After 2 weeks of building, decorating , cleaning and creating the work the show build is finally over. After a few hiccups regarding the space I was given and several moves around at last minute I am quite satisfied with the final outcome. The first move was one out of necessity as I started with a very small wall but wanted to create a more immersive experience that would be able to surround you and direct you into the video documentation playing on a screen. The second (slight) move that was made one the day before the deadline was that to double my space. This was very much a exciting and encouraging move as I wouldn’t be sharing the space and I was able to create much more work on the walls and and fully make the space my own meaning I was able to reach my goal of a fully immersive sized show.
Here you can see a couple of the coloured bits used to show the work of collaboration with other people that I scalped out of vinyl compared to the sources material I used from my pervious performances.
Looking back if I had know about the size changes I would have laid out the work diffrently and started much earlier as I was only able to do small bits of the coulour on the walls due to late notice and a time consuming making process. Also I think that knowing I would be having a very large space the show I would have set up a section in the centre where people could sit and relax together, talk, listen to the music or just look at the work from the centre of the space.
My studio work this year has been heavily influenced by my field projects. I would never have started creating my installations that look at space, conciseness and vulnerability without my research into art and the conscious mind and art work that is conscious of itself. Also from Things behind the sun I would have never looking into the hanging objects that I have used in my final show piece and my work would have had a lot less development and research involved in it. I also used a lot of my work from this project to apply to the second year travel bursaries from which I have won two and will be travelling around Europe visiting different arts shows thought out the summer.
Through field I have been able to research into different subjects I didn’t think I would be able to link into my work. Philosophy, psychology and physics now play a big part into my studio practice and I would have never had gone back to looking at landscape (which I have done really well in) if I hadn’t have choses that particular Field project.
I feel like i now have more of a drive with my own work after seeing the potential that my work can have. And I am so much more inspired to start third year with a wealth of different experience and ideas that I would not have had without the experiences of field.
Art and the conscious mind – The installation and beginning concepts for art work conscious of its self
Things behind the sun – Hanging objects to represent the wind led to the final hanging water
From this project I feel like I have gained a love for the over looked and the unusual in comparison to the beautiful and pretty. I always try to look at and produce a more unusual art compared to everyone else’s so I feel like this project has made me realise more about this and also fuelled it further.
I feel like if I am to continue this project I will look into editing the photos more to create even more obscure and confusing compositions. Altering the colours on the images would also add more depth and mystery to the images where as changing the scale of the work is more likely to draw people in to the the work and idea of being small and insignificant in comparison to nature and the world. I also want to continue my look into the wind that I experienced there in my installation work I started.
I hope to try and bring my love of the book Edgeland into my continuing studio work but Im not sure in what way yet.
(Added after Moodle Field submission)
I used the shapes from my sketches to help develop my studio work that was inspired by my work in Art and the conscious mind. Mimicking the wind we experienced on the trip into my work with elastic bands by hanging objects that you would normally find in the landscape (branches, logs, plants). This then allowed me to develop my work though hanging object and onto suspending water in my work allowing me to expand my ideas and further my studio practice.
Looking at Edgeland and the over looked and the impression it gives you of being unsafe and lost in comparison to the beautiful, picturesque common landscape gives a weird other level to my work. They are both part of the same landscape but people never think about them in the same way or even as being the same thing.
I also like the way in which a lot of the work I have done uses the larger more traditional landscape in a way where they are small and almost insignificant and the the micro landscapes are large and imposing (gives you the feeling you could get lost in them)
“Somehow we know immediately the meaning of “edgelands”. The word evokes zones where overspill housing estates peter out or factories give way to black fields or scrubland; where unkempt areas become home to allotments, mobile-phone masts, sewage works, cooling towers, dens, places of forgetting, dumping and landfill.”
Looking though this book instantly grabbed me as I fined that I am more drawn to the more gritty and edgy landscapes rather then the idilic and beautiful landscape. There is something hidden and strangely beautiful living in these types of areas that are often over looked and untouched. This book invites you onto the possibility, mystery and beauty of the over looked, unloved and some times dangerous bits of landscape we live amongst.
I used this book to inspire me for the entire project. It made me fall in love with the unlooked bit of nature and landscape. It has changed the way I view areas and space and it inspired my studio practice to keep my work revolving around environments and habitable areas.
‘Monumentalising such drossy traces of human existence, lightly undercutting ideas of the sublime in British landscape painting.’
Keith Arnatt is a photographer that for one series of his work looks at dumped rubbish and the way that it reflects the landscape but also makes a comment of the way we live as humans and our effect on the planet. I see his work as a very compelling way to interpret landscape. It is unusual and differs from what you would normally see as landscape but to me it is as much a representation of landscape as any other as it is photographs but of land. It also starts to represent and refer to traditional landscape work as the colours and shapes of objects and the land start looking more natural and familiar.
‘In one image the ruderal vegetation has been accidentally half-wrapped by Interflora packaging; in another, a small watering can sits by the scrub, as though some dutiful local has been tending the wasteland.’
From looking at his work I am going to create my own rubbish landscapes by photographing bits of dumped rubbish in nature. Im not so much looking at the whole images to represent a beautiful landscape but more the contract between the natural and the man made.
Looking at artist that use bits of nature and landscape in there work I thought of Richard Long. The first piece of his his work I came across when I was looking at artist that use there own body to make work and looked at this ‘A Line Made By Walking’ which is a strong piece of unusual and exciting land art. Looking more into him I found his work where he takes bits of landscape to recreate into pieces of landscape art. Like bits of mud found at the bottom of a waterfall which he then uses like paint on a canvas to recreate the feel and effect of the waterfall he experienced. He also used objects such as rocks to create land art sculptures.
This is really interesting to me as I have thought about using bits of nature in my work but never practised this until I looking in to Richard Long and created the hanging logs in my collaborative installation this week.