A2 – Contextual notes

Stefan513593 - Three fold perspective - #2 - left view

During this part of the course and in preparation of my ‘Object-Box’ approaches I was inspired and challenged by the following art practitioners and readings. I made some contextual reflections earlier in my post for project 2.6 ‘Painting in the Round’

“Painting is taken away the boundaries of an object” – Katharina Grosse (Art21, 2015)

Some key artists that inspired my painterly exploration of space are Jessica Stockholder and Richard Tuttle. My Object-Box as a box that engages the beholder to unbox, to unfold takes some references from Marcel Duchamp. My sculptural wall pieces were partly informed by works of John Latham and Robert RauschenbergCandice Lin and her project works for Enough Room for Space, especially ‘Performing Projects informed my preservation box approach, as Bianca Baldi informed a rather contextual idea of unfolding resonating with the unfolding performance of my Object-Box.

Throughout this part I could relate to Sarah Sze‘s statement that

“we have so much illusion but we don’t have touch and we don’t have taste and we don’t have smell” – Sarah Sze (Art21, 2016).

What resonates for me is her desire of material intimacy by ‘arranging paint skins, torn paper images, and other materials such as wood, thread, and rocks’.

My assignment works are very much influenced by my personal experience of packing and unpacking objects during my travels. Started with a suitcase that was replaced by a ready-made box and eventually led to self-made objects that drew my attention closely to the objects and the box. A certain relationship established over time, especially considering my longer break in between where I kept hold of my object-box during travels. Unfolded, the containing objects took over a certain subjecthood. This and some feedback from others brought me in contact and deeper reading of fetishism. An idea that Rauschenberg once looked at in the mid 1950s with his work ‘Personal Fetishes’. Fetishes could be seen as many things, including all artworks. We relate strongly to objects and things, Fetishism in a modern sense as described intensively by Hartmut Boehme (2012). A more consumer focused perspective was drawn by Karl Marx (1867). The more contemporary outlook in context of post-humanist thoughts and object realism brought me in contact with Karen Barad (2003), not that I understood all of it. Perhaps something to look deeper at for my personal project and/or critical review.

I struggled between boundaries of conceptual thoughts and just making things. Eventually, I worked out what is happening in front of me and to reflect later what it could mean, for me or the viewer. Many steps in creating my work was rather an ad hoc response to visual cues. Nevertheless, I also felt that what I create need a home and therefore looked for peer feedbacks and considered those in my way forward but also in my reading directions. I could feel the boundaries of what is happening and how it could be perceived. I spent some time with discerning possibly readings of the work. Not to condition possible responses form others, more for myself to keep a certain distance from my work and to see whic step I would go next.

It was a bit of surprise that I could relate some aspects in my work with Mark Dion. A sense of archive and collection, and a kind of ‘Wunderkammer’ of curiosities. Not on display – more to engage in a playful way. What opens the question for me whether to move along the archive way or to continue in a more sculptural way. I do relate some of my works, e.g. Walking Through Painting from exercise 2.5 that eventually informed by Object-Box / Paint4OCA assignment piece to the kind of engagement with objects as Abraham Cruzvillegas‘ ‘Autoreconstrucccion’, a work that develops overt time through an interaction of the museums visitors and the objects, painted by the artist and eventually considered as art-constructions.

I could see my role as a creator of things, but also as a subject in engaging with it. One the one hand an observer and on the other hand an actor. An artist-consumer possibly, or an object-artist. What I learned from other artists are the way to use paint as a mean for mediation, or activating agent as Sophia Starling‘s spatial explorations. I feel that the relationship between the viewer (and me) and the objects around us is a key aspect of how I see future progression of my work. Re parallel project and my idea of MRI as imaging technique supports the view of visuals as a tool to objectify, to place the viewer (the patient) as an object of interpretation and meaning. To use painting to raise awareness of how we connect to visual information through objects could be a guiding line for me. In that sense, painting is seeking attention.

Reference:

Related Posts
A6 – Self-Evaluation
A4 – Painting through Skin

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