’t likely to work either (and would have been a step away from my skin-approach)

 

paint thicker – or you will stay here !

 

I tried another simpler gesture and applied thick paint in it to see how it would work better. Fig. 14-16 (above) with the hanger was done with this yellow strip.

Fig. 18: A5 - prep the paint - paint thicker - thick enough?

Fig. 18: A5 – prep the paint – paint thicker – thick enough?

 

I overpainted with thicker paint, not sure whether this is a way I wanted to continue. I got reminded about my acrylic transfer process that I use at time since my painting 1 studies. I wanted to transfer the paint to fabric, and using the fabric instead of latex or the pure paint to stretch. It worked and it resulted in a new idea (Fig 15) – a patient gown appropriation, reminding me of the embroidered patient gown of Tabitha Moses (2014)

Fig. 19: A5- paint skin on fabric - an embellished patient gown

Fig. 19: A5- paint skin on fabric – an embellished patient gown // paint transferred from Hostaphan onto fabric – fabric as gown – as patient gown (right; installed behind)

 

=> It went a complete different path than I expected. I wanted to leave it as there as such. Not sure how successful it really is. However, there is a certain aesthetic and I felt it closes a loop to my starting point with a patient gown made from mylar in part three – see Project 3.3 – Ex. 3.2: Before and After / Pulling a Narrative. It also reminded me of some other artist’s work informed by textile works, e.g Sam Gilliam. The shape as such reminds me of an insect body bringing up associations to Franz Kafka’s novella ‘Die Verwandlung’ (Metamorphosis)

Eventually, I decided to move on with my third approach: intimacy of small scale. Knowing also this will take time and space to develop.

 


Verbal Text: Stretching my words

I haven’t used words or text in my first two approaches. I was wondering whether my action of doing ‘to stretch – to pull – to hold’ would count as text? What is making the difference anyway? Most of visual perception is going to be interpreted already subconsciously through learned linguistic signs.

 

Words – Where have you been?

 

Fig. 20: A5 - prep the paint - paint - no words?

Fig. 20: A5 – prep the paint – paint – no words? // a digital composite of multiple layers – to cut, to stretch, to pull, to see – the invisible 

 

This approach is informed by my commissioned work for my local art community (see my blog post) and by my curiosity to explore the materiality of  Parafilm M® as an exciting outcome from my sketchbook experiments on various materials.

A large scale constructed wall painting, a frieze, composed of bands of Parafilm M (4″ width) covering an area of approx. 280 x 60 cm. My gestures applied combining, making sense out of it. A performative painting, over time informed by interactions and connectedness, a network (like neural network of the brain?).

Color / shapes / lines / words

The evolution of a making (Fig. 21-30) – click on  a single image to open in lightbox view. 

It took a few week, each stage hanging and waiting for next inspiration, until it was ‘complete’ with words written onto it. What reminded me of wall graffiti and my recent exhibition visit in London Writing on the Wall At that time I was reflecting on  how Twombly applied scribbling and inscription as a performative act, deconstructing written language in its gestural aspects. Perhaps, this became quite close to my approach here.  My visual mark-making through gestures and words – to be deconstructed into smaller works..

The resulting large wall frieze (Fig. 31) – constructed to be deconstructed:

Fig. 31: A5 - prep wall frieze - constructed to cut-up

Fig. 31: A5 – prep wall frieze – constructed to cut-up

 

With this large fragile frieze (the single Parafilm stripes not really attached to each other, at some points the paint was making connections though) handing for a quite some time in my time

Also in my reflective post, I was asking myself “Are public walls the skin of a society?” and “Are human skins becoming a public wall? ” WIth this in mind I continued with cutting and stretching, deconstructing, and turning vulnerability into effect.

Be small – your own STRETCH 

 

Stretching and pulling from the inside out,

Small is beautiful

 

=> I felt intrigued – as for my assignment 4 work – to explore the features of the material in itself, not to use more tools to put in a  place where the material doesn’t want to be. Making smaller works, cardsize 6×4″, helps to keep the support rigid. Trying to do the same on A4 scale didn’t work. The support collapsed as the wire mesh I tried earlier one. In this case, small is beautiful, being big is not the way to go.

The wall frieze had to* undergo the process of my gaze, incisions. A process of cutting-up , stretching and pulling, cardsize paintings embracing intimacy and to be pulled into.

(* This certainly reminded me of my painting for Painting 1, a large scale painting cut up into grid segments, followed by my tutor’s questions of relationship to the Modernist grid and iconoclastic approaches – see my blog post for PoP1 and my reflection )

Video 1 (1:10 min)

 

=> I decided to go for rigid rhenalon sheets, as they are sturdy in small sizes holding the force of stretching, it is a transparent material that could work with backlight (informed by earlier works in assignment two (the Two Side Box), and my tutor comment on assignment 4 that one could see more intimate elements with backlight). Trying to work larger scale wasn’t that effective. Though I used A5 and A6 both to discern later.

This process of cutting-up and transforming into new pieces of work with a loose connection to the larger work appeared to be a process of diverse aspects:

  • Scale: I decided to use A5 and A6 sizes, mainly to explore words as such (larger better) but still keeping an intimate approach to it (the viewer can hold it in the hands)
  • An intimate interaction: cutting manually, peeling off the backing, stretching and pulling each piece onto rhenalon card. Each stretching and pulling different, a sensible touch, fragile material, vulnerable to strong forces, various application front and backside – multiplicity of ways to do
  • Stretching words: – distorted already through cutting- became even more distorted through pulling and turning into abstract patterns.
  • Color: I used first quite muted but later bolder color, reminiscence to muted color of human skin. I wasn’t sure how the color of paint would behave over time on parafilm. The black lines and words would make a more dominant contrast to it. With backlight – especially with lightbox and ambienbt light – the color turned stronger 
  • Transparency: I was impressed by how much backlight was transforming to work and the colors. Under normal toplight conditions muted colors, with backlight (lightbox) brighter. I also tried to hold it against a window at daylight (see end section of video 1) but due to the strong contrast the photograph doesn’t work that good. The eye and brain can better adjust to this contrast. However, it still worked best on  lightbox. Something for me to see how to present for assessment (though I have some ideas to check out)

 

What is left behind and what appeared in another place.

Fig. 32: 'Be Small- Your own stretch' - wall frieze left behind

Fig. 32: ‘Be Small- Your own stretch’ – wall frieze left behind // cut-up into A6 and A5 pieces – more to make or just to stay?

 

Fig. 33: 'Be Small- Your own stretch' - stack of fragments on the floor -

Fig. 33: ‘Be Small- Your own stretch’ – stack of fragments on the floor // all A6 and A5 plates together – interacting as attitude

 

I explored ambient studio light (A6 card size – with wider border on photographic image – Fig 34 – 37; click on one image to open in lightbox view): 

… and lightbox, embracing the performative aspect of backlight (A6 card size – with wider border on photographic image  – Fig 38 – 41;  click on one image to open in lightbox view):

=> I started with making A6 card size plates and moved on in making A5 plates. One cut piece (approx 6 x 4″) from the wall went onto one A6 plate, and two pieces from the wall onto one A5 plate. The latter allowing me to combine two parafilm pieces in a more versatile manner: both on one side, one on the front and one on the back, oberlapping around the edges etc. It all was a quite intimate approach in finding the right force to stretch and pull (otherwise fragments are torn), to play with edges and transparency, and to explore words, now rather letters, around the various plates. 

Total collection made: 13 A6 and 32 A5. I will see what to select for submission. Perhaps 22 of the larger A5 in reference to the 22 months that I am now on this course unit and finally found the end? 

I will submit the lightbox version (as it is digital submission) and have to see how this could work at assessment (perhaps to ship my flat LED lightbox with the work)


Enough Gaze (20x30cm; latex, tyuvek, rhenalon, acrylic paint)

 

Fig. 42: 'Enough Gaze' - at the end of my course P2SP

Fig. 42: ‘Enough Gaze’ – at the end of my course P2SP // at the end of my course

 


Reflection:

  • Verbal interaction can inform the practical exploration: to stretch – to pull – to hold
  • Materiality is interactive and interdependent
  • Intimacy of touch and scale – a multiplicity of interactions 
  • Exploring self sufficient stretching: I wanted to avoid a canvas stretcher or other additional items that hold the stretch. Self-sufficient in respect to the material in itself holding and maintaining the stretching force. Parafilm M and rhenalon plates are keeping together even without use of adhesive. The final works are rigid, solid, stable without the risk of further fragmentation during transportation. Comparing to some of my works for assignment 4 with latex – with some even collapsed during one week.
  • Overall, it was quite a turn in my making. I could make out some connection to my work from all previous parts (fragmentation, repetition, transparency, skin, words) and found that the materiality aspect in itself is quite rewarding. And it is an open subject matter to be explored further. 
  • As future steps, I want to explore various fabrics more. The one used for the ‘patient gown’ is jersey stretch fabric. The stretchability appeared as an important element in my work.
  • The series that I will submit for assignment 5 (be small – your own STRETCH) might be explored with other colors, or perhaps with more text on it. Also the durability of Parafilm, as plastic material, is not know to me. 

 


Reference:

  • Campoli Presti Gallery (2019) Christian Bonnefoi, At: https://www.campolipresti.com/artists/christian-bonnefoi/bio (Accessed 03 Aug 2019).
  • Horn, R., Tuttle, R. J., Butler, C. H., Kläs, E., Tuerlinckx, J., Voigt, J., Gross, J. R., Chaffee, C., Roberts, V., Sullivan, L. L., Yale University, P. and DeCordova Sculpture Park and, M. (2015) Drawing redefined. Lincoln; New Haven; London: DeCordova Sculpture Park and Museum ; distributed by Yale University Press.
  • Moses, T. (2014) Tabitha Moses, At: http://www.tabithamoses.co.uk/page10.htm (Accessed 28 Oct 2018).
  • SFOMA – San Francisco Museum of Modern Art (s.D.) It’s alive! Richard Tuttle creates a wire piece at SFMOMA,[At: https://www.sfmoma.org/watch/its-alive-richard-tuttle-creates-a-wire-piece-at-sfmoma/(Accessed on 20 Aug 2019).
  • Tuttle, R., Petersens, M. and Borchardt-Hume, A. (2014) Richard Tuttle – I don’t know : The Weave of Textile Language. London: Whitechapel, Tate.
  • The University of Cambridge (1566) ‘Juan Valverde de Amusco (ca. 1525–ca. 1588), Vivae imagines partium corporis humani aereis formis expressae. Book 2, plate 1’, in Juan Valverde de Amusco (ca. 1525–ca. 1588), V. i. p. c. h. a. f. e. B., plate 1, ed., Antwerp: Christopher Plantin, print.

 

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