Last year I visited Londons design festival at the V&A and came across some of the beautiful furniture developed and produced by designers Fredrikson Stallard. As an aesthetic and conceptual artist, I feel it is just as important to admire singularity within furniture as it is important to admire within painting, sculpture or performance – within its own right the sofa is sculpture.
The designers have captured the tactile nature of brutalist organic form perfectly emulating materiality ‘ molten rock’ and inviting and challenging the element of touch with the regards to unconventional furniture and form.The Forms individually are a celebration of experimentation and rigorous design.
For my final exhibition, I have been struggling with how my work will finally be presented and how my composition will come together . Will I present my work on the floor ? one or two plinths? and what can the presentation conceptually bring forth ?.
Above you can see that I have tried to address these issues by testing my work out on the concrete floor of our studio. Personally, although I love the aesthetic the floor provides I feel the use of a plinth could be more effective due to a slight elevation raising the objects from the glossy concrete. I find this glossy element distracting for the sculptures thus the viewer.
Price is someone who I have been profoundly interested in coming towards the end of my degree, he is best known as a sculptor of abstract and biomorphic ceramic forms. The surfaces of Price’s objects are so complexly chromatic and expertise they exist only in his sculptures. By being so jarringly compelling and unique they challenge the viewer’s concepts of beauty itself.
In the exhibition on show laid out on 4 plinths are about 24 of price’s works, the exhibition focuses on the artists career in ceramic sculpture.What I am particularly interested in is how the work has been exhibited within the LA space. Together on 4 large plinths, the objects command space yet although they are separate ( separate plinths) they create a relationship, the sculptures contrast and work together to create an aesthetic distinctiveness, that is undoubtedly prices unique work .
I also find the slight elevation from the floor incredibly effective. how something so simple can enhance the element of display
Within this exhibition ephemerality is central, the sculptures are designed to crack and crumble naturally.Within the installation nature has reclaimed and transformed the gallery space. The floor is made from soil and the space that surrounds it is littered with both natural and manmade objects created and found by the artist, For me this makes the ephemerality a little more profound, how language between the objects overshadows monumentality and time. With their crude physicality and cracked surfaces, his sculptures simply exist, they are redolent and through ephemerality ruins.Rojas sculptures delineate a departure point from the manmade to the synthetic world creating a relationship between the earth, objects and space.
Rojas has made me consider how the context of space materiality could influence or direct my sculptures, to create not just a language among themselves but a language with space and further as a whole, with the viewers.
Martin Bodilsen Kaldahl’s work shapes intuitive, spatial form. Materiality and structure go hand in hand. With extruded cut clay tubes, the artist builds overlapping and assembled sculptures – emerging out of a mental void. They are results of a distracted sense, they remain pure sculptural movement.
What I find particularly intriguing is the artist’s exhibition in Oslo, how the sculptures are placed and command the room around them. For me this creates a juxtaposition between natural form and cultural construction – one reflects the other.
Leading on to my exhibition this is something that is incredibly important – how I want the relationship between sculpture to be seen, how the viewer sees my work and secondly how the element of space can justify or characterize.As Kaldahl coined can my work command some sense of “possible gesture”.
Above are a selection of structures I created in response to Penarth, places and forms I have seen . These two structures are drawn from both Deacon and Penarth inspiration. What is important is how they ultimately sit, collaborate and create a language between all forms to distinguish what I would associate to be ‘primal’.
Choosing colour for the sculptures has been challenging. I decided to use textural surfaces and bold flat colours such as black and white to create a raw sensibility. The smaller sculptures, a cobalt blue – this is due to cobalt being that of an earthly element and thus for myself to retain a raw worth.
Featured above is a man-made rusted construction/form that I came across down at Penarth beach. What I find fascinating about the construction is how it coheres to these primitive qualities that I hold so contently. Perhaps I associate this structure to be primitive, firstly because of the age and rust coloration, secondly, location and finally brutalist form. To me, the structure is not too dissimilar than that of scaffolding and perhaps to some degree is why I may associate it to be of my own material experiences – that of building sights and building materials.
From extensively researching Deacon the past few weeks the structural form also made me recollect my thoughts upon the artists ‘siamese‘ series and how although the bold geometric structures create a fairly modern language, to some degree are incredibly simple and feel almost primordial when you strip away the element of colour.
My practice examines the interrelationship and engagement between the materiality and structure of clay objects. The relationship of matter, texture and surface complement form and this act of making creates meaning. The objects cohere to the same universal similarities I find myself in, voicing the ‘primal’, which is what unites them. The sculptures create a language that comes together to create a bridge between the past and present to characterise an aesthetic distinctiveness. To some extent, the language of these sculptures creates a discourse which displaces and modify each other. They stand bold and ‘primal’. The sculptures are drawn from a subconscious instinct, a raw urge to withdraw oneself from mind to physical rendition and rendition to form. My approach is empirical in nature and draws on my experiences and observations, where I create and respond to the material intuitively. Each object has an individual presence, yet when they exist collectively the dialogue is more complex which in turn extends the narrative.