After a conversation with Alice about Italian Still life painter Giorgio Morandi, I went searching for sheets of coloured card on which to experiment with photographing my series of sculptures from the ‘non-spaces’ project. It’s fascinating to see how much the glare from the coloured card effects the objects. The dark blue which is my favourite gives a kind of softness and warmth to the glazes. The yellow is too sharp and harsh while the grey and light blue make everything look washed out.
It’s fun to take the shapes, forms and colours out of the context of the original project. Instead I’m simply working with their material properties in a kind of collage. This method has a lot in common with the work I saw recently at the Moderna Museet in Stockholm about ‘Concretism’. Concrete art ”accustoms man to a direct relationship with things and not with the fiction of things” by rejecting the creation of the illusion of space and three dimension on canvas. Similarly, I don’t want to create an illusion her. I am not interested in conveying any deep meaningful message, I’m only concerned with the balance of form, colour and of positive and negative space.
In other news, I’ve started constructing larger sculptures using repeated press moulded sections in a white molochite stoneware. I’m really excited by the possibilities of working in this way. I like the control over the overall shape from the press mould. It restricts the decisions I can make so I only have to decide where to place them. This new clay is great to work with too – it dries quickly , supporting itself, and so far none of the joins have cracked. I want to see if it’s possible for the shapes to interlock and interact once they have been fired to form one larger piece.
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!
Last week we were set the task of working in pairs with students from the textiles and jewellery departments to create a performance artwork which in some way explored space and the room. On Thursday afternoon we got together to watch each other’s performances. I’m familiar with the work of artists such as Yoko Ono and Maria Abramovic, but this was my first experience of creating my own performance. It turned out to be a lot of fun and yielded some interesting results about how people behave when placed in different situations as a group or individuals.
In the first performance we saw one person trying to catch avocado stones the other was throwing at her inside a heavy ceramic cylinder to 80s disco music. The high energy performance felt like watching an sporting competition. In another performance the three artists each wrote consecutive letters in their turn with black ink on a sheet of paper stuck to the wall. After they’d made their mark the paintbrush was handed to a member of the audience and we were invited to carry on the message. It was an interesting exploration in setting rules – the artists had set rules that they only painted one letter but some of the audience instead drew lines and symbols, some kept to the ‘rules’ that had been set. One of the students splashed the paint onto the paper so it got on the wall and ran down to the floor, out of the set ‘boundaries’ of the paper. One we’d all had a go drawing something the paintbrush carried on for a bit until someone decided for the group that the artwork was finished and placed the paint down on the floor. The result of the final piece was unpredictable. We as the audience had to set our own end point. It’s an interesting exploration of language too, there was a mixture in the class of first languages so perhaps we all expected words to be formed in languages familiar to us.
In one performance three of the students moved around into different positions, engaging each with a different object: an ironing board, a bin bag of clay and a chair. They held each improvised ‘still life’ frame for about six seconds before moving again, carrying forward the linear narrative until the time was up. Another performance involved the two students ‘in power’ placing the rest of us around the room as if we were inanimate objects. It felt like being a mannequin in a shop window.
A couple of the girls invited us to sit inside a circle of thread in silence where they attempted to make eye contact with each of us in turn. The final performance involved two of the students hiding in a corner of the room behind some boxes each working with the material most familiar to them – clay and wood in this case. They didn’t announce the performance had started so you had to find your way to their small room where they created a intimate space of stillness and contemplation, a safe space for themselves into which we felt we couldn’t intrude.
I worked alongside Sanne, a student from the jewellery department to create a performance which involved us creating an enclosure similar to a sheep pen with a couple of tables and leading the audience one by one into this tightly enclosed space. We kept some ‘chosen’ people on the side and after we’d closed in the ‘pen’ with chairs, we got out a line of chairs facing it and invited the ‘chosen ones’ to sit with us, eat popcorn and watch the people who were trapped in the enclosure before us. The whole performance took place with the Star Wars theme tune playing in the background.
Our idea was to turn our fear of performing in front of the others upside down, by structuring ourselves as the viewers and them as the ones being watched. We hoped the fizzy drinks and popcorn would create the feeling of being in a cinema, but I also compared the performance to the human zoos I learnt about at the current ‘Diorama’ exhibition by Annika Dahlsten and Markku Laakso at the Röda Sten Konsthall.
In feedback about the artwork we learnt that those who were led into the small table room initially felt like they were the chosen, privileged ones, that they were going aboard a space ship (the star wars tune create this illusion), but after the next stage of the performance took place they realised they weren’t going anywhere and didn’t get any popcorn. This quickly ignited a revolution led by one of the students who stepped over the boundary we had created between us and followed by other students the popcorn and drinks were quickly shared between everyone. Those in the power seats felt bad for the others and began to give out popcorn too, but it took a few minutes before people felt comfortable stepping out of the roles the game had created for them.
It was interesting that so many of the performances involved the rest of the audience. Perhaps when you have a fear of performing, including everyone else is a means of feeling less exposed?
Hannah pointed out that these photos in Cardiff museum’s current exhibition ‘Swaps: Photographs from the David Hurn collection’ might be of interest to me because they explore framing and windows. The bottom one is ‘Alderney’ (2003) by Raymond Moore and the one above is by Paddy Summerfield from a series ‘Mother and father’ (1997-2007). Wandering around the museum this afternoon as part of Constellation, we were asked to consider how objects have been placed, how juxtaposition creates a new narrative, lighting etc. Visually these two photos are linked by their angular compositions, in particular the diagonal line in their top centres. The notion of looking through a frame or portal also links them, the top puts us in a position of power since the elderly couple in the garden don’t know they’re being watched. Seen in the context of the series it was originally made for it speaks of love and loss, but here it becomes sinister, almost predatory. Perhaps this in the context of all the photos documenting hate, violence and war that are in the museum collection.
‘Alderney’ has a surrealist quality because of the shock of seeing what looks like a TV screen by a country road, and yet the same bright screen would look right at home in a city centre. The only living thing in this image is the dog on the screen which is only alive in this imagined, unreal space. These ideas of looking through and into other realities are what I’m trying to explore in my current work.