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I’ve recently been visiting exhibitions and exploring artists work in the flesh, Nairy Baghramian’s Scruff of the Neck at the Marian Goodman Gallery blew me away. The space itself and her material choice was a new encounter to objects that you were unaware of its purpose. What I was particularly interested in was the steel structures; the fabrication was visible yet elegant. The sculptures were engaging with the wall, floor and ceiling, residing in an open space that allowed for an immersive dialogue. I then went to visit another artists’ work that I have been researching; Louise Bourgeois at the TATE artist rooms. Her methods of suspending pieces were compelling and were an opportunity to study the forms in relation to their scale, weight and space they reside. Bourgeois’ understood materials and their properties, qualities and colour; the pieces instantly embodied amorphous qualities and were a study of the human form. These female artists influence those questions in my practice; why I work with certain materials and what are their qualities? What has recently come to my attention is the emphasis on temporal qualities and how my work questions whether there is a final state? My use of organic materials results in an unknown length of process. My work has become concerned with the body in relation to material choice appearing as skin or flesh; the colour and texture appear flaccid, grotesque that transcend into a dialogue between the inside/outside of the human form. ‘Devices to dissolve the visual sense into an awareness of the body.’ Lygia Clark. Clark was always in search of the body whilst breaking new grounds in examining the relation between art and society.

Nairy Baghramian. Scruff of the Neck, Marian Goodman Gallery.

Louise Bourgeois. TATE Artist Rooms.

 

Last week’s residency at the Sidney Nolan Trust, The Rodd Farm, Presteigne was an awesome opportunity to explore new mediums and processes whilst spending time away from the preparations for the MFA show. The week allowed me to ‘switch off’ and step out of the manic, continuous and rigorous structured schedule. I spent the week drawing, carving wood and print making; all processes that I am not familiar with or are part of my practice. However working with the printing process allowed for a new dialogue to occur where I explored sculptural forms in a two dimensional matter. Again using tools, materials such as masking tape, duct tape and balloons to create line, shapes, texture that resulted in large scale prints that were a response to my surroundings, space and touched upon elements of my practice. I allowed myself to become submerged in a ‘rural’ location, unaware of how much work was generated over five days. The farm, studio space and access to the facilities created a new dialogue and interest that has liberated my thinking process. I used the prints as a journal; enquiring, resolving and exploring organic ideas that became a repetitive way of making.

 

Dry point print & Mono print of balloons.


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