Reflecting on my recent works on materiality, I can discern the following main aspects and learnings.
What started out as a seemingly modernist critique of deconstructing the canvas and the stretcher turned surprisingly into a more insightful interrogation of materiality, especially of liquid versus solid paint. I found it beneficial to explore some linguistic signs, e.g. stretching and holding, to see beyond the obvious and to see possibly a wider cultural context.
However, I was – and perhaps still are – a bit concerned about the loading of material aspects in a cultural discourse, as it could lead eventually to see a sign or a signifier in all material used. Could one ever appreciate an oil painting without thinking about what ‘oil’ and ‘oil-painting’ could refer to?
From the beginning of this course, and also in discussion with fellow students, I do find the the question of what painting is and might begin like a quest, a search that never ends. For me, I enjoyed, working with tactile materials, but also to see color beyond the physical medium. Like sound, color can be digital – or an architectural space. Mostly, it is for me about space, negative space in between, and relationship.
Paint as sculptural medium
Till now, I was less concerned with distinction between painting and sculpture. Even less, as the the credit between Modernism and Minimal Art: flatness and inner relationship versus Gestalt and oute relationship. During this part, I found that one doesn’t need to use those 2D and 3D formula to find a way between painting and sculpture. I found it insightful to hear that Karla Black is considering her raw material works as sculptures. The tactility of materiality in its relationship with the surrounding space and how the viewer as the walker encounters it, seem fascination for me. I sense, that scale matters, as small scale works do not work in such an extent. Considering this means to consider my works rather a maquette, proposals for larger scale work that can go into gallery or other public space. To negotiate between small scale and larger, human embodied scale, would be a topic to look at more in depth in my future work.
As I am quite experimental since the beginning of my art studies with OCA, I found all kind of materials intriguing. To bend, to stretch, to play, to interrogate materiality and to see how to paint ith them. What changed a bit during this part of the course, was that I do not paint that much with the alternative materials, but rather to paint through them. To see the material as partner, less as a medium serving a purpose. In that sense, I finally understood that notion of ‘being complicit with material’, as expressed by Petra Lange-Berndt in her introduction to ‘Materiality, Documents of Contemporary Art’ (2015).
I felt intrigued by what I could do with paper chips, and what latex could do more. The latter will be the medium for my assignment. I could see both either just as performative materials, or open up a discourse along its cultural use. But this could lead to a Pandora’s box, as interpretation could go in any direction
Aim for my assignment 4
To explore latex as material, as paint, and as performative subject. To find a balance between material feature, physical characteristics, composition, and aesthetics.