IPS – Patrick Staff

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Gareth Jones

Gareth Jones commission for Cubitt, London, Installation view, 2003,

A series of nine structures based on the shape and dimensions of the gallery plinth, taking on varying formats. The customisation of the structures, paired with the ‘matter-of-fact’ titles, reference different approaches to art production.

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Plinth Sketches

Moving on from the idea of layering and removing paint, I looked at removing sections of the structures.

In removing sections, the raw material would be revealed, contrasting against the smooth finish of the structure.

There is also the opportunity of removing slivers of the structures, to result in the objects sitting at an angle, allowing the audience to question the quality and finish of the objects.

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Rachel Whiteread Untitled Monument 2011

Trafalgar Square’s Fourth Plinth.

Guardian writer Jonathan Jones describes the plinth as “an architectural setting for sculpture that distinguishes it from the surrounding world, defines it as ‘art’, ennobles and elevates it.”

It is interesting to then look at Rachel Whiteread’s resin cast of the fourth plinth, placed on top of itself as a mirror projection. The work becomes about the plinth, relating directly to my own work, in the sense of bringing the plinth into the realm of art, and not simply a structure used to elevate objects as art.

It is interesting to then look at Rachel Whiteread’s resin cast of the fourth plinth, placed on top of itself as a mirror projection. The work becomes about the plinth, relating directly to my own work, in the sense of bringing the plinth into the realm of art, and not simply a structure used to elevate objects as art.

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Anthony Caro 1963 Whitechapel Show

Anthony Caro attempted to discard the plinth as a prerequisite for displaying sculpture. In placing his sculptures directly on the ground, he removed them from the “rarified position of the plinth,” bringing them into the spectators’ own space. For Caro, the plinth put any object into an imaginary space.

http://www.guardian.co.uk/culture/2012/mar/16/anthony-caro-life-in-sculpture

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Socle du Monde (base of the world) 1961

Piero Manzoni, Socle du Monde, 1961

Cubic iron construction; on one side there are mounted bronze letters. The letters are turned upside down, inferring that the object is upside down.

The structure is that which typically elevates sculpture from the ground, contextualising it into art. In understanding that this pedestal is upside down, you see that it is the earth that rests on this base, questioning whether the entire earth can be seen as a sculpture.

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Howard Hodgkin

In continuing the painting onto the frame itself Hodgkin’s removes the painting as a window, and into the realm of the physical object.

“You need things to look at,” he says simply, “things to affect your feelings, and your intelligence, and your heart.”

–http://www.illuminationsmedia.co.uk/filmstobuy/product/34/howard_hodgkin.html

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Cordy Ryman

“Ryman..is known for continuously experimenting in constructing, altering, and reconstructing painted geometric forms.”

http://magazine.saatchionline.com/top-10-shows/editor’s-pick-–-top-international-shows-february-14-–-february-21

Installation view of Cordy Ryman Windowboxing, painted lumber, dimensions variable, 2011

Cordy Ryman, Blue Brick Brace 

Ryman’s work blurs the concepts of art as object and art as surface. The loose application of paint to Ryman’s work infers elements of experimentation and an emphasis on materiality, which relates to processes within my own practice.

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Filler Spray

Experimented with P38 (car filler) to attain sharp edges and corners.

Spray filler primer, typically used on automobiles, guarantees a smooth surface on which to apply the paint, allowing the only imperfection on the structures to be the areas that reveal the various layers of paint.

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