Art practitioners // bodies, vulnerability, materiality // transformation

Suggestions on art practitioners that could inform my working practice

Alexis Harding (b. 1973) – at: https://profdocfineartuel.weebly.com/-alexis-harding.html
=> Harding is an abstract painter, exploring paint materiality and physical properties by combining oil paint and alkyd resin. He explores the incompatibility between both, resulting in some dynamic compositions. His method consists of:  ‘pouring gloss paint through a perforated trough across a wet oil surface, to create a grid, which is then left to dry. The paint over a period of months is pushed, pulled, squeezed and peeled away, to reveal dramatic scarred and puckered surfaces that when hung on the wall continue to change, and take on their own form, as they slip from the support.’ 

Kiki Smith (b.  1954)  – at: http://www.artnet.com/artists/kiki-smith/  and https://www.moma.org/artists/5486 and https://raffaellacortese.com/artists/kiki-smith/artworks.html and https://www.dmagazine.com/arts-entertainment/2017/10/in-mortal-artist-kiki-smith-makes-confusion-plain/ and  http://www.barbaragross.de/exhibitions/?show=Past&year=2018&eid=76
=> Smith uses materials in transformative ways relating to the body,. Her work explores the condition of being human, notions of vulnerability, often related to female sensibilities. Her subject matters are  mortality, abjection, and sexuality through figurative art. The abject as the hidden aspects from life. Mostly paper based works, but also sculptures and textile works, she connects her work strongly with a spiritual dimension. She also known or her printmaking works, as process going through multiple versions of proofs, reminding me of how Rembrandt approached printmaking. Overall, I am clear how her work could inform my practice at all. But as often, some connections might come up much later

Heidi Bucher (1926 – 1993), a Swiss artist interested in body relationship to space, works with latex and foam – hanging installations – at https://heidibucher.com/  a
=> ‘Bodyshells’ at: https://www.youtube.com/watch?v=jVsk75w3V6Q (large foam based human scale ‘costumes’ reminding me of Dubuffet’s ‘CouCou Bazar’ and a notion of post-human exploration – immediately thrilled when seeing her intriguing set of work, not heard of her before, more to look at. She used often textile, foam, latex, mother-of-pearl pigments  for her costume works, used by her in performance as well. The materials do have some connotation with preciousness, beauty and vulnerability, e.g. Dragonfly Costume, 1976

Christine Borland  (b. 1965), a Scottish and YBA – at: https://www.northumbria.ac.uk/about-us/our-staff/b/christine-borland/ and https://www.tate.org.uk/art/artists/christine-borland-2702 and https://www.nationalgalleries.org/art-and-artists/artists/christine-borland  
=> Part of her works remind me of Helen Chadwick, especially ‘Answering Anatomy‘ , life and death masks. Her body of work seems quite practice and research oriented, exploring visually history of hospitals and nursing, e.g. ‘The Power of Twelve – Mount Stuart’, 2018 – looking at the war times in Flanders with a bombed hospital. She made also a controlled explosion of a teapot related to that hospital , reminding me of Cornelia Parker’s  ‘Blown Shed’.. Borland relates aspects from the past with a contemporary sensibility when e.g. she refers to the hospital’s conservatory and the nurturing aspect and combining it with found botanist images (fruiting body of a seed from splachnum moss) to make a large sculpture from pink fabric suspended from the ceiling in that same place of the conservatory.
She works together with medical staff and explores the space between medical objects, body parts as teaching material and the story behind it, the story of the person’s body it derived from, e.g. Twin, hand-made, child-birth demonstration model, 1997. Her interest relates also to family trees, and how decease relate to that. A quite different, collaborative work with Brody Condon is Daughters of Decayed Tradesmen, 2013. A work built on oral history related back to the 18th century. Using punched cards, similar to the ones used for Jacquard loom, inscribed with the encoded oral histories. The cards were suspended from a renovated ceiling of the burnt out Watchtower of the New Calton Burial Ground. An intriguing aspect in appropriation process techniques in a revisited narrative to trigger memories and new narratives.
Overall, I find her practice as artist fascinating, reflecting more the way an attitude of an artist approaching cultural subject matters. A key aspect that comes across in her work is the relevance of making-connections.

Sophia Starling  (b. ) – continuous painting => an artist I looked at since part 2, perhaps time to revisit it from another perspective at: http://www.sophiastarling.co.uk/ – found her recent work Lap Mutant (Graphite, Green), 2019 exciting. Starling works quite intensively with basic geometric shapes in juxtaposition with fabrics. Kind of exploring the dialogue between both. Especially this dialogue and contrasting aspect intrigues me.

Louise Brierley (GL Brierley) at: http://www.glbrierley.com/ 
=> manipulation of paint/references to distorted bodies. Some of her works remind me kind of mix between Hieronynmous Bosch and Giuseppe Arcimboldo in some of her works.  I am not suren whether this can inform my own work, doesn’t resonate so much.

Richard Tuttle (b. 1941) – at: https://www.pacegallery.com/artists/474/richard-tuttle
=> Fabric hangings/wire sculptures. I always found his material interrogations and sculptural installations of paintings intriguing. really a bodily encounter of work. I need more to time to look into his body of fabric, textile work. Found about his exhibition and book ‘I don’t know : The Weave of Textile Language’  from 2014 at Whitechapel and Tate. A tree-part exhibition: collected textiles from the world, body of work, and a large scale textile commission at the Turbine Hall (Tuttle ed al, 2014). Intriguing as apparently, not-knowing it before, some of his works strongly resonate with some of my own works, e.g. The Place in the Window #2, 2013, very close with my small scale work (Fig. 1 & 2):

Fig. 1: SJSchaffeld - P2SP - A4 - latex-sculpture

Fig. 1: SJSchaffeld – P2SP – A4 – latex-sculpture // resonating with Richard Tuttle The Place in the Window #2, 2013 (Tuttle ed al, 2014:149-51)

 

Fig. 2: SJSchaffeld - P2SP - A4 - latex-sculpture

Fig. 2: SJSchaffeld – P2SP – A4 – latex-sculpture (not a good photo) // resonating with Richard Tuttle The Place in the Window #2, 2013 (Tuttle ed al, 2014:149-51) 

 
 

Considering my tutor’s comment on my use of obvious canvas stretcher and being too dominant, I found it interesting to find Tuttle’s work How it Goes Around the Corner, 1996, a series of eight small scale works (around A4+) the title apparently emphasing  the over-dominant space of the stretcher, much wider than the inside picture space taken up by piece of cloth. This resonates with my own work in preparation of assignment 4: 

Fig. 3: SJSchaffeld - P4P2 - preparation A4 - latex stretch

Fig. 3: SJSchaffeld – P4P2 – preparation A4 – latex stretch // resonating with Richard Tuttle How it Goes Around the Corner, 1996 (Tuttle ed al, 2014:105-7)

 

 

Conclusion:

  • I find Christine Borland’s art practice interesting as she approaches history and memories through a practice-led research approach, combining various elements and aspects into a visual appealing work. Most of her works are site-specific and location history is informing the final work.
  • Heidi Bucher’s fabric hanging works kept my attention. Not sure, if it is because she is Swiss, or because it relates to sense of place and architecture. Being suspended, gives a sense of fragility and lightness, quite ephemeral. Overall, I do find the site aspect in work fascinating, but have no idea how this could inform my work at the end of this course. Definitely, beyond that as part of my practice.
  • Sophia Starling’s work is worth to revisit. At the beginning of this course it informed my folding of paper towards larger scale fabric work. Now, it seems that the spatial arrangements might actually inform my ‘latex skin’ works in a different way (and I need to consider latex alternatives as well). However, I find her shapes be too distinctive, to clean, missing crossing boundaries. And playing with a contrasting dialogue between materials, shapes, and color.
  • Kiki Smith is an artist I have the most issues with, as I can not sense how her work might inform my work (too symbolic in its figuration?). This might come at a later stage, but for now, I leave it as it is and move on.
  • I do feel some complicity with some works of Richard Tuttle, especially his small scale works with wire and cotton pulp and his explorations of shape and fabric in a freed space 

 


Reference:

  • Tuttle, R., Petersens, M. and Borchardt-Hume, A. (2014) Richard Tuttle – I don’t know : The Weave of Textile Language. London: Whitechapel, Tate.
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