Oddest way of painting ever but rather exciting, the end product has a shine to it, like its been coated in something. I also enjoyed experimenting with pigments, never knowing what you would get. I expect orange and get green! Working so closely with a method like this is lovely, i feel like by making from scratch my media I have a emotional attachment to it.
The extract is explaining the idea of provoking a feeling or emotion, weather that be towards your own issue or someone elses, tying to give people some empathy.
The story of the papaer cranes is one that I feel works extreamly well,
“Peace Park at Hiroshima, is the sight of what appears to be hundreds of multi-coloured garlands carefully placed within the Peace Memorial Park. Look closer, and it becomes evident that these garlands are actually thousands upon thousands of hand-folded, paper cranes; strung together with precisely one hundred on each string”
(Hill, The Textile Reader, pp.38-39)
A young girl of just 11, sick from the radiation was determined that if she could fold 1000 paper cranes she would be well again, unfortunately it didn’t work, even with other patients helping out and 1300 cranes made. However it’s not about her pulling through or not, we know we cannot change that outcome by folding some paper. It was about the hope she had and passing that on to others.
My work caries in scale from small hand-held pieces to large installations. I use any and all materials but only those that, at the time of working, answer the need to externalise a particular response or group of responses. I seldom start a piece knowing exactly of what it is to be made, other than the initial feel or essence of mind and material. I offer up continuously and the piece grows towards an often unforeseen conclusion. But the feeling, a kind of dread and excitement, has to exist and be kept going, until that conclusion happens and is recognised.”
Her thought process is that if she can bond the meaning of a piece with how she makes it then the meaning is more imbedded in the product.
Her main interest is that of “nomadic” it’s a way of living without any material possessions, only what you need and gaining that from nature, they get protection from the elements from the cloth they use for temporary homes and clothing. It’s all about connecting with the land.
She indulges in this lifestyle choose herself and says it gives her the freedom to travel, explore and understand different cultures which influence her work. Alike Haksley she also combines meaning with making and her work is more a way of life than it is art, about narrating a story and she is telling her own.
Drawing this year is really interesting, these pictures are from a workshop we did which helped up to understand the object we were drawing from observing them in different ways, looking at the shapes they make, zoomed in a far away, creating pattersn from them ect… We created our own stories behind them and then looked at the real stories continueing drawing through out, it gave ma a sense of emotional attachment towards the object and I feel I can see thing as more than they are now.
This Muraspec project is certainly my favorite so far! I’m really enjoying being free with my work, mark making and experimenting with new exciting methods of creating pattern and print. Working large scale means I have no restrictions other than that of no more than 4 colours however I can over lay colours to create new layers to each colour. I’ve chosen to work with a colour pallet that merges into eachother with one contrasting colour to highlight smaller areas of the work.
Interviews are simply talking to people, which is the best way to find out information of this kind, if you want an answer ask the question.
Social enterprise is about working together with local people, using their insight into what you’re doing as well as getting involved with the community, utilising local skills and materials.
Observation/shadowing analysis, watching a subject either covertly or overtly in order to monitor their behaviour.
Interviews can help me to understand how people feel about items of textiles and ask how they react to certain situations.
Social enterprise working together with the locals can help to understand and connect with my audiences.
Observation/shadowing analysis will be beneficial in watching how people react in their own environments, why they do the things they do and how they do them.
What does it mean?
A collection, often historical however can be related to any subject matter, for example, when I was in school we learnt about jack the ripper, we went on a trip to London to visit the Archive dedicated to him. It was a collection of all the evidence against him, documentation of what he did, everything down to the shoes the policemen wore when looking for him. Is a sketchbook an Archive? It contains everything you have used or looked at, all your thoughts and processes when it come to a project. To my understanding this is what it is.
An archival object could be something in relation to an Archive for example, if there was an Archive of stationary, every letter written with the pen would be an Archival object.
Gerhard Richter started collecting photographs in the 60’s he eventually created a collage of them later in life and there came the project he called Atlas. If one of the most respected artists of our time can essentially create a photo album and call it an archive, does that mean my bedroom walls are an archive? Is an archive just a record of time and subject matter?
An Archive of a person is just objects and memorabilia base around a person’s life. It may include thought and feelings towards that person, objects they used and were maybe famous for but really it’s just a record of items that tell a story.
I’ve been to Liverpool to visit the millions of, what I now know are Beatles Archives, they exist in shops, pubs, clubs but are all just museums. They can be displayed in various ways and often the public can interact with the objects and get involved, the artists responsible are trying to provoke a reaction, to observe how they behave and hopefully get an insight into how an archive makes them feel.
- What does Hal Foster say archival artists do? What kinds of examples does he refer to? (pp.3-4)
I think what he is trying to say is that Archival artist are attempting to get people to think and form an opinion by “probing” them with objects within art.
- Provide a short summary of Foster’s description and analysis of Thomas Hirschorn’s work – find quotations that help you with this summary (pp. 6-11)
Forster states that he ‘seeks to ‘distribute ideas’ he had many unconventional ways of working and getting audiences engaged, weather that be by them physically doing so or a more formal approach. The main goal was to connecting people with objects, thoughts and memories.
- Provide a short summary of Foster’s description and analysis of Tacita Dean’s approach to archival material – provide quotations that describe this approach (pp.11-16)
Tacita approach is more about story telling from an object, short films, photographs all linked with a narrative. Her stories are always open ended provoking the audience to decide for themselves.
- How does Sam Durant use objects of material culture as part of his archival art practice? – select quotations/examples that account for this practice (pp.17-21)
He uses confusing imagery in installations in order to force people to discuss and therefore form an opinion. Using cultural objects and defaces them or changes them in some way.
Eben Bayer combines science with textiles in order to solve sustainability related problems such as the disposal of synthetic substrates such as plastics. He explains the issue which is based around waste product, how they damage the environment, fill up landfills and are even harmful to us as humans. He then goes on to discuss the solution which would be to create better fabrics. It just so happens that he has created a new material that behaves in similar ways to the ones which are harming the eco system, his product is made from mushrooms with are natural growing fungi. This means they are sustainable and in a controlled environment will continue to grow in order to be used for as long as we need.
Bayer, E. (2014). Are mushrooms the new plastic?. Ted.com. Retrieved 19 December 2014, from http://www.ted.com/talks/eben_bayer_are_mushrooms_the_new_plastic#t-130570