Richard Wilson
Peter Doig
Rachel Whiteread
Gordon Matta Clarke
Uta barth
Richard Serra
Kathrine Jones
Miroslaw Balka
Thursday, 22 April 2010
Noticed
After discovering a demolition site near to where I live and being inspired by it, I've decided to change the course of my FMP. The previous title was 'Exploration of Movement' and it was based on the idea of movement through space, I'm now working with the title of 'Noticed'. To do with engaging with my environment and it's also symbolic of the absence, or apparent absence of space, time, behaviour, needs and things because people forget, disregard or just don't notice them. Because of this, I will have to re-organise my timetable to work too.
How the dramatic change of course happened... I decided to walk a slightly different way back and very near to my home, I came across a tiny residential square with a small green bit in the middle. I walked around it and peeked inside peoples windows and I got a real sense of activity and lives being lived in a particular place, at particular point in time. In an odd way, it almost felt like I could see time plodding on and I was slightly removed from it.
Walking on a bit further, I came across the demolition site that was the inspiration for the project. It was like a square of buildings had been lifted away in one move. The impact of suddenly there being nothing, when there was clearly something before it, was immense. It was something about the immediacy and the scale of the absent square that I liked. Walking around the site, I started to notice that people had left things behind– there was a typewriter, clothes, cassette tapes and it made me think about who and what was there before the buildings were removed. Before, it was just an empty hole, now I had been given clues about the people who lived there and I began to think about the concept of time and the extended field. I could see what was here before and I could think about what might be here in the future. That vs. the incredible sense of nothing right now …I was standing in the bit of time between before and after – like time had been paused in front of me.
I began to think that in order to create the impact/feeling that I wanted, I needed to remove or obscure rather then add or create something from scratch. This is when I began to look at artists like Rachel Whiteread who didn’t mould the stairs, but the space around them. Uta Barth and the way she focuses on the space that sits around, hinting at the existence of people or things close by, but wanting you to notice the space around.
Basically, I'd like to show people what's already there and what I think is worth taking notice of. And also, just show people that it's worth taking time to notice.
Saturday, 17 April 2010
Day 2
after some research - artists to consider when thinking about movement in art...
- Rodin
- Giacomo Balla
- Duchamp - nude descending staircase
- Umberto Boccioni - unique forms of continuity
- Hokusai - the great wave
- Harold edgerton
- Eadweard Muybridge
- Etienne Jules Maray
- Derek Hess - The lovers
- Richard Long
- Degas
- Thomas Eakins
- Luigi Rossolo
- Jonathan Miller (curator @ estotick collection)
- consider the link between time and movement.
- The line ..a continuous forward motion... 'conceptual expression of continuing motion' ' infinite possibility of movement
'a walk is contemplation in movement'
'thus one can say it is the expression of a direct ascent toward a goal, the formal manifestation of the will to project the self into the space..."
- richard long book. ...find out name, deets etc
- ways of showing movement - multiples, sequence, direction. conceptual vs real vs illustrated. ....??
- need to look at movement of futurism
- consider not actual movement from A to B but movement by artist through a project...
- focus on actual movement and perhaps later can symbolise something else, conceptualise later on!
Day 1
First of all today, I sat outside on a bench near the roundabout at Elephant and Castle and studied movement around me.
The traffic on the roads and the motion of the cars and other vehicles made such a huge sound. exhausts of large vehicles and buses. tooting between cars, like a language. the hum of engines and pedals and metal moving on tarmac and concrete around and around. A group of sounds really, that was multi layered and out of time. The more unrehearsed sound there was, the more it all fitted together. 3 car horns won't sound the same as 100.
The roundabout was something to consider. The movement of cars around it, bound by rules of the road and obstacles that enforce it. Cars and bikes go round and leave and another car joins and leaves and goes round again and all over again. Fading in and out. joining then departing. coming and going.
People walking and biking past me. legs striding and strutting and pedaling. up and down stairs. going somewhere.
London, city, mass of people and cars all needing to go places, go to places fast. wheels turning, people pedaling, petrol, fuel, the necessity to be somewhere else then where you already are and the need to be there now. Movement. Constant. Repeating. Fast. Now. Immediacy.
Secondly today, I sat in a cafe in central london before work with my sketchbook and tried to draw my first impressions of movement indoors in the busy environment of a cafe. This ended up mostly being the study of people and movement.
doing, going, working, food as fuel to keep moving, noise, chatter, laughter, voices, coffee/caffeine fuel.
Proposal.
Exploration of Movement
1. Progress and achievement By being constructively critical about my sketchbook and developmental work, I have become more confident about the value of my ideas. This has helped me take my work further then I have before. The course has exposed me to themes and mediums that have had a significant impact on my art also.
2. Context Artists I have been recently influenced by such as Eadweard Muybridge and Jeff Wall have used photography by way of visually representing movement in their art. I’m hoping to explore the notion of motion further by exploring the theme in 3D. Drawing is free from the restrictions of material, size and method and so will allow me to explore the theme freely. Drawing is the first action after an idea that has been triggered externally. This notion combined with that of movement, a reaction to external triggers, seems an ideal pairing.
3. Proposal Aims and Realisations Throughout my work there has been the common theme of space, time and movement. I am interested in absence and presence and I’m interested in the extended field and temporal space. By means of extending this theme, I’d like to explore how movement relates to these ideas.
My primary research will include sketchbook and photographic studies of people, sound, animals, air, earth and I’ll do this in different places. In busy areas that are fast and loud, quiet areas that are slow and peaceful, by the sea, in the centre of the city, the suburbs, fields, underwater, high up, low down, wet, dry, hot and cold places. I will consider gravity, air, weight, size and form and their influence on movement. I plan to construct the final piece in an empty room. I will keep in mind the space I have chosen and how working in this space may evolve my work once I take the research there.
As part of my secondary research I will visit exhibitions such as the ‘on the move’ at the Estorick collection, exploring artists and scientists such as Eadweard Muybridge, Etienne Jules Marey and Harold Edgerton and their explorations of motion. I will study further the movement of futurism and look at installation artists such as Lindsay Seers. Beyond this, I will look at methods by which to illustrate movement, using photocopying, layering and printing.
Having worked only in 2D previously, I’m keen to advance into using 3D and 4D solutions. I plan to produce a sculpture that is large in scale in order to involve the viewer made from a lightweight material like paper. My aim is not to cause anxiety, but a sense of calm. I will experiment with materials such as metal, wood and wire.
4. Evaluation I will keep an ongoing reflective diary, a working sketchbook and I’ll photograph my work at regular intervals in order to document the evolution of the piece. I will seek regular feedback by inviting peers, tutors and strangers into the space I am working at different stages of the process.
1. Progress and achievement By being constructively critical about my sketchbook and developmental work, I have become more confident about the value of my ideas. This has helped me take my work further then I have before. The course has exposed me to themes and mediums that have had a significant impact on my art also.
2. Context Artists I have been recently influenced by such as Eadweard Muybridge and Jeff Wall have used photography by way of visually representing movement in their art. I’m hoping to explore the notion of motion further by exploring the theme in 3D. Drawing is free from the restrictions of material, size and method and so will allow me to explore the theme freely. Drawing is the first action after an idea that has been triggered externally. This notion combined with that of movement, a reaction to external triggers, seems an ideal pairing.
3. Proposal Aims and Realisations Throughout my work there has been the common theme of space, time and movement. I am interested in absence and presence and I’m interested in the extended field and temporal space. By means of extending this theme, I’d like to explore how movement relates to these ideas.
My primary research will include sketchbook and photographic studies of people, sound, animals, air, earth and I’ll do this in different places. In busy areas that are fast and loud, quiet areas that are slow and peaceful, by the sea, in the centre of the city, the suburbs, fields, underwater, high up, low down, wet, dry, hot and cold places. I will consider gravity, air, weight, size and form and their influence on movement. I plan to construct the final piece in an empty room. I will keep in mind the space I have chosen and how working in this space may evolve my work once I take the research there.
As part of my secondary research I will visit exhibitions such as the ‘on the move’ at the Estorick collection, exploring artists and scientists such as Eadweard Muybridge, Etienne Jules Marey and Harold Edgerton and their explorations of motion. I will study further the movement of futurism and look at installation artists such as Lindsay Seers. Beyond this, I will look at methods by which to illustrate movement, using photocopying, layering and printing.
Having worked only in 2D previously, I’m keen to advance into using 3D and 4D solutions. I plan to produce a sculpture that is large in scale in order to involve the viewer made from a lightweight material like paper. My aim is not to cause anxiety, but a sense of calm. I will experiment with materials such as metal, wood and wire.
4. Evaluation I will keep an ongoing reflective diary, a working sketchbook and I’ll photograph my work at regular intervals in order to document the evolution of the piece. I will seek regular feedback by inviting peers, tutors and strangers into the space I am working at different stages of the process.
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