For the third year in a row, second year ceramics at CSAD have been invited to create an exhibition at Bristol’s Ken Stradling collection by responding to objects from the collection. Unfortunately I don’t have the chance to return to see the collection for myself, but I’ve scoured the website and found a piece of design which captures my imagination – Eric Magnussen’s stainless steel ‘Vacuum jug’ (designed 1976).
In order to paraphrase the jug I’ve been playing at word association – space, double walled vessel, temperature, asymmetry, interaction, thermal, insulation…
INSULATED Origin: From the Latin ‘insula’ meaning ‘island’, connotation of protection.
I’ve decided to work with the idea of insulating. As a starting point I intend to buy spray insulation foam to create some forms and then make plaster press moulds of these to use. I’m thinking about islands, the space in between, emptiness and transition. I’ve heard the term ‘liminal space’ bandied around, maybe it’s time I dug deeper.
Title: The Fantastical Non-Space: Subverting the hierarchy of place
Aim: I want to redefine the way people interact with what might be called the ‘ubiquitous urban landscape’ and more specifically non-places in this environment – spaces that have no identity, diversity or surprise. I am equally interested in the holiness we give to religious sites and places of worship and want to explore how weaving a narrative around the mundane spaces we pass through every day can elevate them to a space of significance.
Why: I want to play with the dichotomy between non-space and the anthropological space by giving unimportant no-places an identity, sense of humour and aspect of diversity and surprise – all the things they lack. In ‘The Spell of the Sensuous’ , David Abram uses the example of the clay bowl to illustrate the magic of the everyday : ‘its very existence as a bowl ensures that there are dimensions wholly inaccessible to me – most obviously the patterns hidden between its glazed and unglazed surfaces, the interior density of its clay body’. What we perceive as reality is only a skin of the true essence of our environment. I want people going about their daily routines to get back that sense of wonder you feel at the world when you are a child. I want to give people time to stop and daydream, to think about the spaces we inhabit day-to day and the role of fantasy in our lives.
Background: I first came across the concept of non-places while researching for the room/space project and consequently began working with the non-space of tram interiors to try and highlight the beauty in the everyday, mundane and invisible man-made environments that surround us. I want to develop this further and make work that sits in these environments. I have also recently been reading about the Slow Movement – specifically Slow food but also about Slow Cities and am interested in how these ideas around slowing down our pace of living so that we have more meaningful encounters with the world around us can be applied to my field of art and design. I will look at examples of art in the public space – graffiti, yarn bombing, guerrilla advertising etc. artworks that draw our attention to the environment.
Method: I plan to create a series of site specific works around the city of Gothenburg, turning non-spaces into spaces of significance or interest. One method would be to create ‘relics for a non-place’ by spinning a made up/fantasy narrative about a space, turning these sites into fictional places of pilgrimage. I am interested in using augmented reality through QR codes or apps such as Augment and Aurasma alongside the sculptures to communicate the made up stories/legends associated with a certain place. I am not sure yet if the work will take the form of a series of photographs.
I intend to use writing as a ‘material’ as well as method for generating ideas for what my work should be about. I have never used this approach before but I would like to try and respond to a space by writing poetry/fiction and then working from that. I want to spin fictional narratives around spaces. I feel inspired after seeing a piece by artist Remy Dean about a fictional letter found in an attic. How important is truth in art if the story is good? I have also been thinking about the work of Jospeh Beuys – Beuys frequently blurred the lines between art and life, and fact and fiction, by suggesting that what one believed to constitute “reality” mattered more in matters of human action, social/political behaviour, and personal creativity than any definition of everyday reality based on traditional standards of “normalcy,” or social codes of so-called “proper” conduct. http://www.theartstory.org/artist-beuys-joseph.htm
Primary research choosing sites to work with – Borrow a camera and respond through photography, sketching, and writing.
Examples of non-spaces/low spaces : Underpasses (Banehagsgatan)..Concrete
Industrial area tram stops (Gamlestadstorget)
Car Parks (Nordstan)
Also visit and respond to places of worship in the city – Masthuggskyrkan, Oscar Fredriks Church…
Thoughts that arose in the feedback session:
How do I define what I consider a non-space, which writers influence my POV? Can natural spaces also be considered non-spaces? Consider different people’s perspectives of spaces, non-spaces might not be invisible/insignificant to everyone.
Do I have a political motivation for the project, what does it communicate about urbanisation and gentrification?
Will people stumble upon the artworks or will I create a guided tour/app for people to discover them?
Will my stories be entirely fiction or should I research the history of Gothenburg to base some of the information on facts?
On Thursday we culminated the Room/Space project with an exhibition of the work we have produced over the last month. My playful and brightly coloured body of work explores the concept of non-spaces and is an attempt to draw attention to the transitional invisible spaces we pass through every day without being aware of them. In order to highlight this my work was presented in alcoves in the arch spaces of the walls in the HDK’s stairwells, spaces we don’t often linger in but which become complex and beautiful architectural spaces once you start to look carefully.
A collection of 14 hand-built sculptures sit inside four shelf spaces of varying height along the staircases, the steps offering the opportunity to view them from many different angles. During feedback it was pointed out that these forms look like little figures interacting with each other, each with a different personality. The space between each of them gives them a sense of isolation though, which communicates the anonymity and isolation of individuals as they interact in non-spaces. Students pointed out that the forms were familiar and look significant in some way, although they weren’t sure where they recognised them from. Perhaps a well-chosen title could be a key to understanding the pieces. Maybe something like ‘Stannar vid‘, which is the automated voice announcement on Gothenburg trams to tell you your next stop. It suggests the way the staircase is a space for ‘getting to’ somewhere else, not a place just ‘to be’.
The colours turned out much patchier than I intended but this nod towards rust and weathering also suggests the wear and tear caused by many people passing through a space day in, day out. I need to work on my glaze application, dipping and spraying would have created a more even surface colour than painting on. I’ve learnt the important of thinking ahead to decoration in the making stage too – the manganese in this dark clay has eaten away at the glaze. The red glaze turned out much pinker than I intended – with more time I would have perfected the colour matches by making more glaze tests.
Klara mentioned how she began noticing scratches and paint splatters on the wall which echoed the forms of the sculptures and other students mentioned the key word ‘curiosity’. I believe this display of work has been successful in changing he way we interact with this non-space but equally, by using forms inspired by tram interiors people explained how not only was this space transformed but that when they travelled home on the trams they would be looking out for these forms and textures by searching the other way around. Two spaces transformed in one!