Hazel developed some thread pieces partially inspired by Mark Garry but mostly influenced by Mana Morimoto. She was thinking of alternative ways of incorporating thread into our installation. The imagery Morimoto used and Hazel’s chosen photograph merged with our installation well whilst simultaneously exploring the notions of inter-connectivity between spaces and people.
Here is her initial experimentation and below her final choice of photographs:
Hazel started by poking little holes in the photographs and when illuminated from behind, these tiny trails came to life.
After deliberation, she used these holes as tracks for thread tying the theme of inter-connectivity further in the installation.
Inspiration for Hazel’s Pieces – Mana Morimoto
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This is how Hazel’s pieces interact with the space. Personally, I feel that the use of a couple of frames balances out the order and disorder of the collaborative curation. The installation aims to walk this liminal line.
Robert Montgomery brings a uniqueness to his practice by including a deliacte, yet powerful, poetic voice to text art. Included in his work are billboard poems, light pieces, fire poems, woodcuts and watercolors.
“To encounter the work of Robert Montgomery is to make a tender encounter whose tenderness is enhanced by the public, communal quality of his work. To encounter his work is to have your body filled with a sad thunder and your head filled with a sad light. He is a complete artist and works in language, light, paper, space. He engages completely with the urban world with a translucent poetry. His work arrives at us through a kind of lucid social violence. No one has blended language, form and light in such a direct way.”
Dane Weatherman. Black & Blue Journal
Info taken from: http://www.robertmontgomery.org/bio/
Hazel introduced me to Montgomery and whats particularly resonates with me is the conflict between the public and private voice of the artist. The passages are separate from him and yet are incredibly personal. The text themselves seem to be unrelated to their environment and remain ambiguous to their ancestry and context. The poetry awakens a hidden truth within the reader/viewer such as “All palaces are temporary palaces” and “The people you love become ghosts inside of you and like this you keep them alive”. The texts are penetrative and burrow deep within the subconscious of the recipient. This is something I would like to emulate somewhat in my poetry passages, yet where mine are relating to inter-connectivity, Montgomery’s subjects are far more broad.
“Borland’s work is at once repulsive and seductive. She builds layers of psychological complexity, juxtaposing incongruous elements which pervade human sensibility”.
She explores concepts of absence and presence, masculine and feminine, life and death, innocence and guilt. Through her investigative practice she reveals the brutal realities of society and historical ‘evidence’, which describes and validates the concerning disposition of humanity.
“Borland does not merely expose her findings within the gallery but creates deeply poetic works that reinvest the clinical data she uses with a human dimension.”
What I felt was inspirational to our installation is Borland’s use of collection within the installations. I especially enjoy the fractured nature of the shelf piece pictured below that seem coherent yet remain sporadic. In the same regard, the collaboration piece of the bottom images appear archival yet hold some spontaneity that I hope to include within our installation.
For some years Cornelia Parker’s work has explored the process of formalising things that are out of our control, “containing the volatile and making it into something that is quiet and contemplative like the ‘eye of the storm’”. She is fascinated with a world that mimic cartoon ‘deaths’ including falling from cliffs, steamrollering, being shot full of holes, and explosions. Through visual and verbal allusions her work activates cultural metaphors and associations, which causes the viewer to witness the transformation of the ordinary objects into something compelling, complex and extraordinary.
Information taken from: http://www.frithstreetgallery.com/artists/bio/cornelia_parker/
What we were particularly interested in were her installation piece entitled “Thirty Pieces of Silver”. This installation included silver plates, spoons, and candlesticks to teapots, cigarette cases, and trombones which, through the process of flattening, they were transformed into the extraordinary. The pieces were arranged in thirty groups of around 33 to 46 parts and were suspended with copper wires from the ceiling lowered to reach 5 inches from the ground. All the objects are equally spaced to from an order and these objects become representations of past function. They have now been reformed to form a new purpose, free from their use and displayed now as visual pieces.
Parker comments on the installation: “I find the pieces of silver have much more potential when their meaning as everyday objects has been eroded. Thirty Pieces of Silver is about materiality and then about anti-matter. In the gallery the ruined objects are ghostly levitating just above the floor, waiting to be reassessed in the light of their transformation. The title, because of its biblical references, alludes to money, to betrayal, to death and resurrection: more simply it is a literal description of the piece.”
The use of threads and suspension resonated with Hazel, Ellie and I as her work in Thirty Pieces of Silver and in general, although seem somewhat chaotic they are all incredibly considered and retain some order. One criticism from our work last year was that our installation was too precious and ordered and we felt Parker has reached a perfect balance with her practice. Additionally, her inclusion of thread and objects similarly ties into our work with threads (and Mark Garry’s). Her consideration of object inhabiting a space was especially useful to my object work.
Tony Oursler work is always rooted in the medium of film, and creates immersive experiences using technologies that take reference from “Victorian light shows, camera obscura and auratic parlour tricks”, but that also look forward to the potential and detriments to a “digitally assisted future of image and identity”. From performative beginnings, Oursler has developed an ever-evolving multimedia practice incorporating projections, screens, optical devices and sculptures, which has the potential to take form as puppets, talking mechanical hosts or immersive environments. He often explores the opposing yet similarly united themes of science and spirituality which allow him to explore their associated phenomena, employing not just cheap tricks and deception but “playing the role of circus showman and extricating the sham from the shaman”.
Oursler’s aesthetic reveals “the ghosts in the machine, but the psychological impact of humanity’s headlong dive into cyberspace”.
Oursler’s work provided us with inspiration on how to include multimedia in our installation. His work with projections is particularly interesting as the grotesque faces, included with sound, create a truly immersive experience. We initially thought about projecting some of my poetry pieces onto threads but we are considering other possibilities at this time.
“In Addison’s process-orientated studio practice, familiar objects and motifs are loosened from their bearings in everyday life. The relationship between objects and the body, and of objects to one another, is intrinsic to the haptic and spatial curiosity at the heart of her research. In work that is apparently casually made, the legacy of a paradoxically slow and often repetitive way of making is cautiously disclosed.”
Taken from: http://www.joaddison.com/about/biography/
Addison’s work resonated with our group – and with my work particularly- due to its whimsical and subtle nature. The work is not intrusive to the space and the personality of each of the pieces is left to quietly inhabit the gallery. Although there is not an explicit relationship between the objects and the installation space, nevertheless the work appears to come alive.
With my clay sculptures I hope that they similarly inhabit the space, like Addison’s do, and interact with the audience, installation and exhibition. I wish for there to be a quiet strength to these objects that isn’t hindered by their size.
We felt that the geometric lines of Lambie’s work would work well with Ellie’s pattern work and related also to my electrical tape experimentation. His use of including the space within his installations were also influential to our consideration of space and the conventionality of display.
Jim Lambie’s Work
Lambie takes aspects of modern life and moulds it into sculptural installations. He works with items that are immediately found, as well as objects sourced in second-hand and hardware stores.
Lambie “prioritises sensory pleasure over intellectual response”. He chooses materials that are familiar and possess a personal hold on him. This is in order to track a way into the work as well as a project onto the psychological space beyond.
Lambie’s works are often devised in relation to a space, where they are shaped by decisiosns that have to be made in accordance to each individual space. This enables him to work in tune the parameters of the existing architecture.
Anothe major theme in his practice is the use of vinyl tape in an assortment if colours that are displayed inthe gallery space
The other theme in his practice is using brightly coloured vinyl tape arranged into patterns around the floor of the gallery space, “tracing the shape of the room to reveal the idiosyncrasies of its architecture”. The tape, although everyday, has the ability to transform the space, creating a rhythm that possesses the potential to disorient the viewer, blurring the line between space and artwork.