Hazel’s Pieces

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:

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Experimentation

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Experimentation

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Hazel started by poking little holes in the photographs and when illuminated from behind, these tiny trails came to life.

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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

Installation

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.

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Designed Chaos

Here is a sample of the patterns that Ellie has made for her book. By making a book the pieces definitely possess a presence that Ellie had been looking for. By having extracts of the book on the wall the patterns similarly play with concepts of design and structure which echo the title of the book itself. The book is designed yet samples of her patterns are displayed haphazardly/chaotically around our installation space.

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We all fell in love with the burnt yellow in this print and I feature it again in the text colour of my poetry pieces.

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Her book is available through amazon on this link if anyone would like to purchase it.

Artist Statement

2017-03-14

Exhibition Title: “Wrap yourself around that choking breath of mine”.

Statement about my individual contribution to this collaborative work: “Wrap yourself around that choking breath of mine”

My work within this curated piece focuses on text and objects and the relationship they hold within our exhibition space. The text explores themes of inter-connectivity through language and typography, drawing on elements of objects such as clay, thread and pattern. Through these – often ambiguous – relationships the viewer is invited to explore their own relationship with the space and consider their external inter-connectivity to the things that surround them. The objects and text do not contain specific feelings or intended content, it is the viewer that must form their own connections to the pieces and navigate what relationships might emerge from them.

Ian Hamilton Finlay and Lawrence Weiner are prominent influences. Hamilton’s work considers exterior spaces and language. It also considers the potential for these constructed spaces to invoke philosophical thought. Lawrence Weiner’s presentation of language and the boundaries language can be pushed to in its setting was also considered in the installation. Gesture and typography within his texts were invaluable to the formatting of text within the space as the passages are amplified depending on the form they are presented.

Ultimately, the curation of this exhibition intends to explore space in its many guises, through text and object. How traditional relationships change when these conventions are manipulated and reformed is a major part of my research interest.

Statement about the collaborative process for “Wrap yourself around that choking breath of mine”

After working successfully in a collaborative group last term, we decided to continue working together to critically improve both as a group and in our individual practices. Initially we wanted to explore more personal processes so we worked on our solitary practices within a collective space – reacting to and creating work based upon each others pieces.

As we found that our individual ideas for projects seemed to differ so, we concluded that the best way to continue our collaboration was not to necessarily create art together, but instead to collaboratively curate an installation of our works.

We planned to completely take over and inhabit a corner of the studio, much like how artist Mark Garry’s work occupies gallery space, brazenly demanding attention. Inspired by Garry’s use of threads we decided to incorporate elements of his practice within the installation as threads tie in with both Hazel’s sculptural and photographic pieces and Ellie’s ‘Designed Chaos‘ works. The action of threads stretching and wrapping around our space also relates to Rebecca’s poetry which deals with interconnectivity between space and objects, which we felt would support and effectively combine all three of our practices.

We’ve also all expressed a very keen interest in experimenting with projections in the past, and so works by artist Tony Oursler in which he projects distorted faces onto large objects, further inspired us to develop this approach in our collaborative work. Oursler creates immersive experiences that both ensnare the viewer’s focus, whilst also looking forward to the digitally assisted future of image and identity production.

However, whilst we were all able to improve our practices through experimentation and group criticism, the space as a whole felt incomplete and disjointed. This caused us to re-evaluate how we worked as a group and thus changed our approach to our individual practices which then led to a new way of curating our collaborative exhibition space.

For further details see Hazel and Ellie’s Artist Statements which can be found on their blogs:

https://hazellewisfarley.wordpress.com

https://ellieslaneyart.wordpress.com

Robert Montgomery

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.

Christine Borland

“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.

 

Cornelia Parker

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

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.