Structural Experimentation

 

Constructing smaller structures will allow me to work through processes and correct problems as they arise, at a greater pace.

Experimented with miter and butt joints.

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Elad Lassry

Persian Cucumbers, Shuk Hakarmel, 2008, c-type print and painted frame

“I don’t try to make photographs. I don’t think of myself as a photographer. I think I’m making sculptures that happen to be photographs.”

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Painting Show – Eastside Projects, Birmingham

Curated by Gavin Wade and Sophie von Hellerman, the Painting Show “amplified the gallery as an active environment.” As a gallery, Eastside continue to adapt the space in the most relevant way for each new exhibition.

This exhibition houses a purpose built mobile wall system, on which Von Hellerman’s A Brief History of Civilization (2011) is depicted as a series of scenes. These walls have then been used to display a range of painting works.

It is this placement of painting upon painting which I find interesting, as it questions ideas about modes of display, which relates directly to my own work, in which I blend art with display.

Chris Sharratt, Painting Show, Frieze Magazine, Issue 146, April 2012

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New Proposal ART6104

Moving Forward

Utilising the previous project, Plinths, as a starting point for determining how my practice moves forward, I intend to continue to explore the idea of taking the object of the plinth out of its traditional mode of display, altering its very perception, and transforming it into a work of art.

The audience will, subsequently, be confronted with a paradigm shifting alteration, with the work sitting uncomfortably between the realms of art and display. In exploring this concept further, the pieces themselves have the potential to remain structurally geometric in shape.

New Proposal

I intend to achieve a higher finish to the structures, which references John McCracken’s Planks and relates to mass production.

With the previous Plinths, the paint was removed to reveal the wood; I will look into layering paint and working on the removal, with a more refined technique, intending not to reveal the wooden structure beneath.

Continuing to use paint in this way allows the work, while sculptural in form, to relate directly to the tradition of painting, as discussed in Gary Hume’s article for Frieze, Shut That Door. The article expresses the idea that a painting is a window; “a view onto a world beyond the surface, beyond the wall, beyond the gallery.”

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Removed Surface

Had photographs taken of the plinths from the previous assessment which I could use on my website.

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Assessment

For assessments have chosen to show the three plinths I have sanded. They show different techniques, as well as the elements of sanding to reveal the different layers of paint, which is what I hope to achieve to a more finished level by building up the layers of the new plinths.

While these pieces are visually pleasing they are a significant way off what I want to achieve. The plinths themselves as objects are not perfectly formed enough to resemble machine-made, and I don’t think I need to go as far to reveal the wood.

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Removing What Was Once There

   

After sanding the plinths until there was bare wood with remains of the painting, I used a clear gloss varnish. This process put a stop to the sanding the process. Emphasising that this is the point in which as an artist I have found the most interesting. The space between the painting being there and the plinths being blank has been captured.

When I used the painting as found material, I thought about using the traditional notion of painting as a window into another world, an interesting stand point, an opening into my practice, as one which invites the viewer to see objects they recognise in a different discourse. Looking at them after sanding and varnishing, the tops of the plinths are the most interesting, the different layers of paint, without going as far as to reveal the wood. This has also made me reconsider using the found material and rather, painting layer upon layer of paint as an all over coat, to achieve results similar to the tops of these plinths.

While the plinths while never be painted as depictions the use simple act of using paint as a material, will reference the notion of a window related to the traditional method of painting.

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Plinths

The plinth I have made have become the only interesting point I have to move forward from. I wanted the plinths to become works of art in themselves. A direct reference to the ‘planks’ of John McCracken. I have used found boards which had once been paintings to make plinths. I found they were to obvious a link to the idea of painting as a window, and the idea of confronting the viewer to view something for something more than its material appearance, (a link to Michael Craig-Martin An Oak Tree previously researched).

Using a belt sander on the plinths to take the paint off, resulted in the majority of the paint being taken off. Due to the size of the plinth I had to sand the tops by hand. In doing this different (more subtle) results were achieved. In comparing both methods of sanding I found the resulting achieved from hand sanding more visually pleasing.

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Scottish National Gallery of Modern Art – From Death to Death and Small Tales

From Death to Death and Other Small Tales | Masterpieces from the Scottish National Gallery of Modern Art and the D.Daskalopoulos Collection

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Painting As A Window

“a view onto a world beyond the surface, beyond the wall, beyond the gallery. A view of elsewhere, a place either real or imagined.” (Searle 1993)

 

http://www.frieze.com/issue/article/shut_that_door/

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