Coming back around to the Bamana Boli i cast and covered my vessel with concrete cohering to the material context of my experiences i.e my dad as a builder and the materials i would associate with ‘raw art’ and art at an early age. the material may not be something that i personally used from an early age but is one of my first real experiences of art.
For me concrete has been an incredibly has been a difficult unforgiving material and i have really struggled to use it due to rapid drying and gritty nature of it. concrete for me although a relit overly modern and new material retains a raw primitiveness, it holds and retains a brutish practility. I feel as previously asserted my association of concrete as primitive is due to that of ‘raw early experience of art’. For me the object has gone from something modern primitive to a modern relic,something that looks like it has been obtained from rubble, an old contemporary cinderblock.
It leads me to question ‘Can something that is new be classified as an artefact/relic or primitive ?’, and further answer – as previously asserted the primitive is a state of mind, a consciousness. consciousness cannot be classified by time therefore the primitiveness of an object can only be justified and classified by the aesthetics and cultural association of that object.
For me the object is more structural and stronger conceptually when compared to my pervious models, it is a demonstration of a material that i would associate with my past and past to present to create something raw but new, a more defined modern primitive.
Further for my Gap Crit i decided to use one of my plaster cast bones silhouetted against my Boli, due to the material and primitive context both objects have with my identity and experiences, further the unnatural processes each one has undertaken coherent to Allan mccollum’s – ‘natural copies’.
I further provided a small stand and artificial lighting to mimic the i setting of the museum context, by putting the objects in this artificiality it for me manipulates and tricks the viewer into associating the objects to be that of ‘relics’ or museum curiosities, I belle this is because of the hardwired association we have with the gallery portrayal of artefacts. By using a tall plinth it raises the object higher than the viewer, the light focuses upon the object forcing our glare solely to the objects, it separates myself and everyone in the room and ourselves towards the objects.