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This term has been a struggle identifying my practice and the understanding of how to develop new work.  I realised that I need to explore and identify the properties of materials and processes and not refer to descriptive formations. What is Sculpture? What is my understanding of Sculpture? I’ve lost what questions I ask myself in regards to my practice, the making and my own personal point of contact of enquiry.  How can I explore and push those materials and processes further in my work? I need to consider and analyse how artists work and their exploration of process and materials. I began looking at ‘Tate  shots;’ watching videos of artists in their studios and how they engage with material. Eva Rothschild, Carl Andre and Alison Wilding were a great starting point in understanding their method and ways of thinking. There is a real sense of materiality in their works, contrasting materials and forming relationships. Sculpture as a form demands time and experience. This is completely true and is a clear explanation to focus on. Rothschild mentions ‘You use what you need to get what you want’ sometimes I find that I overcomplicate materials and feel the need to find a reason for the usage; however my work tends to develop from materials and objects that are within my surroundings or that I can get my hands on easily. Does this matter? Do materials have to come with an explanation for their use? Material; a crucial point of contact as a sculptor, it’s interesting to use materials that somehow don’t have an inherent form, purpose or function and discovering new ways of exploiting their qualities.

I began thinking about my practice and what are the key focal points that I wish to reference in my work. My work has always involved a focus on materials and the physical relationship I have with the making process. Recently I’ve become more concerned with my role as a female sculptor. This could be due to my tendency to use ‘masculine’ associated materials such as steel, buoys, rubber etc. however the work is non-gender and I don’t wish to focus on masculine/feminine qualities but rather on materials, space, scale and form. There is a distinct threshold between the ‘made’ and the ‘unmade’ and how I can continue to push, develop and rethink the relationships between material and form.  I began to think of ‘process art’ and whether the work sat in this category but again does this matter? Does the work need to sit in a particular category/ discipline? The question that was asked last term was whether the work was sculptural or installation based? I found this difficult to answer; the work has sculptural qualities but conforms to site and space where I explore defining space rather than to occupy. The problem I faced was that I overcomplicated the work and began referencing gender; gender is not significant or important to the work. The focus now needs to involve the continuous engagement with materials and objects. Sculpture has this ability to arouse complicated feeling about materials and/or objects and their state of mind and condition. There are three key areas I wish to focus on over the next few weeks; location of work, materials, objects and process and the interaction of both artist and viewer with the work.