Fragmented: The beginning of exploration
Week 1 - 4
The beginning of the project was researching the definition of the word fragmented, as well as the words that were synonyms and antonyms of fragmented. This particular task was done in a fairly literal thought process. This project is to focus on a journey of personal development in collaboration with research in social concepts, politics, artistry, and art history. Furthermore, developing a skills based practise to realise my intentions will be the aim of my project as it unfolds.
The words above I found fun to create, as each had a different font that represented a take on its meaning in relation to the projects, for example distance is long, journey is joined, crumble is crumbling etc. This was not necessary, however has been interesting in itself. The words I felt the closest to, as in the areas of fragmented I may want to explore, were distance, junction, disintegrate, rupture, journey, and split.
The initial ideas mind map, which helped me compact the many ways that this theme could be interpreted.
Quilting guild visit: the York guild visited
They talked about their quilts and the ways the quilts can represent many things, including, family, tradition, and method. The person who came to speak highlighted the importance of these things. Explaining that quilts can be historical in nature and contain templates using newspapers, giving the onlooker indication of when it was made and where it was made. For example as the ends of fabric rolls often have the place it was produced or if dates are embroidered. The ways that they are made can also be less uniform, as seen below, janky and obtuse edges in combination with the plethora of fabric types, make this quilt feel homemade and homely, initials embroidered make it a very personal quilt. However, it was mentioned that textural and functional quilts are also created, therefore the method of creation in relation to sewing a quilt can differ considerably, such as the binding of fabric via heat or various stitching, and the implanting of stuffing to make it comfortable.
Here are some examples:
Bunnie Reiss: The pillow fort
Bunnie Reiss is an American multimedia artist whose work is expansive and spans from murals to large scale sculpture and installation pieces. Her “work consistently reflects my Eastern European family background, and my dedication to exploring nature and the cosmos.”[1] Therefore, it is likely that Reiss’ work is personal and gives an insight into her life. This piece is installation based and has a very cosy feeling to it. It is concave and similar to the build of most stereotypical blanket forts one may have made as a child. I myself did this, therefore her work makes more of an impact, being so relatable. It is like looking inside another world, Reiss’ world, which you are invited into with the chandelier and chair. It is formed of a Sofa and quilt, and she said she “used every bit of the love and adoration I have for my community in this piece”[2] this reminded me of the spirit of the York quilters guild, one of community and history.
Her work in general is incredibly vast and interesting, as she combines her love for what she does with every material imaginable. I really like this work, as it reminds me of what passion for creation looks like, not only in this nostalgic and community based piece- but also in her wider work. She is ambitious and interesting in her approach as her website displays a broad approach to artistic practise.
[1] Stories, L. (2022). Rising Stars: Meet Bunnie Reiss - Voyage LA Magazine | LA City Guide. [online] voyagela.com. Available at: https://voyagela.com/interview/rising-stars-meet-bunnie-reiss/ [Accessed 18 Jan. 2024].
[2] Bunnie Reiss. (n.d.). The Pillow Fort. [online] Available at: http://www.bunniereiss.com/new-gallery-15.
Photoshoot 1: 20 prompts
Every photo had a prompt, which is why I chose or took it. The best outcomes of the photos were No.1, No.4, No.7, No.13 No.20, they felt successful as they felt the most personal and true to my intentions of creating art that is a balance of abstract and decorative, thats why these were the best for my intentions.
The best from the first page were No.1(a faceless portrait) and No.4(silhouette), the first one I feel was a good representation of a faceless portrait, as it is a portrait orientation, with me in view, the light gives it good tonal areas to work with. I did some simple photo editing, below you can see them side by side. No.4, was serene, it demonstrates a sense of calm, and includes a pattern also, I don usually work with very neutral or flat range of colours, so this was a difference, and I liked the effects of it.
The second page included No.7 (black and white) this photo also underwent editing, it made the darker areas deeper and the brights whiter. I felt it had good tonal range.
From the page above No.13 (asymmetrical) was taken on a moving train with the panoramic mode. Helping the natural abstraction, it interests me to make work that has a fine line between complete abstraction and being slightly figurative in nature.
Photos for No.20 were done using a viewfinder from a paper bag, they have a blurring effect, literally blocking the viewer, fragmenting their perspective of the whole image or subject.
Overall, these photos were semi-successful, however, were not entirely enticing as main imagery, as although I liked some of them, they did not contain the aesthetic qualities or cohesive nature, that I usually use when continuing with a project. Although they did provide an exploratory starting point, and got me to this about how I to focus the project theme.
Initial Artist research:
Paper sculpture
Making use of the photography I extracted elements and drew them in simplified forms. This was using the influence of Betty woodman. I restricted the time I drew from the photos, to 10 minutes with the coloured pencils, and another 10 with oil pastels. This was done on an A1 sheet of paper. I cut it up and experimented with it, moving the forms around, eventually forming a body and head shape. I kept the paper white- I could have washed colour on the paper or chosen a different colour, however, I felt it would be a better representation of the vivacity of the colours, as well as, a link to Woodman's ceramic pieces. See CERAMICS:FRAGMENTED
Observational drawing from photography.
Tonal and linear studies of the photos done in 5 minute increments. Some were done with two pens taped together, those were the linear studies, and the charcoal ones had variation in which combination of chalk, charcoal, and rubber, I used. some had all three, others only 2/3.
Close up:
Ceramic and mix media workshop
The workshop enabled me to learn about the process of creating a plaster cast. This entailed making a clay object and placing it in a vacuum. The clay object could not be smaller at the bottom than the top, otherwise it could not be taken out of the mould. once the object had been placed onto the heated plastic on the vacuum, the lever could be moved and the machine would make a mould. The clay would then be removed from the mould and the process of mixing plaster with water using your hands would been, once it was a smooth consistency, it could be poured in. After this the bubbles needed to be tapped out and the plaster left to dry for 30 minutes.
for this particular session I chose not to do the plaster casting, instead I made a ceramic sculpture, this went through some processes, as I didn't know what I wanted to make, the next time I attempt freehand clay I want to plan ahead as I felt rushed. however, whilst I was rushed , I still produced something I liked, a cave/ home like form and a figure to go onto it's roof. It had a bowl as well, as I wanted it to be abstract, though somewhat recognisable elements attached to make it more visually interesting for the viewer. Giving multiple focal points- the cat and the bowl makes the space feel larger even if small in scale. Using recognisable objects encourages the viewer to use their imagination to craft a story or narrative. I have found in the past that a combination of the known and unknown makes those looking more attentive to the artwork itself, as the eyes can search for discernible things, almost making it more accessible.
Overall this workshop introduced me to skills previously unexplored. The processes were interesting and I found that it was fun to try something new, although I did struggle with the making itself, due to my inexperience not providing an understanding of the structural integrity of clay as a medium, I've learnt it can be incredibly temperamental, as it has a memory, and can require specific limitations to be successful, such as having thin walls and holes so that it does not explode in the Kiln. I think that ceramics will be an area I aspire to learn more about as it has interesting skills, and I feel I have much information to gather yet.
Glass Workshop
The glass workshop was more straightforward than the ceramics and mixed media workshop, it entailed 3 important decisions- how to cut, position, and fire the glass.
Process:
The glass cutting tool made an indentation when pressed down, and then as you tapped the back of the glass and it broke down the line, alternately, pliers could be used to grab onto the glass and snap it with force. Protective wear was imperative to this, glasses were worn to protect eyes.
We made glass plates, as in, a single sheet of glass layered with other pieces. I made two, and I chose to fully fire one and less on the other creating different textures. the loose glass pieces were stuck on with a mixture suitable for the kiln so that they dint move out of place. The type of firing was an artistic choice made, and the use of copper and copper wire would change the texture in the glass further.
To conclude the glass workshop, they were returned to me, I preferred the look of the triangle that had been fired for far less time than the house shaped piece. This was a good learning experience, however did not fully make me inspired or excited by the possibilities, therefore, I don't think it will become a regular process within this project, despite glass having a clear link to the theme in a very literal way.
Glass cutting tool:
Demonstration on safety:
Assembling the glass pieces: The house shape...
The triangle shape...
This was the outcome of the glass house shape, it was less appealing than when it had been made, the copper had inevitably changed colour to a more flat dark purple, however it was the lack of any definition at all that left me dissatisfied with the result, thus I shall not be, given I make glass again, putting it in the highest firing heat.
Quilting outcomes of the week:
The primary task this week was to create 10 10X10 Cm squares. This is preparation for a collaborative exhibit with the York Quilters Guild.
10 samples would be produced, I used a wide variety of media, including charcoal, pencil, acrylic paint, and marker pen. These were made using the first photoshoot as the reference. The deadline for a 30X30 cm square is the 13th of January, therefore, these may be developed.
I found the most enjoyable to create were the charcoal, however, the most aesthetically pleasing I thought were the colourful pieces.
I liked how Bunnie Reiss had done her work around the theme of comfort, so I made mine using the photos primarily around my home.
Initial ideas/ personal response mind map
As a summary for the first exploratory stages of the project, I made a mind map detailing various routes that the project could develop into. Some of which I feel most drawn in to- were the ideas on commenting on the general fragmentation of my life, as living in Brighton and now York, there is a significant difference in lifestyle and it can impact how smooth my life runs, as it is essentially spilt into distant areas, with separate people, and a jumble of emotions to complement the latter.
Overall, I feel the first 1-4 weeks have been a struggle, as I am still very uncertain of the material route that this project may evolve into, as well as the conceptual and contextual elements it will consider. This has been stressful for myself, and I have found that the feeling of instability is undesirable, therefore going forward I will be taking a harsher selection process based on enjoyment into further consideration, as the discombobulated start can feel far too tumultuous for creation and me to live harmoniously. Therefore, my next steps are to reduce the project down to a particular theme.
