Since I don’t have regular access to a wheel over the holiday, I’ve gone back to the technique that got me hooked on working with clay in the first place – coil building. Being surrounded at home with sculptures from my final college project has inspired these body-like organic forms. Strangely though, the catalyst for making them came after watching the colourful Bollywood romance film Dilwale Dulhania Le Jayenge. Perhaps the fluid, energetic movements of the dancers was some spark of inspiration. While making I listened to the film’s soundtrack on repeat for hours. I’d like to think that contributed the way the sculptures look almost like dancers in motion, full of tension, with bulging muscles and sinews as if living things are trying to push out of them.
I didn’t really have a plan in mind, only to get back into making and experiment with the new Potclays premium craft crank I picked up at ICF. It’s great to work with, full of grog so you can build up and up in no time with hardly any trouble. I was considering painting the surfaces but it dries to a pale fleshy colour which is what I wanted.
Over the summer our task is to look for different types of collections and I’ve been thinking: How many of something do you need before it can be called a collection? I’d say three us a safe number, I’d be happy to call these a collection of sculptures. A group of three has a magical significance and conjures up fairy-tale stories: Goldilocks and the three bears, the three witches in Macbeth, three blind mice, but it may also have religious significance e.g. the three wise men or the holy trinity. Despite the cross, I didn’t intend for the work to have any religious significance. Symbols and the way they are loaded with meaning interest me. In Eastern philosophy the swastika is a symbol of good luck and prosperity but in the west we can’t help but associate it with the Nazi party. All it is is a collection of lines but it’s potent with underlying meaning.
I left these forms out in the garden to see how the rain would distort them. I like this visual contrast of the controlled with the randomness of where the water has disintegrated the form.
Sunday was Giardini day and this time the artwork that got my heart racing was in the Norwegian pavilion – a massive sculpture made from fibreglass reinforced polyester pipes by Siri Aurdal (b.1937). The wave-like form called ‘Onda Volante’ (sea waves) looked like a giant version of my final centrepiece, the evenly spaced ridges on the plastic even referenced throwing lines. Walking around and underneath the cut tube sections I felt like I did walking around the aeroplanes at RAF Cosford museum, the curved plastic forms riveted together like wings of a giant aircraft. I felt the enclosed space didn’t do justice to it though, it was as if the form was trying to ‘flow’ outside, with tentacles pushing up against the ceiling. I’d love to see it placed in the Yorkshire sculpture park with wide expanses of space all around. Reading up about Aurdal after returning home I’ve discovered she came to fame in Norway in the 60s with large scale interactive sculptures that people could play and climb on, inspired by modular, mathematical forms. My interest in interactive artwork has been re-ignited!
Another treasure was found in the Finland pavilion, where Heledd and I must have spent over an hour mesmerised, watching the very funny ‘The Aalto Natives’ by Nathaniel Mellors and Erkka Nissinen. The installation is part film, part two talking puppets called Geb and Atum, who explore elements of Finnish society, history and national identity. The videos swap between different styles: CGI, hand drawn stop-animation and Muppet style puppets and according to the leaflet ‘explore themes such as nationalism, xenophobia, bureaucracy, and intolerance by way of absurdist satire’. Half the time it felt like a missing episode of the Might Boosh, the other half like a montage of the ABCs of death. I’m still confused as to why the Neanderthal guy had a Liverpudlian accent.
I loved Milena Dragicevic’s colour compositions at the Serbian pavilion. Her abstract paintings ‘Erections for Transatlantica’ drew in the eye from afar with bold colour. The strange, sculptural images are mixtures of her own intuitive drawings with forms taken from outside sources. I thought some referenced Islamic architecture, others forms of microbes and bacteria.
It’s not every day you find one of your friends has secured a place invigilating the welsh pavilion at the 57th Venice Biennale, so when I was invited by the fabulous goblin queen herself Heledd Evans (check her out!) to spend a weekend in Venice I jumped at the chance.
Arriving Friday evening, my first impression of Venice was the city at night, which I discovered is when it becomes truly magical. The tourists retreat to their hotels on Lido and the other islands, leaving the dim streets of the centre empty but for the odd watchful cat. The expensive boutiques and tacky tourist shops with their Murano glass, lace and sparkly masks close up for the night. Alleyways and courtyards, lit up by warm lamplights, take on an otherworldly quality of light, the closest I can think of is the chiaroscuro of Edward Hopper’s Nighthawks or Magritte’s ‘The Dominion of light’. The air is warm and smells richly of flowers, vaguely of incense and spice. Music seems to surround you but you can never seem to pinpoint where it’s coming from – a saxophone solo beckons in the darkness, a pounding bass thuds across the bay from a cruising party boat.
Since Heledd was working, I spent most of Saturday alone, making my way around the Arsenale in the morning. At the entrance is the Viva Arte Viva exhibition. In the Pavilion of the Earth, Michael Blazy, a Parisian artist, has arranged a stack of magazines printed with bright photos of travel destinations like those from a tourist brochure. From somewhere high up drips water, gradually eroding the paper, revealing contour lines of colour like the topography on a map. This image of erosion reminds me of the deteriorating of the building facades around Venice where plaster is peeling to reveal a palimpsest of bricks underneath. I read this time based installation as a kind of ticking clock comment on climate change as well as the effect of increasing tourism on the environment of Venice and other tourist destinations.
Further along, in the romantically named Pavilion of Time and Infinity I found Belgian artist Edith Dekyndt’s ‘One thousand and one nights’. Behind a shimmering curtain of silver leaf lies a rectangular carpet of dust, illuminated in the dark by a spotlight. The lamp turns over time and a gallery attendant sweeps the dust back up under the light, lifting dust clouds into the air. The effect is mesmerising.
The pavilion that had the most memorable and powerful impact on me though was undoubtedly the Italian one. The exhibition here called ‘Il mondo magico’ included a very unsettling and yet utterly captivating installation called ‘Imitation of Christ’ by Roberto Cuoghi. Entering into the factory-like setting you’re confronted with a stage on which a mould of a crucified body lies, with all manner of machinery surrounding it. You feel as if you’ve just entered into Dr Frankenstein’s laboratory.
Beyond this, there’s a kind of Eden project biosphere tunnel flanked at the entrance by two shrivelled body forms cast in a silica-like organic material. A sign warns you of the presence of mould spores inside – hinting at what lies beyond. In the dim space, you enter the plastic tunnel lit from the inside with harsh white fluorescent lighting. At intervals there branch off small rounded pods, domes which can be entered by parting the industrial PVC curtains.
You wouldn’t really want to go inside. Each pod is filled with a couple of peculiarly shaped operating tables, on top of which, on beds of black foam lie a couple of cast bodies, shrivelled, shrunken and withered, their surfaces crusted in mould or oozing with slime. The whole thing feels like walking into a dystopian computer game like Fallout, the bodies could be those of the feral ghoul zombies that haunt the radiation polluted wasteland. It’s very disturbing but at the same time you can’t help yourself taking a peek into the next dome, and the next, in the same way many people can’t help turning to have a look when they pass and accident on the road.
Exiting the giant igloo at the far end you come to a wall where dis-formed cast body parts are arranged into crucified Christs but with limbs missing and displaced. The juxtaposition of futuristic space domes and scientific equipment with the religious undertones of the body in the position of crucifixion is an unsettling fusion of past tradition and science fiction. According to the guide booklet Cuoghi is ‘inspired by the Imitation of Christ, an ascetic medieval text that he reinterprets from the standpoint o what he calls a “new technological materialism”. ‘ The tunnel may symbolise the tomb where Christ was buried, and the mould might represent the Resurrection in that it’s a new life form that only blooms and thrives following the death of others.
I’ve been thinking about what it is these artworks have in common. What is it that really interests me? There’s definitely an element of collaboration with outside ‘non-human’ forces – the ability of the dripping water to erode, the randomness of the shapes of the dust clouds and the lack of control over how the mould on the ‘corpses’ grows. There’s also a time based element, these artworks change and develop over time rather than staying static. Might I explore this in my own work, thinking about the constant weathering of rocks and forming of clay that goes on around us all the time? Phoebe Cummings’s work springs to mind.
I spent Saturday afternoon getting lost in the back alleys of Venice, happily stumbling across the design pavilion at the Palazzo Michiel by chance.
With the Chartism ‘In their footsteps’ launch event planned for this Friday morning, I took the train to Newport yesterday to meet up with Dylan, one of the project’s organisers, to figure out the placement of my sandals for the installation.
Following the march of the Chartists down Stow Hill, a series of footprints have been etched into the pavement at intervals, with the hope that members of the public will interact with them, literally following ‘in their footsteps’. The ones here face Bethel Community Church and when standing on them, the pair of ceramic African sandals below will be visible. The Sanctuary project at the church works with international communities and offers support to asylum seekers and refugees in Newport. I spent time with an English class there earlier this year where we welcomed the men to make clay shoes for the installation at St Woolos cathedral at the top of the hill. Interestingly many of them ended up making sandals, so this pair will sit outside the sanctuary project to represent them.
The glaze turned out much patchier than expected, probably because I had to wipe the previous layer of reduction glaze off when I realised my mistake (these are oxidation fired). However, when seen from high up on the street the white stands out pretty well.
Our third field collaboration was an introduction to installations and film, focusing more on concepts and ideas than previous field labs that have focused on techniques. The task was to create a triptych: three associated artistic works intended to be appreciated together. We tried some idea generating exercises to begin thinking about how to approach the task, playing the surrealist drawing game ‘exquisite corpse’ and drawing a still life from memory. Sean Edwards introduced us to the work of a number of artists including Douglas Gordon’s ‘Zidane: a 21st Century Portrait’ that shows a football match from the unusual perspective of one single player. This distortion of perspective was probably an influence on our first artwork, a 20 second film and the middle part of our triptych.
My group was interested in the individual journeys we repeat each morning on our way into the building and to our studio spaces, so similarly to the schematic drawing exercise, we each filmed our individual paths from reception to our spaces and back down to where we met in the heartspace. Alex spliced the four journeys together and sped them up. The result is a very speedy, busy montage that feels almost overwhelmingly hyperactive and needs to be watched a number of times to follow all four windows. I’d say it contrasts starkly with the generally relaxed atmosphere of the art college. Although one of the cameras is facing backwards and another facing the ceiling I feel the video would have been more successful if the other two were filming from less predictable perspectives i.e. from the height of a child or just filming the feet. The idea was that we showed familiar journeys from a point of view that was unfamiliar and unexpected to try and elevate the ordinary.
Next the films were rotated, and we created a second artwork (the first part of the triptych) based on another group’s film. The one we were given showed a pair of skyscapes: two videos of slowly moving clouds overlayed and accompanied by the recorded birdsong. This slow paced, contemplative video of the natural world was the complete antithesis to our first piece. We decided to make a simple, straightforward installation that made use of natural light. Firstly we went outside to gather branches, placed these on a photocopier and proceeded to print them onto acetate with varying degrees of opaqueness (density setting). In the fine art studio we then overlayed these into the rectangle on the window, framing the sky outside, then placed a few potted plants at the base, echoing the trees at the bottom of the screen when the camera quickly pans down at the end of the video. The simple style and natural light reflected the tranquillity of the video well I think. I’m not sure if it’s what you’d normally classify as an installation because it wasn’t very big. This artwork was my favourite to make because we worked with the physical rather than digital and I learnt a new photocopying technique. I would have liked to have had a hand in editing the films though because it’s something I’ve never done before.
Finally, the artworks rotated again and we made our third and final work inspired by a group’s still life exploring the concept of time. The original work was a circle of 6 apples, each bitten and then placed on a table at different times during the day so the bruising showed the deterioration of the apple over time: a kind of ‘apple clock’. After hearing about filmmaker Peggy Awesh and her documentary style, the plan was to have a bit of fun by reverse the idea of people causing the apple to deteriorate to the apple causing us to deteriorate. We were to film ourselves on a night out, drinking only drinks derived from apple of apple flavoured, then use snapchat to create a series of short videos at intervals in the night, showing the deteriorating effect of alcohol! Unfortunately I wasn’t able to make it to be part of the final video. Although it was a fun concept, I feel the idea of the deterioration over time is a bit lost because of the way the videos and images are not chronologically ordered. We probably should have organised to have a sober member of the group filming instead!
It’s nearly 9pm at a darkened industrial estate on the outskirts of Roath, Cardiff. Past Maccies, fluorescent lights gleam clinically off stainless steel and spotless white ceramic in the bathstore. Further along strings of green and white balloons bob in the chill evening breeze. Down a black driveway we find what we’re here for.
The bar at Spit and Sawdust, Cardiff’s indoor skate park that also doubles up as a trendy art space, is packed with dapper guys in modish glasses. There are lots of beards. Pushing through a curtain of red PVC, myself and some mates find ourselves entering the skate park itself. This large, open warehouse space with its ramps and rails, half pipes and boxes, has for a while become the setting for John Lawrence’s sound and light installation ‘The Solar Pessimist’. The surreal poster for the exhibition has been confronting me every lift journey at uni for the past week. On it a Tron-like landscape similar to the one Noel Fielding’s fantasy man inhabits is superimposed with upturned eyes, maybe a nod to Dali’s Chien Andalou.
‘Have you ever experienced loss?’ booms the recorded male voice. ‘You know …real loss. Real Data Loss. Nothing can prepare you…all those photos…all that footage’. I think of having my phone stolen my first week at university. The voice is loud but sometimes indistinct, muffled by the layered electronic sounds. I can feel the vibrations shooting up my legs from the plywood slide I’m sitting on. Overhead a circle of lights spin and pivot like pro skaters, cascading purple light in time to the disembodied soliloquy then building up gradually to a manic flashing display, an epileptic fit inducing an avalanche of sound. The voice crescendos in fury like an angry God pouring his wrath from the sky.
Ditching my San Miguel on the ground as i climb up a slope to get a different view, i feel like a cheeky teenager. Empty bottles litter the arena and cliques of fine art students huddle together at intervals like rival gangs. The darkness adds to the feeling of acting the rebellious teen, hanging out after dark. I like the freedom to play here – to climb and slide, lie down or balance across different structures like a child on a giant climbing frame. It’s fun but I also feel self conscious and exposed, watched as I am watching everyone else to see how they interact with this environment designed to be explored with skateboards, none of which can be found. By walking into this space I have immediately become part of the artwork.
Filming and photography are encouraged. At the far end of the room a man pushes a camera round and round on a circular dolly. My friend and I try to trick it, switching places every time it makes another rotation before we realise that like the lights above, this camera is also turned, one minute facing the colour dancing on the shiny, slippy floor, the next facing the parallel lines on the ceiling. As the sound and voice move to their climax we go to lie on a wooden box in the centre of the room directly beneath the circle of lights. As I stare up at them, the flashing burns patterns of circles into my retina so the room carries traces of moments before in electric blue smudges and I wonder like David Bowie ’bout sound and vision.