I have kept the Apples from my degree show piece – ‘Sense’ which was exhibited in the following shows:
Barcode, University College for the Creative Arts, Farnham, May 2008
Free Range, Truman Brewery, London, June 2008
Lucy Barfoot,Room 212, Bristol, January 2009
New Contemporaries,Fairfields Arts Centre, Basingstoke, January 2009
They are like tiny little rocks, and they don’t smell any more. They are turning powdery – I wonder if one day they will just disappear? The blue and baby pink apples are three years old now. Older, but bigger. Must be something to do with the lacquer? I just spray painted those two and the others were covered in car lacquer, two coats.
I wanted to upload a video I have of the process of creating these apples, but the internet is not on my side today. Instead, I have here my learning proposal, which I haven’t worked on since, but still feels 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.
Recently 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 viewer will find it absorbing to view.
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
At this stage, I am thinking about exhibitions, how my work will stand on its own, how it will communicate – will it be site specific? I need to develop a confidence with placement. What will it be like to watch the reaction of the audience?
The use of words and writing will become manifested in the work in the following ways:
oI am thinking about titling work, what that could bring to my work, or if it would detract from it.
oI am reading more text, such as Bachelard’s musings.
oI am thinking of writing my own texts, using my imagination, and having writing exercises – such as a piece on what I imagine my final work to look like.
I will also talk about my work more. 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.
Looking into art as performance. The live art development agency.
Thinking about my ambition, looking to the future.
Commit to being present throughout my impending exhibitions. See this is a chance to advocate the work and be confident with it.
Still thinking about my ambition, looking to the future. How can I use my degree?
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.”
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
My work is concerned with the sensations and placement of materials. I am attempting a detachment in the making, allowing accidents to happen and time to lead. Pleasure and attraction is involved in this. My exhibition piece lies somewhere between installation and sculpture.
The piece will be vulnerable, light, and it will have a presence in the space. I am buying 1320 apples wholesale. These apples will be varnished and colour will be applied. This creates a seal, starting fermentation inside the apple. This is a long process of decay from the inside out. it which will be in its initial stages at the time of the Farnham Degree show. the fermentation will shrink the apples, giving off a sickly sweet smell.
I have arranged to use a spray booth as Drakes Shop-Fitting in Bournemouth. I am liaising with the spraying technician, who has suggested using a lacquer paint mix, which would require three coats. The spraying will be completed before May, allowing some time to ferment in time for the degree show. The significance of using apples is to do with the minimal shape, yet keeping the essence natural. The accumulation of all these units is important also due to the repetition, both aesthetically and in the making; I become a factory worker with a production line.
The placement is key to my work. I am inspired by Richard Long’s closeness to materiality, and wish to create a perfect circle of apples (see drawings) The apples will have a relationship to the space. They will be placed directly on the floor, viewers will be encouraged to touch and get close to them, and will need to kneel or bend over to get closer to the objects.
1320 Apples – £150 (need to make more calls and find cheaper/sponsorship
Use of spray booth – FREE
Paint and varnish – £70
Spraying apples – 3 solid days at spray booth
Apple placement – 2 solid days to work perfectly place each apple