WEEK 9
Memorials
My numerous starting
points have been derived from my reflection on the memorial of an in individual
through their absence and presence. I am interested in the ability to recognise
an individual’s existence through their belongings and surroundings, the way a
collection of items such as photographs, clothing or ornaments are able to
communicate a sense of personality, personal history and life. This idea can be
applied not only to those who have passed away but also to those who have
simply moved, or even to our former infant self.
The first artist I was
inspired by was Christian Boltanski, introduced to us in the Lecture in week 8.
His artist practice often involves the use of photographs or a collection of
photographs to convey ideas surrounding time, identity and memory. His use of
the photograph as a raw material, collecting and exhibiting a range of
photographs together, emits a sense of family history and nostalgia, however
the images are not connected, merely placed together.
For me this emphasised
the power of the image in particular in communicating a message through
selection and arrangement.
Christian Boltanski,
1971
‘Photo Album of the Family
D., 1939, 1954’
Black and white photographs in tin frames
Similarly I felt this
applies to collected belongings and other possessions as well as our
surroundings and societies. So I was then able to connect this to my current
exploration of the community in Textiles 4B A
Collection of Souvenirs’.
My reflection on
Memorials and collected belongings also led me to research the traditional Aboriginal Memorial Poles or Hollow
Log Coffins. This method of memorial, traditional to Arnhem Land is made
from a hollowed tree trunk, which is decorated with the markings of the passed
member’s clan and filled with the bones of the deceased.
I thought this was a
very powerful representation of the memorial of an individual and much like a
tombstone, however the visual markings painted on the surface of the log, much
more emblematic of the persons history within their clan.
With this initial
research combined with my interest in past techniques I am interested in exploring
two different forms, the vessel as a further experimentation and the book. I
couldn’t remember what sparked my interest in a book, I think maybe it was from
the lecture, however, like an artist book reflecting ones practice and works a
book theme would be based around the memorial of a person.
I have also been
looking at artists such as Judy Barrass and her work the vessel form and paper pulp, Dorothy Haig and her presentation of works as well as Gail Stiffe and her numerous sites and blogs surrounding
paper making and collage with collected imagery.
My initial movements
have been collecting paper to sample with paper pulp, collating images that
reflect a sense of similarity or personality and continuing my crochet skills,
as this seems to be becoming quite successful.
I had also generated
some ideas regarding creative
deconstruction, which related to me previous burning techniques, and
possible refining this to develop a way to create from the ashes of collected
items. However this is only in its initial thoughts stage.
Week 10
Progressing on last weeks thoughts and ideas regarding Memorials I have
produced a handful of new samples and have discovered some new inspiring
artists.
This past week has seen my refinement of my exploration of the Project
theme. I have elected to explore the Memorial
of an individual through the belongings they have left behind. I am interested
specifically in the Aboriginal Memorial ‘Hollow
Log Coffins’, particularly their form and their functionality, storing the
remnants of ones past.
I have also refined my material exploration at this current point to
paper as I have discovered a range of exciting new techniques and manipulating
methods using paper through artists such as Valérie Buess, The Best Before Basket Makers Paris
and Erwina Ziomkowska
WEEK 11
In the
past week I have been developing my refinement of technique and execution of my
samples. I have experimented crochet using both yarn and paper shifu to create
a series of vertical cylinder vessels.
My
interest for these forms stems from the Hollow Log coffins of which I have
decided to research for my Memorial exploration. I had initially had the
intention to create a kind of embellished surface of these forms to represent
the ‘clan’ markings of tradition Aboriginal Memorial Poles however I have
enjoyed working with a minimalistic colour palette, selecting materials of a
cream or white tone. Rather then applying colour or pattern to the surface of
the cylinders I am interested in creating textures through the varied
techniques, making the work more tactile as it is to be interchangeable as part
of its instillation.
In my
continued research I have also discovered another artist, which is inspiring my
work causing me to reflect on scale. Dana Barnes is an artist designer exploring
new ways to sculpt unprocessed fibers such as wool into large-scale three
dimensional textile forms.
Her series UNSPUN:
Tangled and Fused
features a combination of wrapping, knotting, netting, looping and twisting to
form static fiber sculptures both for the flat plane and also hanging
vertically.
This piece from the series BEAUFORD Needlepoint Vessel I was particularly drawn to. Its presence within the space is
dictated by its scale which is an area of my own work I am interested in challenging.
Similarly I am interested in its minimalistic tonal palette and the use of
multiple materials and techniques within the vessel form. It is very
interesting that I have found this piece at the end of my week of experimentation,
and yet there are distinct resemblances between this and my own work.
WEEK 12
After our Presentation in week 12 I was
straight to work fleshing out and completing my final work, based around the
form of the hollow log coffins and working further on all aspects I had
discussed during my presentation.
Over the duration of my making I found the
quality and execution of my envisioned ideas was becoming increasingly
difficult and so I decided to further my research, which ultimately would aid
my written work also.
When reflecting on the notions, which I have
been exploring, including the idea that we are reflected within the belongings,
places and people remaining when we are no longer present I came across the
Andy Warhol’s ‘Time Capsules’.
Over his lifetime as an artist Warhol
archived remnants of his everyday life, newspaper and magazine articles to name
a few, into what became an extensive series of packing boxes forming his ‘Time
Capsule’ series.
The idea of logging your immediate
surroundings into a personalized time capsule of not only your context but also
your specific items read, used or simply handled is an idea that struck me as
particularly strong within the area of memorials.
Thus I have began incorporating these ideas
into my work and improving the completed substantial work.
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