I have here my 3rd year Fine Art learning proposal, which I have just read through and picked out the bits which are still relevant to my practice now.
CONSTRAINTS, AESTHETICS AND ENJOYMENT.
I have an addiction to experimenting. A compulsive need to make things. I am experimenting with the process of limiting the creation of artwork. As well as this, I place importance on two inner workings; pleasure in creating and simple aesthetics. Both are vital to my work.
I have no control over THE HAPPY ACCIDENT. I have an influence over my materials, but they are ultimately allowed to do what they want. I am only manipulating, having minimal involvement, such as dripping, pouring, filling, hanging. I am not always part of the work, it creates itself in the time when I am absent. Time and chance allow this to happen. I witness what the materials do, which is absorbing, a degree of immersion is involved – not just being a witness, but being the work; making a performance.
It is important for me to be excited, stimulated by what I’m making. I have a constant dialogue with myself whilst making, whilst still working fast to avoid being too self conscious. The thinking process is important – to keep changing my mind, thoughts evolving and changing.
I have an encounter with the work, my hands transforming the surface. There is a lot of time investment and use of multiples. The monotony of making and labor intensity is important. I appreciate the ENERGY TRANSFORMATION which is taking place, I create rituals of making.
My work relies upon structure and good planning. I figure things out. It is casual, but has beauty and order. It has an intimacy to it, a sensual appeal.
Within this, I regularly work with creating objects which are natural but manmade, I am making things artificial, sometimes influencing the longevity of there natural things, preserving them. I am very drawn to using candy colors. This color selection is important. It is what’s first seen, catching the eye and drawing you in. “what is this”.
I place importance on two inner workings; pleasure in creating and simple aesthetics. Both are vital to my work. this simple aesthetic is shifting to become ECONOMY AND LIGHTNESS. I see that this is contained in each of my pieces, drawings and ideas. I embrace this and feel like I have found out what my art is about.
Colour has become more important, something to think about rather than to pick at random. Great efforts are going to be made in finding the perfect colour for my sprayed apples. The optic effects of this colour when applied to many units of the same shape will be immense. This links to my sensuality and the enticement of senses. The sickly smell of fermenting apples will increase this optical dazed effect.
The encounter with my work is extremely important at this stage. I am a factory worker and the monotomy of these tasks I make myself complete have an effect on me. The balance of control is off-kilter as I feel like I am being controlled by my objects.
AIMS AND THOUGHTS
I am thinking about titling work, what that could bring to my work, or if it would detract from it.
Read more Bachelard
Advocating the work, speaking about it with authority and care. Having discussions.
I want to use the camera more thinking of the idea of video art, playing with time. Attempting to capture something – a moment when something strange and beautiful happens.
INSPIRATION
Susie Brandt – “A compulsive need to make things.”
Javier Peres – “I think people try to overemphasise the analytical and intellectual aspect of contemporary art. The reality is when contemporary art is being made, the people who are making it are just making it.”
Helen Chadwick – “Gorgeously repulsive, exquisitely fun, dangerously beautiful”
Joseph Havel – “Even though I make discreet works, I like to consider the way in which everything works together as an ensemble so that there is an accumulative effect, so that not only the work will have a specific intention or construction or some specificity, but the whole group of things will build to one kind of idea.
Anne Bean
Richard long
Richard tuttle
Yayoi kusama
Susan Stockwell, Spencer Fitch, Ian Davenport, Anya Gallaccio, Phillida Barlow, Mona Hatoum, Fischli & Weiss, Anish Kapoor, Cornelia Parker, Eva Hesse, Jessica Stockholder, Susan Hillier, Christian Boltanski, Joseph Havel, Permindar Kaur, Halen Chadwick, Matthew Barney
contingent: 1 subject to chance
but as he says, the curved letters are near impossible, and it's all very fiddly. More searching found me this...
