Proposal

For the past few years, and during stages 1 and 2 of this course I have been using my own experiences and emotions as themes to drive my own work, i.e. self-identity, femininity, sex, love, personal experience and vulnerable states. I thought these subjects were suitable because they have been relevant in my life and feel I can produce more personal work of relevance to other people.  As I continuously have opinions, emotions and experiences, I feel these themes will sustain me throughout the project.  I also want to push myself out of my comfort zone with this project.

So far, I have explored my ideas mainly through painting, drawing and photography. I now want to expand the range of media to include film, sound and installation. I feel this will make my work more interesting by adding new elements and greater depth, and revitalising my approach to the theme of my work, making it less likely that I will run out of ideas.

I think an installation will be challenging to produce because of the little time I have to do it in, so I may have to make some sacrifices in order to meet the deadline.

I found my starting point in Tracey Emin’s work; she gave me permission as a contemporary artist to explore themes that were extremely personal and essentially private. Frank Auerbach’s work suggested to me that art could be made out of the struggle with materials, but it was Louise Bourgeois who suggested a rationale for my work- “It is necessary to recreate the past, in order to get rid of it”- and possibly a format for my final project. Other artists who are relevant in my work include Hannah Perry, Rosa Barba, Christian Marclay and Bruce Nauman.

I intend to research my project by making drawings, paintings from observation, using myself and other models as a starting point. I also intend to visit galleries investigating  work relevant to my project.

I have already detailed some of the techniques, materials and processes I intend to use above. At this stage, I’m not sure what form my final piece will take, but, I envisage something that responds to the cell structures of Bourgeois. The 'cell'/installation will become one place I could put each memory and experience into, instead of allowing them to be scattered around in my mind.

My initial thought was to find a ready-made structure like a cage, but I am aware that it might be more appropriate to build a new structure, possibly out of salvaged components. I am anticipating a structure approximately two metres square. This would be manageable within the context of a group exhibition, particularly given that space will be at a premium.

I will evaluate my work by presenting it to tutors and my peers, and by taking on board their comments. I will use my blog as a way of reflecting on my thought processes in relation to my contextual research.  

Bibliography

March

BBC Your Paintings (n.d.) Arnulf Rainer , [online] Available at: http://www.bbc.co.uk/arts/yourpaintings/artists/rainer-arnulf-b-1929 [Accessed 22nd March 2013].

Coxon, A. (2010) Louise Bourgeois (Modern Artists Series), London : Tate, p.48.

Saatchi Gallery (n.d.) John Stezaker , [online] Available at: http://www.saatchigallery.com/artists/john_stezaker.htm [Accessed 21st March 2013].

Tate (1981) Bruce Nauman , [online] Available at: http://www.tate.org.uk/art/artists/bruce-nauman-1691 [Accessed 27th March 2013 ].

Tate (n.d.) Louise Bourqeois , [online] Available at: http://www.tate.org.uk/art/artists/louise-bourgeois-2351 [Accessed 21st March 2013].

The Art Story (n.d.) Bruce Nauman , [online] Available at: http://www.theartstory.org/artist-nauman-bruce.htm [Accessed 27th March 2013 ].

The Art Story (n.d.) Louise Bourqeois , [online] Available at: http://www.theartstory.org/artist-bourgeois-louise.htm [Accessed 21st March 2013].

White Chapel Gallery (2011) John Stezaker , [online] Available at: http://www.whitechapelgallery.org/exhibitions/john-stezaker [Accessed 21st March 2013].

YouTube (1967) Bruce Nauman Art Make-Up, [online] Available at: http://www.youtube.com/watch?v=cOB5L89cC8A&feature=player_embedded [Accessed 27th March 2013 ].

YouTube (1968) Bruce Nauman Pinch Neck , [online] Available at: http://www.youtube.com/watch?v=rkfOgavdhak&feature=player_embedded [Accessed 27th March 2013 ].

YouTube (n.d.) Bruce Nauman The Guardian , [online] Available at: https://www.youtube.com/watch?v=dPJa5pRPSJY [Accessed 27th March 2013 ].

YouTube (n.d.) Bruce Nauman Walking In An Exaggerated Manner, [online] Available at: http://www.youtube.com/watch?v=Qml505hxp_c&feature=player_embedded [Accessed 27th March 2013 ].

accaonline (n.d.) Jenny Holzer, [online] Available at: http://www.accaonline.org.au/Assets/2172/1/JENNYHOLZEREDKIT.pdf [Accessed 15th March 2013].

artisnotdead (2011) Art Is Alive: 'Do Not Abandon Me', [online] Available at: http://artisnotdead.blogspot.co.uk/2011/02/do-not-abandon-me-collaboration-between.html [Accessed 31st March 2013].

galeriepieceunique (n.d.) Louise Bourqeois Self Portrait, [online] Available at: http://www.galeriepieceunique.com/special/Sept-2009/LouiseBourgeois.htm [Accessed 21st March 2013].

  

April

Guardian (2011) Pipilotti Rist: We All Come From Between Our Mother's Legs, [online] Available at: http://www.guardian.co.uk/artanddesign/2011/sep/04/pipilotti-rist-exhibition-hayward-gallery [Accessed 23rd April 2013].

Jin Me Yoon (2008) 'As It Is Becoming: Ear to Ground' [image online] Available at: http://catrionajeffries.com/exhibitions/past/loaded-2009/exhibition-images/#17 [Accessed: 23rd April 2013].

Jin Me Yoon (2008) 'As It Is Becoming: Ear to Ground' [image online] Available at: http://catrionajeffries.com/exhibitions/past/loaded-2009/exhibition-images/#18 [Accessed: 23rd April 2013].

Jin Me Yoon (2008) 'As It Is Becoming: Kannawa District' [video online] Available at: http://jin-meyoon.ca/video [Accessed: 23rd April 2013].

Mona Hatoum (2002) 'Cage-a-deux' [image online] Available at: http://search.it.online.fr/BIGart/?p=86 [Accessed: 23rd April 2013].

Mona Hatoum (2012) 'Kapan' (Trap) [image online] Available at: http://exasperated-viewer-on-air.tumblr.com/post/37826518549/mona-hatoum-kapan-trap-2012-mild-steel-and [Accessed: 23rd April 2013].

RealTime Arts (2005) Implicating the audience in exile, Donna Brett, [online] Available at: http://www.realtimearts.net/article/66/7766 [Accessed 23rd April 2013].

Ron Terada (2006) Stay Away From Lonely Places' [image online] Available at: http://www.ikon-gallery.co.uk/programme/past/event/50/ron_terada/ [Accessed: 22nd April 2013].

Ron Terada (2008) 'It Is What It Is' [image online] Available at: It Is What It Is [Accessed: 22nd April 2013].

Ron Terada (2008) 'It Was What It Was' [image online] Available at: http://catrionajeffries.com/exhibitions/past/loaded-2009/exhibition-images/#28 [Accessed: 22nd April 2013].

South Bank Centre (n.d.) Pipilotti Rist: Eyeball Massage , [online] Available at: http://www.southbankcentre.co.uk/find/hayward-gallery-and-visual-arts/other-art-on-site/tickets/pipilotti-rist-eyeball-massage-59671 [Accessed 23rd April 2013].

YouTube (2008) Pipilotti Rist: I'm Not The Girl Who Misses Much , [online] Available at: http://www.youtube.com/watch?v=TJgiSyCr6BY [Accessed 23rd April 2013].

YouTube (2011) Pipilotti Rist: Eyeball Massage , [online] Available at: http://www.youtube.com/watch?v=jk5d6i99OTM [Accessed 23rd April 2013].

cloud.hauserwirth (n.d.) Press Release: Pipilotti Rist , [online] Available at: http://cloud.hauserwirth.com/documents/d2uV09LQ1M9POgKW5r09eT79G5eyFm11KC3n9cQpMbIk2E212d/pipilotti-rist_press-release3-HCN0mV.pdf [Accessed 23rd April 2013].

May

Bang Larsen , L. (1999) Art at the Turn of the Millennium , -: Taschen Deutschland GmbH, p..

Howarth Art Gallery (2013) Transcending Perceptions , [online] Available at: http://www.hyndburnbc.gov.uk/downloads/Haworth_Exhibition_programme_2013_1_.pdf [Accessed 11th May 2013].

Howarth Art Gallery (n.d.) Museums and Galleries , [online] Available at: http://www.hyndburnbc.gov.uk/hag [Accessed 11th May 2013].

IKEA (n.d.) RIBBA Frame, [online] Available at: http://www.ikea.com/gb/en/catalog/products/30132527/ [Accessed 30th May 2013].

IKEA (n.d.) RIBBA Frame, [online] Available at: http://www.ikea.com/gb/en/catalog/products/40243544/ [Accessed 30th May 2013].

IKEA (n.d.) RIBBA Frame, [online] Available at: http://www.ikea.com/gb/en/catalog/products/70168312/ [Accessed 30th May 2013].

YouTube (2007) Stan Brakhage 'Mothlight' 1963, [online] Available at: http://www.youtube.com/watch?v=XaGh0D2NXCA [Accessed 15th May 2013].

YouTube (2008) Len Lye 'Free Radicals' , [online] Available at: http://www.youtube.com/watch?v=sGyVYDseGc4 [Accessed 15th May 2013].

YouTube (2011) Eija-Liisa Ahtila 'If 6 Was 9' 1995, [online] Available at: http://www.youtube.com/watch?v=nSUQcjNvYh8 [Accessed 17th May 2013].

YouTube (2011) Norman McLaren 'Fiddle-De-Dee' 1947, [online] Available at: http://www.youtube.com/watch?v=f3ubpoNJweA [Accessed 15th May 2013].

Evaluation

In this project, I wanted to challenge myself into experimenting with as many different media as possible, as in the past, I have only really produced work in traditional medium such as painting, drawing and photography.  I also wanted to maturely develop existing subjects that have influenced my personal life and inevitably, my art work over the last few years.

I initially set out with theme’s and some ideas of what I wanted to achieve, and haven’t overly swayed from these throughout the project. Knowing roughly which direction I wanted to go in, in the way of theme’s, I began undertaking research into artists; some I have revisited from past projects, and some I have discovered along the way.  I have always been interested in feminist art and the way women think, and high’s and lo’s in personal relationships have a total affect on the concept of my art. Artists’ such as Tracey Emin and Louise Bourgeois use art to portray a free-spoken way of thinking and explaining things.  I have also looked in to artists that use text, conceptual art, installations and film- in particular, work that is frank and makes the viewer feel uncomfortable ‘invading’ ones privacy.   

After researching in depth into Louise Bourgeois work and connecting with it, it inspired me to create an installation based upon a quote she said in a documentary I watched- “It is necessary to recreate the past, in order to get rid of it.” I do this in my own work; repeat processes in order to forget about the problem or memory. As my sketchbook is where I do most of my work, I am constantly flicking through and looking at the same pages almost every day, so in a way, the pages are 'worked to death' and the topic on the page becomes boring and something I don't want to remember anymore. The 'cell'/installation becomes one place I could put each memory into, instead of scattered around in my mind. At this point, I anticipated my final piece to be an installation. After watching the documentary, it gave me ideas for how I wanted my installation to look after seeing the 'Cell' installations Louise Bourgeois made.

Earlier on in the course, I visited the Rosa Barba exhibition, ‘Subject to Constant Change’ at the ‘Cornerhouse’ gallery in Manchester. This influenced me greatly into making a scratch-film, even before FMP.  I loved the simplicity of the way it was projected onto a white wall, the fact that it was hand-written and an instant, direct process, as this is the way I like to work.

After several different plans and ideas, as a result of artist research and gallery visits, I eventually drew out a plan of the idea I had in my mind of what I wanted my installation to look like, which had 2 main elements; sound and film. I sifted through ideas of materials I could use to make my installation out of, including my initial aim of finding or constructing a metal cage such as a supermarket ‘roll’ cage. I quickly identified that this idea wasn’t going to be possible as I asked around at several supermarkets to see if I could borrow a cage. I then had a tutorial with one of my tutors and discussed the possibility of buying separate pieces of metal grid and piecing them together. Unfortunately, because of lack of funds, this could not be possible either.

We then talked about using wood instead of metal. I quite liked the idea, although I didn’t think it would look as visually appealing as a metal cage. With this viable idea in mind, I carried on with making the different pieces of work that would go in and on the cage, as I thought this was a better use of my time while I think about the materials for my cage.

I started recording sounds and making audio samples. I also made a scratch-film and added the sound to it and experimented with editing.

Additionally, I wanted something else other than film and sound and wanted to incorporate the work I have done in my sketchbook. Before FMP, I enlarged the work to A1 which worked better than the size of the sketchbook. I decided I wanted to use this method, so I ordered two frames for the prints.

One of the biggest influences I had regarding my installation was a visit to a local gallery called Howarth Art Gallery. An installation that was exhibited influenced me further to think about more simplistic ideas that were a lot more realistic in the time scale I had. I liked the idea of using cellophane and light and took these ideas into careful consideration.

As time was passing by, I was worried about how my installation was going to look, and more importantly, what I was going to make it out of and how I was going to construct it! I had another tutorial with my tutor, and I mentioned the installation I saw at Howarth Art Gallery and he liked the ideas I thought about. He suggested the idea of using boards to construct a shape which I could put my film and sound into.  We experimented with different shapes, and quickly identified that a triangular shape which was both practical and interesting, was going to be best.  After advice from a media tutor, he suggested I used a special screening material to project my film on to instead of using cellophane, so that it would be much more clear and professional; and this worked well.

Over this time, I was also constructing the space with my peers for the whole exhibition, which was challenging at times, but as a group, we managed to help each other and succeed. Everything in my installation was put together- the film was projected inside the installation, the sound worked perfectly well with the film and the prints were hung on the walls next to it.

I was really happy with the results of my installation, and feel I surpassed my expectations of how professional my work would look and the standard of it; giving that I had never made a film or sound piece before. Using different and new media has excited me in this project, and also for the future. I have been very pleased with the high standard of the exhibition overall and it has been exciting and intense working to such a professional level and I have learnt a lot in the entire process of the course.   

I have enjoyed keeping a blog of my progress and entering information in to it, as and when. I feel it helped me efficiently keep track of my thoughts and ideas, and I thought it was more appropriate for the media (film, sound, etc.) I was using in my project. I did, however, keep a summarised plan on paper that I was given by my tutors to keep me on track when I didn’t have access to my blog.        

I feel I have been efficient enough and used my time wisely in this project, but things take time and don’t always work out how and when they are supposed to when relying on other people’s help. I have also struggled financially through FMP, and if I had more money, then I would have been able to purchase materials to build my installation as I planned, and have a more professional looking structure. 

Setting up the Exhibition Shop

Today we all set up the exhibition shop. This meant clearing space, putting canvas over tables, and arranging work in the space. Here are some pictures of my work displayed in the shop: 

Framing more work

When a friend and I purchased the larger frames for our drawings, we realised that our drawings were not exact A-Paper sizes. This was a problem, as the drawings would have to be cropped down in order for them to fit inside the mount. We had to contact the framer and ask if he would be able to cut the mounts down in the time we had left; as it was the day of the exhibition! He had them done within 2 hours which gave us time to get on with other things. 

We worked together to frame our work, as we thought this was the quickest option. This included taking the back-board out of the frame, cleaning the glass, taping the drawings to the mount, and then assembling the frame back together. 

Exhibition

As a whole, I am really pleased with how my exhibition  work has turned out. I am glad I have used a wide range of media because it has helped me progress with my work. Also, installing work into a professional exhibition space has helped me in future circumstances to understand the amount of preparation and organisation an exhibition needs. I feel I have learnt a lot since last year when I did this course for the first time, most importantly with organising my time efficiently. I also feel I have grown dramatically within my work and I am excited about producing more work when I go to University.

Meeting for shop

Today we had a meeting with the rest of the students that are selling work at the exhibition shop. We discussed prices that we would sell our own work at so that all the work was sold at an average price. We also discussed the rules of the shop and the fact that we need to stay professional- both in what we wear (black and white) and how we talk and act towards customers/visitors.