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When looking at global Issues, and some of the methods used in posters about raising awareness, I feel as though certain fear mongering methods have been used, of which I do not agree with. Instead I would like to see organisations promoting projects which could bring about positive change, and provide details about how to get involved.

For some time I was trying to find a way to make a statement about this, but was never really happy with the ideas that I created, and in the end, I tried my hand at writting a poem to make a change from my usual methods I’d use.

Its taken me some time to gain the courage to display this to others, as I’m certainly not a confident writter, but I hope you enjoy.

The Darker Days

The fire burns

Yet the light fades

That darkness fueled

Through choices we’ve made.

We’ve had the time

To change our ways

So brace yourself

For darker days.

So who’s to blame

For whats to come?

We can’t point fingers

For whats been done.

Just accept our fate

Or choose to pray

Lets brace ourselves

For that darker day.

For all we know

It won’t occur

We’ve learnt our lessons

From what we were

Our only way

Is to make a pact

We’ll think things through

Before we act.

Thanks


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During my tutorial with Charlie and Mark on Tuesday, I mentioned some of my initial ideas which i focused on during the begining of the project, but ones which I have distanced myself from now. With a lot of it still lingering around my studio space, they were able to view the initials works, and to my suprise they appeared to be more interested in those than the ideas which I have further developed.

Because of this, it has caused me to reflect on the journey which my project has gone through to get to where it is now, and through doing so I have realised that perhaps some of these ideas could still be incorporated into the end degree show.

My reason for initially dropping them was because I was concerned about over filling the space which I aquire, and diluting the focus of the main pieces, but perhaps if I develop them, and I do decide to focus more so on the concept rather than the end piece, then there could be space for them. At least if I produce them , I can decide closer to the date.


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8th April 2014

Does the idea need to be executed in order to transfer the message?

After sitting through the talk and having a tutorial with both Charlie and Mark, I have been thinking about how I can display my work to best communicate the messages and aims that I want my audience to receive.

We discussed my ideas, and I generally received positive feedback, however one thing which both of them agreed on was the fact that my ideas are often over-complicated, and provide the audience with too much information that leaves little room for their own interpretation.

To resolve this, I started to consider the posibility of not creating the end product, but rather to display the Idea through sketches and an installation of the materials which would be required to make it.

I have learnt about other artists who have used this approach before, such as Jean Claude and Chiristo, who would display their ideas to their audience, and would sell the illustrations in order to raise money for the end product to be funded.

This approach is interesting, as it also looks at what is more important, the finished piece, or the concept behind the work.

At this moment, I am tempted to use this, where even though I shall loose certain aspects of the current idea, such as audience participation, I feel as though it could be a way for me to restrict how much information I am handing over to my audience. One question which I have to ask myself though is – Am I brave enough to attempt such a thing?

Being somebody who enjoys the creative process, and being hands-on with materials, I feel as though I will have to push myself out of my comfort zone if I am to persuewith it, but it will hopefully result in my work being less direct and informing, but may make it more suggestive.

As I often rely on my peers to help me explore and develop my ideas, I am going to rally a few of them to discuss their views on this matter.

Another alternative to how I had initially envisioned my work, is to consider the context in which the work shall be positioned. For instance, displaying the piece outdoors might work better than in a clinical gallery space. My reason for considering this is due to how I believe that others are more willing to engage with something when it is outdoors, and already exposed to the elements.

I also like the idea of how it would be created from waste materials and packaging, which is often associated with litter, which is an obviousissue within our outdoor environments.


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Mel Chin

Revival Field (1990-Present)

Similiar to Taylor, another artist, Mel Chin, is combining both Art and Science to tackle the rejuvenation of ecosystems, where he is working to remove toxins from the soil of landfill sites. He has also collaboarted with scientists, who’s field of research is relavent to the topic, in which they use ‘hyperaccumulative plants’ (absorbent) to extract the toxins to be disposed of properly, or mined for valuable minerals within. Generally speaking, Chins work often shows the negative affects that humanity is having on other organisms, and within ‘Revival Field’ is using the natural properties of specific organisms to help remidate the issue.

“Revival Field is a conceptual artwork with an intent to sculpt a site’s ecology. In a traditional sculpture, the artist with an idea approaches a material and fashions it into a concrete reality. Here the idea is the radical transformation of a hazardous site incapable of supporting life. The material will be toxic earth and the tools will be a scientific process utilizing heavy metal leaching plants called “hyperaccumulators.” The aesthetic reality will be recreated Nature. The sculpting process starts unseen in the ground below in order to reveal the eventual work, a living, revitalized landscape above.” –

Finkelpearl, T. (2001) ‘Interview: Mel Chin on Revival Field’in Dialogues in Public Art. London: The MIT Press, pp. 385-406.


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After reviewing my blog recently, I have realised that my focus has predominantly been on describing and analysing my own work, and I have dedicated little time in mentioning the work of others. This could cause an issue for my audience, as they may struggle to understand how my work fits in the field of Fine Art, and so I shall provide them with relevant works/projects which have influence my own.

I have decided to start with one of the most influencial projects that I have discovered over the last few years, which has a combination of both beauty and function, whilst demonstrating an innovative solution to tackling a global issue.

Jason DeCaires Taylor

Underwater Sculpture Park (2006-Present)

After writting about Taylor throughout my dissertation, I have decided to re-use some of the material from that in the hopes to summarise what his work is focused on.

Jason DeCaires Taylor is an internationally celebrated eco sculptor, who, during 2006 combined both his love for sculpture and diving to create the World’s first underwater sculpture park – located off of the coast of Grenada. The purpose of his art is to act as an artificial reef, where previous natural reefs were damaged or lost. Since then, Taylor has been hired by Cancuns national marines’ park to help them actively transform their damaged coast-line. It is there that he has founded MUSA (Museo Subacuatico de Arte), a museum of his works which consists of over 450 life sized sculptures.

“His site specific, permanent installations are designed to act as artificial reefs, attracting corals, increasing marine biomass and aggregating fish species, while crucially diverting tourists away from fragile natural reefs and thus providing space for natural rejuvenation.” –

Buxton, J. (2013) Overview. Available at: www.underwatersculpture.com/about/overview (Accessed:25 November 2013)

“I am trying to portray how human intervention or interaction with nature can be positive and sustainable, an icon of how we can live in a symbiotic relationship with nature.” –

Taylor, J, D. (2010) An interview with Underwater Sculptor Jason deCaires Taylor. Available at: http://www.environmentalgraffiti.com/art/news-inte… (Accessed: 26 November 2013)


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