My submission for assignment 5 consists of this page and sub-sections of the blog menu ‘Assignments – Assignment 5‘:
- Development of work: Assignment 5 – Beyond the Skin
- Assignment 5 – Contextual Notes: Considering a wider context and artists informing my assignment work.
- Assignment 5 – Reflection: Self-evaluation against assessment criteria
(for a full list of submitted items please refer to the content list)
Beyond the Skin
‘Be small – Stretch Your Stretch’
A series of 22+2 pieces✸, stretching and pulling skin as an intimate encounter with materiality and visual and verbal imagery
(approx A5; Rhenalon, Parafilm M®, acrylic paint)
✸ remark: 22 pieces for the 22 months for my duration onto this course + 2 pieces for 2 months till assessment
These individual and subjective pieces are informed by a large constructed painting on six band of Parafilm M®, painted with acrylic paint over the period of several weeks
Be Large – Inform Me (60 x 180 cm; Parafilm M®, acrylic paint)
The evolution of the painting until the moment of the gaze can be seen in this animation (video, 1:10 min)
My Reflective account
My parallel project and my critical review informed my further practice and this assignment work. Exploring the wider context of medical imaging, and how this could relate to my embodied interaction with painting, I explored materiality. During assignment 4 it was latex as the chosen material: stretchable and vulnerable the same time. But also, an ephemeral material and fragile with risk of transportation. Searching for other materials in context of medical practice and fabric as more connected to painting, I eventually got hooked by Parafilm M® (stretchable lab material), Tyuvek® (to tear, to see inside) and Jersey fabric (stretchable, durable)
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.
Coincidence need to be embraced, e.g. as the making of a large-scale painting cut into pieces for a calendar for my local art community or the failure to peel paint from Hostaphan® and instead transfer it to fabric. Working in series and on small scale supported a more intimate approach through transformation, stretching and pulling, transparency and opaqueness, and inside or outside.
Not knowing as attitude was my companion, following three streams of interaction and eventually deciding on one for submission. A discernment that had to be made, however, the other works have potential as well. I enjoyed the sculptures by using metal hangers where the stretching turned into a process of negotiation. Altogether, exploring fabrics and their material features is still an area to explore deeper. Somehow, I didn’t have to time to do so.
This assignment concludes my journey through this intense course unit. A series to be seen with backlight, appropriating the medical gaze through visual imagery, and embracing multiplicity of material viewpoints.
Verbal text and words are used through cutting-up, distorted, fragmented, turning into abstract visual patterns.
Embracing soundscapes as an expanded field of visual space has one reflection in my parallel project. The other one would be speech-scapes, spoken invisible words. In a gallery setting those would be layered around my visual works placing the audience inside the work.
(word count: 366)