CONSIDERATIONS AND PRELIMINARY IDEAS TO DISCUSS WITH TUTOR
My relationship with objects in art-making
Consumption of objects when they become works of art – considering my personal expression. How I bring ‘contradicting’ things together.
- How I bring ‘contradicting’ things together – combine, collect
- Projecting personal experience onto objects/art as a signifier of my experience
- Creativity in making – use of imagination, sculpting
- Consumption of things considered aesthtic – art as part of how we imitate life, or life imitates art … it a paradox, as Oscar Wilde said
Contact students on the course with regards to how they are approaching these elements of the course.
Artist I would like to use to collated a contextual field would be, Phyllida Brown, Lee Ufan, Frank Stella, and I will research the writing of Janet Bennet, Vibrant Matter as wellas Tim Ingold.
I would also like to look at local fabrics onto which I could work – even the use of the Bongo Putty and local clay for sculpting.
I think my fascination with sculpture as a language that stands in competition with the
rest of the world around is ongoing as a kind of restraint. Maybe that’s not a good
thing or maybe it’s a good thing, I don’t know. Maybe I’m still finding out. I don’t think
I particularly seek freedom, if you know what I mean, in inverted commas, but more
there was a drive there to be of the world and of now, but also in contrast or maybe
even in competition to that. Not that I want to compete with nature, because I don’t
think– Nature will always win.
Jo Baring: Do you feel that there is a definition of what sculpture is?
Phyllida Barlow: Well, I certainly know that it’s not just about the object, it’s about
sensations, being in relationship to, whether that’s weather, or temperature, or
Sarah Victoria Turner: Are you thinking about how others experience your work as you
make it, as youPhyllida Barlow: Not as I make it, but the minute it becomes– If it does go for an
exhibition or whatever then I do.
Sarah Victoria Turner: As it leaves your studio?
Again, it goes back to that notion that she said, “Well, what’s interesting is not the
memory of the work in people’s heads, it’s the memory of how they felt when they
encountered it.” It’s a subtle difference, but it’s a really important one. It has that
absolute generosity of thinking and of spirit. When you go back to that notion of how
she sees the public and a visitor as one of the three protagonists, you can see exactly
what she means. It’s their circumnavigation of the work, their emotional landscape
that they’re bringing with them and it is influencing their engagement with the work
that actually is a fundamental part of their appreciating that piece of art.