Artists Research
The following artists have been used in understanding and developing contextual links that help influence and inform my creative practice. Gathering photos and identifying key qualities that artists works have offered inspiration and research towards producing my works this semester.
Task 1 - Verb, 'to Step'
Yves Klien - Anthropometry Paintings
Tan, A. (2010). LEE WEN AND THE UNTAMING OF YVES KLEIN: Art and the Iterative Force. PAJ: A Journal of Performance and Art, 32(2), 17–23. http://www.jstor.org/stable/40856537
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Embodied Action - Klein’s anthropometrics highlight the body as a tool for art, similar to how your project uses walking to create imprints. Both emphasize movement as integral to the artwork.
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Materiality - Klein merged body imprints with paint, creating dialogue between artist and medium. Your use of charcoal and cotton sheet parallels this. Exploring Klein’s material choices could inspire you to experiment with different mediums that enhance the body-mark relationship.
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Trace and Memory - Klein’s work captures ephemeral moments through physical traces. Your project reflects personal history through stepping, inviting viewer reflection on memories. Researching Klein’s ideas on trace might inspire you to deepen this narrative, possibly by adding text or layered meanings to your marks.
Task 2 - Subtraction 'Sculpting and Carving'
Matthew Simmonds - contemporary sculptures
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https://architecturehereandthere.com/2015/07/31/sculpture-matthew-simmonds-walter-arnold-hazlitt/
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Historical Reference - Both my own piece and Simmonds’ sculptures draw on classical forms. While I seek to integrate Renaissance elegance with contemporary imagery, Simmonds reinterprets traditional marble carving techniques, emphasizing the dialogue between past and present.
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Subtractive Process - Both my sculptural approach and Simmonds’ techniques emphasise the subtractive nature of stone carving. This method highlights the transformation of raw material into refined form, revealing the inherent qualities of the stone as I progressively carve away excess material.
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Revealing Hidden Forms - My process of discovering the male figure within the Hebblestone mirrors Simmonds’ practice of unveiling hidden structures within his marble blocks. This concept of “revealing” rather than “creating” fosters a sense of respect for the material and its history.
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Block as a Foundation - The single block serves as a conceptual foundation for both artists, symbolizing potential and transformation. Each cut and carve not only alters the physical structure but also reflects a narrative of change, embodying the journey from raw material to artistic expression.
Task 3 - Backgrounding 'Tattooing Trauma'
​Ralf Mitsch - 'Why I Love Tattoos' Photography
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Exploration of Identity - Both my work and Mitsch’s photography delve into themes of personal identity and the stories embedded in tattoos. Mitsch captures the narratives behind tattoos, paralleling my own exploration of how slurs and negative experiences leave lasting marks on identity.
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Visibility of Scars - Mitsch’s focus on the human body adorned with tattoos emphasises visible scars and personal history. My project similarly addresses the metaphorical scars from negative experiences, inviting viewers to engage with the idea of visible and invisible trauma.
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Personal Narratives - Both works prioritise personal stories and individual experiences. While Mitsch highlights the significance of tattoos as symbols of life events and emotional journeys, mine explore the impact of negative language on your identity, creating a rich dialogue about resilience and survival.
Task 4 - Performance 'Concentration'
Marina Abramovic -
'The Artist is Present' - Performance work
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​​Simões, L. and Passos, M. (2018) The Performance Art of Marina Abramovic as a Transformational Experience. Psychology, 9, 1329-1339. doi: 10.4236/psych.2018.96081.
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Demaria, C. (2004). The Performative Body of Marina Abramović: Rerelating (in) Time and Space. European Journal of Women’s Studies, 11(3), 295-307.
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Focus on Presence - Both our group performance and Abramović’s piece centers around the theme of concentration and presence. While we explore the physical and emotional aspects of concentration through eye contact, Abramović creates a powerful space where the audience is invited to engage in silent connection, emphasizing the importance of being present in the moment.
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Interpersonal Connection - Our work highlights the connection between performers through gaze and focus, akin to how Abramović invites participants to sit across from her, creating an intimate exchange. Both pieces investigate the dynamics of human interaction and the emotional resonance that comes from sustained attention.
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Layering Experiences - The use of video to layer and enhance the performance parallels Abramović's use of simplicity to draw out complex emotional responses. In both works, the medium becomes a tool for deepening engagement and understanding, inviting the audience to reflect on their own experiences of concentration and connection.
Task 5 - Object 'Pixelated Bust'
Antony Gormley's - geometric sculptures
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Gormley A. (2007). Feeling into form. Philosophical transactions of the Royal Society of London. Series B, Biological sciences, 362(1484), 1513–1518. https://doi.org/10.1098/rstb.2007.2132
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Dowse, J. F. (2009). "So what will you do on the plinth?”: A Personal Experience of Disclosure during Antony Gormley’s "One & Other" Project. M/C Journal, 12(5).
https://doi.org/10.5204/mcj.193
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Embodiment and Presence - Gormley’s sculptures often explore the human body and its presence in space, inviting viewers to reflect on their own existence. My bust, reflecting mental health and a fragmented identity, similarly engages with the idea of self and presence.
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Materiality and Form - Gormley uses a variety of materials to evoke contemplation on the human condition. Mine use of cubes to create a pixilated effect also speaks to fragmentation, allowing for a dialogue about how technology impacts identity.
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Duality - Both works address duality—Gormley’s often contrast physical presence with existential themes, while my piece contrasts a 'normal' persona with a chaotic mental state, capturing the complexities of contemporary identity.
Open Task 1 - 'Stippling'
Yayoi Kusama's - 'Infinity Net' series
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Tareen, Zuha. (2020). How are symptoms of Yayoi Kusama's mental illness illustrated in her "Infinity Net" series?. 10.13140/RG.2.2.16382.10564.
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Repetition and Pattern - Both my work and Kusama's focus on repetition as a central element of the artistic process. My use of stippling to create abstract forms mirrors Kusama’s meticulous dot patterns and repetitive motifs. This exploration of repetition invites contemplation on the meditative aspects of art-making, allowing viewers to engage with the process and experience a sense of infinity.
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Non-Representational Abstraction - Like Kusama, who often employs abstract forms to convey emotional and psychological experiences, my approach to creating a non-representational piece emphasises the emotional journey of art-making rather than a specific narrative. This abstraction opens the work to various interpretations, inviting personal reflections from the audience.
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Exploration of Space - Kusama’s Infinity Net works create an immersive experience that often extends beyond the canvas, inviting viewers into a space filled with repetitive patterns. My vision of larger-scale work in the future aligns with this idea, suggesting that expanding your work could enhance the viewer's interaction with the piece and the surrounding environment.
Open Task 2 - 'Knotting sculpture'
Tara Donovan's Everyday Material Installations
Harper, C. (2008). Tara Donovan. Selvedge.
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Molesworth, C. (2009). The Sculptures of Tara Donovan: Fields and Figures. Salmagundi, 51-58.
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Material Transformation - Both my work and Donovan's installations transform everyday materials into immersive experiences. While I use macrame rope to create organic forms, Donovan employs materials like cups and straws, emphasising how mundane items can be reimagined into something extraordinary. This shared exploration of materiality invites viewers to reconsider the nature and potential of common objects.
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Process and Labor - My emphasis on the labor-intensive process of knotting and assembling echoes Donovan's methodical approach. Both artists highlighting the importance of process in their work, suggesting that the journey of creation is integral to the artwork itself. This focus on labor fosters a deeper connection between the artist, the materials, and the resulting forms.
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Playfulness and Interaction - My piece encourages physical interaction and playfulness, reminiscent of Donovan’s installations that invite viewer engagement. Both works challenge the audience to explore the sculptures in a tactile manner, fostering a sense of curiosity and connection between the viewer and the artwork.