Shopping List for FMP.
ScrewFix-
Easy Fix A2 Stainless steel thread rod connecting nuts M6 10pack (product code:4720G) £2.49x2=£4.98
Easy Fix Galvanised staples Galvanised corrosion resistant 2x20mm 0.5kg pack (product code:17167) £3.99x2=£7.98
Easy Fix Bright Zinc – Plated steel thread rods M6x1000mm 5 pack (product code:43605) £7.89x2=£15.78
Easy Fix Large flat washers BZP M6 10 pack (product code:18226) £0.69x2=£1.38
Electric trunking self adhesive 25mm x 16mm x 2m (product code:64026) £1.95x2=£3.90
Floor 5 (Paul) -
8ft x 4ft wood £18.00x3=£54.00
Wilkensons -
Chicken Wire 10m x 900mm x 25mm £12.00x2=£24.00
Black paint 300ml bottles £0.99x20=£19.80
Light boulbs £1.99x4=£7.96
Light clamps £2.99x4=£11.96
Fourgang sockets £4.99x2=£9.98
White household paint £9.99x1=£9.99
Argos -
Fans £9.99x5=£49.95
White double flatsheet £8.99x1=£8.99
White single flatsheet £4.99x5=£24.95
White cotbed flatsheet £6.99x1=£6.99
Poundland -
Staples 5000 pack £1.00x2=£2.00
Cost = £312.52
Miscellaneous items £87.48
Budget £400.00 FMP
ScrewFix-
Easy Fix A2 Stainless steel thread rod connecting nuts M6 10pack (product code:4720G) £2.49x2=£4.98
Easy Fix Galvanised staples Galvanised corrosion resistant 2x20mm 0.5kg pack (product code:17167) £3.99x2=£7.98
Easy Fix Bright Zinc – Plated steel thread rods M6x1000mm 5 pack (product code:43605) £7.89x2=£15.78
Easy Fix Large flat washers BZP M6 10 pack (product code:18226) £0.69x2=£1.38
Electric trunking self adhesive 25mm x 16mm x 2m (product code:64026) £1.95x2=£3.90
Floor 5 (Paul) -
8ft x 4ft wood £18.00x3=£54.00
Wilkensons -
Chicken Wire 10m x 900mm x 25mm £12.00x2=£24.00
Black paint 300ml bottles £0.99x20=£19.80
Light boulbs £1.99x4=£7.96
Light clamps £2.99x4=£11.96
Fourgang sockets £4.99x2=£9.98
White household paint £9.99x1=£9.99
Argos -
Fans £9.99x5=£49.95
White double flatsheet £8.99x1=£8.99
White single flatsheet £4.99x5=£24.95
White cotbed flatsheet £6.99x1=£6.99
Poundland -
Staples 5000 pack £1.00x2=£2.00
Cost = £312.52
Miscellaneous items £87.48
Budget £400.00 FMP
Evaluation of work and research so far - part 3.
Starting point for this next part of my journey was from that of artists who created work by expressing their ideas of chaos and control, others that I believe feel controlled and chaotic observing techniques and presentation.
Conrad Shawcross – His structural forms have inspire me with new designs for my FMP
Grace Hartigan – She was a second-generation Abstract Expressionist, she believed painting should have content and emotion, her technique consisted of quick brushwork along with her interest in chance shown by dripping paint, urban action and movement through choppy brushwork. Something I am taking forward in my process of paint movements.
Suzanne McClelland – Observing her work I have made another link of how to interpret my life style of chaos and control with a combination of a monochromatic paint pallet. From her works I am now inspired to incorporate personal measurements abstracted from my family.
Maha Malluh – Uses everyday materials to create works of art, something I am starting to incorporate in my boundaries setting when working in the studio space.
Julia Daut – uses 2d material to create 3d structures, and has no preconceived idea of sculptural form, this is a huge part of my creative process.
Madamoiselle Maurice – Techniques of mixing the paint with sand and/or clay as seen in this artists work. At present all I have experimented with is plaster and last semester sand but to combined all four mediums might prove very chaotic, how would I control it?
Aidan – Intrigued by the use of lining in the work, visual development process exhibited together in a 2d 3d combination, I found the works display orderly and controlled this is something I may want to think about when finalising my exhibition piece.
Joana Hadjithomas and Khali Joreige – They produced a hanging form very similar in style to my outcome, it was an experience to observe it in the gallery space and an added bonus to my project these contempory artists had draw directly onto the exhibition wall with the suspended work of art. This is great news for my practice I feel its heading in the right direction.
Niki de Saint Phalle – This artists aesthetics of one particular piece of work set my mind racing with new ideas, a new untried technique of plaster form and painting combine.
Jessica Stockholder – uses everyday household objects in her abstract painterly site-specific sculptures, this is something I have incorporated into my designing boundaries process, I will be using body gestures whilst holding or using household objects to create a form, whereas Stockholder creates a form using the household objects as a palette. Stockholder sees her work as a mesh of Kaprow, Tinguely, and the Surrealists on the one hand, using chaos and chance and making systems out of happenings and on the other hand, meshing that kind of thinking with formal painting and minimalism.
Otto Piene – his diverse practice is a variety of paintings, screen-prints, lithographs and sculptural objects that populate the space, he wants to create an artistic desire to experiment, constantly searching to make new and challenge works. His variety of work is what I am keen to observe the idea of using more then one technique in an exhibition to produce an artistic concept is intriguing and I am now thinking I could combine my created objects, with projections in my FMP exhibition??
Sleeping soundly in my bed one night, a dreamed vision appeared to me in the form of an object. I awoke suddenly and drew the image from what I could remember. From this dream I found this statement
“The unconscious was proposed by Sigmund Freud as the source of psychological symptoms for which there was no evidence cause in the subject's conscious experience. Freud's idea that dreams are truthful manifestations of unconscious desires. The association between creativity and 'dark' aspect of the mind goes back to ancient times. Freud saw dreams as the place where repressed desires surface and fantasies are acted out. Freud thought that many actions and experiences were shaped by desires that, since they in fringed social taboos, could not be acknowledged and were therefore repressed and remained unconscious. Access to the unconscious denied to the waking mind – could be gained via 'royal road' of dream analysis.”
I do not believe it is a suppressed desire as it was the first time I had seen the object but since visualised it and understanding how I could possibly create such an out come. Using visual understanding of material and light from artist Mona Hatoum exhibition 'Light Sentence' I made a conscious decision I wanted to incorporate my family life within the negative space via personal measurements, and the strips of cut up paintings which will encase the exterior wall will be formed from future expressive outcomes that have been through there own individual working process, using household materials, and personal environments, this should express the suppressed chaos in my head and my constant battle with control on a daily bases I now am fired up and ready to go, I really want to make my dreamed idea.
As a starting point to the bigger picture I decided to create a smaller Marquette to visualise and critique the pros and cons of making such an object. Cost of Marquette £19.00, problems accrued;
Wooden stand I created split and was not sturdy next time I have to use solid timber not ply wood,
I found out I can not close the top as imagined due to heat from lights but if I did still want to incorporate this feature then I could use led lamps which do not produce heat but are slightly more expensive,
Going forward with this I have realised I will need to paint the internal wood white, encase wires safely and attach two four-gangs.
A big floor in my design has been the support, I had not realised the need for internal structural support but upon seeing this Marquette it is a must have. I have now decided that the best way to make the structure would be in two sections and join them on site. Each section will now consist of four internal threaded steel bars complete with washers and nuts, with a top and bottom doughnut shaped piece of timber connected to every individual line of chicken wire and the four threaded steel bars drilled through the wood. These adjustments should be enough to pass health and safety regulations and keep the sculpture sound. Costing estimate of sculpture to scale is £300 and £100 for miscellaneous stuffs, equalling £400.00 for project.
Starting point for this next part of my journey was from that of artists who created work by expressing their ideas of chaos and control, others that I believe feel controlled and chaotic observing techniques and presentation.
Conrad Shawcross – His structural forms have inspire me with new designs for my FMP
Grace Hartigan – She was a second-generation Abstract Expressionist, she believed painting should have content and emotion, her technique consisted of quick brushwork along with her interest in chance shown by dripping paint, urban action and movement through choppy brushwork. Something I am taking forward in my process of paint movements.
Suzanne McClelland – Observing her work I have made another link of how to interpret my life style of chaos and control with a combination of a monochromatic paint pallet. From her works I am now inspired to incorporate personal measurements abstracted from my family.
Maha Malluh – Uses everyday materials to create works of art, something I am starting to incorporate in my boundaries setting when working in the studio space.
Julia Daut – uses 2d material to create 3d structures, and has no preconceived idea of sculptural form, this is a huge part of my creative process.
Madamoiselle Maurice – Techniques of mixing the paint with sand and/or clay as seen in this artists work. At present all I have experimented with is plaster and last semester sand but to combined all four mediums might prove very chaotic, how would I control it?
Aidan – Intrigued by the use of lining in the work, visual development process exhibited together in a 2d 3d combination, I found the works display orderly and controlled this is something I may want to think about when finalising my exhibition piece.
Joana Hadjithomas and Khali Joreige – They produced a hanging form very similar in style to my outcome, it was an experience to observe it in the gallery space and an added bonus to my project these contempory artists had draw directly onto the exhibition wall with the suspended work of art. This is great news for my practice I feel its heading in the right direction.
Niki de Saint Phalle – This artists aesthetics of one particular piece of work set my mind racing with new ideas, a new untried technique of plaster form and painting combine.
Jessica Stockholder – uses everyday household objects in her abstract painterly site-specific sculptures, this is something I have incorporated into my designing boundaries process, I will be using body gestures whilst holding or using household objects to create a form, whereas Stockholder creates a form using the household objects as a palette. Stockholder sees her work as a mesh of Kaprow, Tinguely, and the Surrealists on the one hand, using chaos and chance and making systems out of happenings and on the other hand, meshing that kind of thinking with formal painting and minimalism.
Otto Piene – his diverse practice is a variety of paintings, screen-prints, lithographs and sculptural objects that populate the space, he wants to create an artistic desire to experiment, constantly searching to make new and challenge works. His variety of work is what I am keen to observe the idea of using more then one technique in an exhibition to produce an artistic concept is intriguing and I am now thinking I could combine my created objects, with projections in my FMP exhibition??
Sleeping soundly in my bed one night, a dreamed vision appeared to me in the form of an object. I awoke suddenly and drew the image from what I could remember. From this dream I found this statement
“The unconscious was proposed by Sigmund Freud as the source of psychological symptoms for which there was no evidence cause in the subject's conscious experience. Freud's idea that dreams are truthful manifestations of unconscious desires. The association between creativity and 'dark' aspect of the mind goes back to ancient times. Freud saw dreams as the place where repressed desires surface and fantasies are acted out. Freud thought that many actions and experiences were shaped by desires that, since they in fringed social taboos, could not be acknowledged and were therefore repressed and remained unconscious. Access to the unconscious denied to the waking mind – could be gained via 'royal road' of dream analysis.”
I do not believe it is a suppressed desire as it was the first time I had seen the object but since visualised it and understanding how I could possibly create such an out come. Using visual understanding of material and light from artist Mona Hatoum exhibition 'Light Sentence' I made a conscious decision I wanted to incorporate my family life within the negative space via personal measurements, and the strips of cut up paintings which will encase the exterior wall will be formed from future expressive outcomes that have been through there own individual working process, using household materials, and personal environments, this should express the suppressed chaos in my head and my constant battle with control on a daily bases I now am fired up and ready to go, I really want to make my dreamed idea.
As a starting point to the bigger picture I decided to create a smaller Marquette to visualise and critique the pros and cons of making such an object. Cost of Marquette £19.00, problems accrued;
Wooden stand I created split and was not sturdy next time I have to use solid timber not ply wood,
I found out I can not close the top as imagined due to heat from lights but if I did still want to incorporate this feature then I could use led lamps which do not produce heat but are slightly more expensive,
Going forward with this I have realised I will need to paint the internal wood white, encase wires safely and attach two four-gangs.
A big floor in my design has been the support, I had not realised the need for internal structural support but upon seeing this Marquette it is a must have. I have now decided that the best way to make the structure would be in two sections and join them on site. Each section will now consist of four internal threaded steel bars complete with washers and nuts, with a top and bottom doughnut shaped piece of timber connected to every individual line of chicken wire and the four threaded steel bars drilled through the wood. These adjustments should be enough to pass health and safety regulations and keep the sculpture sound. Costing estimate of sculpture to scale is £300 and £100 for miscellaneous stuffs, equalling £400.00 for project.
Display in exhibition, light? or Dark? surroundings
Estimated size: 4ft circumference by 6ft tall
Material: Chicken Wire, Lining, Paint, Staples, Timber, Fans, and Lighting
Material: Chicken Wire, Lining, Paint, Staples, Timber, Fans, and Lighting
Evaluation of work so far – Part 2.
As a starting point I looked inwards to my emotional state of mind and being, I felt drained of energy and extremely tired do to family life. Using my emotion as an influence for productivity I brain stormed things that could be connected to tiredness. The list consisted of; coffee, pillow, the moon, bed, horizontal, time, alarm clock, darkness, curtains closed, blanket, teddies, dim light, cot mobile, and duvet. After my train of thought came to a halt, I sat to process the information and as I did I went into a state of mind often called a day dream. In this time I don’t know why and I didn’t even realise I was doing it but I had started to twist a discarded piece of brown paper into a spiral. Once awakening from my mind set I looked at what I had created and with that a response came flooding in, the thought process of my son’s baby mobile combine with the spiral I had just made, could be created into a large scale non-literal abstract expressionist painting tool.
Due to my choice of material, card and wire to create the painting tool, I realised once I had painted with it I might not be able to make anything from the form which at first was present. Using Richard Serra’s strategies list I started to think of ways to extend the made object; collaging, printing, black and white photocopying, photograph, charcoal rubbing, paint, distance photocopying, sketch into acetate, rubbings, mould, drag, colour photocopy, filming, and spinning. Using a common systems called the “Butterfly Effect” which critically depends on tiny changes in the initial conditions, I combined this thought with my list and started to produce process driven outcomes.
Types of mark-making – the pointillist dab or the Abstract Expressionist splash – convey a strong sense of moment of their making without placing it in any kind of stylistic or historical frame. Existentialism is a philosophical movement which emphasizes on individual existence, freedom, and choice. There are several philosophical positions all related to existential philosophy but the main identifiable common proposition, is that existence precedes essence. I can exploit this timeless idealism by letting go of my response to medium, material, and having no preconceived outcome. Art can then spring from within, and I the artist am then able to give birth to new work. A definition of Existentialism
. Philosophy that is centred upon the analysis of existence
. The was humans find themselves existing in the world
. Humans exist first and then each individual spends a lifetime changing their essence or nature
. Concerned with finding self and the meaning of life through free will, choice and personal responsibility
. People search throughout life making choices based on their experienced, beliefs, and outlook. Personal choices become unique without objective form of truth
Existentialism takes into consideration the underlying concepts
. Human free will
. Human nature is chosen through life choices
. A person is best when struggling against their individual nature, fighting for life
. Decisions are not without stress and consequences
. There are things that are not rational
. Personal responsibility and discipline is crucial
. Society is unnatural and its traditional religious and secular rules and arbitrary
. Worldly desire is futile
Existentialism is true search and journey for true self and true personal meaning in life.
Found in a text was the description of a new importance that accompanied fifteenth century Europe prints, it was that of the combination of text and print this reading gave me an idea to personalise my responses with abstracted text, after trying to rub a signature into my printed design I realise that I cannot just use any random word as every letter, word and mark has a meaning to the viewer and by doing this it can start to over complicate such a simple message, I know of a saying ‘less is more` so I’ve decided at present unless there is a point to the text I will not add anything.
Through my research I have realised that control is a loaded word, evoking both positive and negative images; in control, out of control, control freak, social control, and political control. I have also found that there are certain meanings behind control and that it is seen to have masculine properties and that controlled is classed as a feminine term. I have been able to find a list of different methods of control; internal, external, positive, negative, over life events, over technology, empowering, dehumanizing, and politically correct- or not. Control is central to the human experience, especially in urban environments, artists are capable of presenting these issues in visual form, creating a public forum for action, reaction, and informed discussions.
New artists I have found since my last evaluation that create work by expressing their ideas of chaos and control and others that I believe feel controlled and chaotic
Arne Quinze – composition starts as a self-portrait, representing what’s going on in his head, his chaos is irretrievably linked with life. He believe his art has no chaos only structure which expresses his inner self fusing passion and chaos with controlled elegance.
Ie Wai We – Aesthetics observed from his exhibited chandelier of bicycle wheels.
Phyllida Barlow – Imposing large scale sculptural installations, uses inexpensive everyday objects, cardboard, fabric, timber, polystyrene, plaster, scrim, and cement, her work embraces mess, absurdity, chance, and precariousness.
I have found added underpinning on the reason for my use of a non-colour palette (black and white);
“Pythagoras, ca 500 BC: There is a good principle which created order, light, and man, and an evil principle which created chaos, darkness, and woman.” (http://nationalwca.org/Control/)
White in art comes replete with meanings, Whiteness equals purity and possibility, emptiness or plenitude, space or flatness. Ben Nicholson’s series of white reliefs express similar principles: art should clear the clutter from our lives so that we can see what is really important, it should change our relationship to the spaces we inhabit, so that we live in a more harmonious, purposeful way. In Neoclassical art, Constructivism and other types of art, t connotes positive values amounting to an aesthetic philosophy. As opposed to colour which often derives from ideas about its nature and the meaning of specific colours. Colour has regularly served as a pictorial element that simultaneously conveys meaning and stimulates the eye. Williem de Kooning an Abstract Expressionist artist is the opposite artist to Pollock and myself as he worked from observable reality, primary from figures and the landscapes, he also used a bold and clashing of colour palette. His technique of application however is pretty similar as he used aggressive paint and brush application, sweeping strokes and no fixed viewpoint on an all-over composition. He devised a rapid, slippery technique of broad impasto strokes with frayed edges, speckled with drips, to convey its fluidity and breaking movement. His actions to medium and material is inspiring to my desire to express my inner self through art.
Abstract Expressionist painters explore new ways of creating art, reinvigorating and reinventing the medium. They changed the nature of painting with their large, abstract canvases, energetic and gestural lines, and new artistic processes. Many artists experimented with non-traditional materials, such as commercial paints and housepainter’s brushes. Working on un-stretched and un-primed canvases Abstract Expressionists sought new forms of self-expression and personal freedom in their work. This is so true to my practice at present and my personal opinion on what I am doing. I see myself as a painter but a 3d painter, this is something I feel is a new improved upcoming form of contemporary painting.
As a starting point I looked inwards to my emotional state of mind and being, I felt drained of energy and extremely tired do to family life. Using my emotion as an influence for productivity I brain stormed things that could be connected to tiredness. The list consisted of; coffee, pillow, the moon, bed, horizontal, time, alarm clock, darkness, curtains closed, blanket, teddies, dim light, cot mobile, and duvet. After my train of thought came to a halt, I sat to process the information and as I did I went into a state of mind often called a day dream. In this time I don’t know why and I didn’t even realise I was doing it but I had started to twist a discarded piece of brown paper into a spiral. Once awakening from my mind set I looked at what I had created and with that a response came flooding in, the thought process of my son’s baby mobile combine with the spiral I had just made, could be created into a large scale non-literal abstract expressionist painting tool.
Due to my choice of material, card and wire to create the painting tool, I realised once I had painted with it I might not be able to make anything from the form which at first was present. Using Richard Serra’s strategies list I started to think of ways to extend the made object; collaging, printing, black and white photocopying, photograph, charcoal rubbing, paint, distance photocopying, sketch into acetate, rubbings, mould, drag, colour photocopy, filming, and spinning. Using a common systems called the “Butterfly Effect” which critically depends on tiny changes in the initial conditions, I combined this thought with my list and started to produce process driven outcomes.
Types of mark-making – the pointillist dab or the Abstract Expressionist splash – convey a strong sense of moment of their making without placing it in any kind of stylistic or historical frame. Existentialism is a philosophical movement which emphasizes on individual existence, freedom, and choice. There are several philosophical positions all related to existential philosophy but the main identifiable common proposition, is that existence precedes essence. I can exploit this timeless idealism by letting go of my response to medium, material, and having no preconceived outcome. Art can then spring from within, and I the artist am then able to give birth to new work. A definition of Existentialism
. Philosophy that is centred upon the analysis of existence
. The was humans find themselves existing in the world
. Humans exist first and then each individual spends a lifetime changing their essence or nature
. Concerned with finding self and the meaning of life through free will, choice and personal responsibility
. People search throughout life making choices based on their experienced, beliefs, and outlook. Personal choices become unique without objective form of truth
Existentialism takes into consideration the underlying concepts
. Human free will
. Human nature is chosen through life choices
. A person is best when struggling against their individual nature, fighting for life
. Decisions are not without stress and consequences
. There are things that are not rational
. Personal responsibility and discipline is crucial
. Society is unnatural and its traditional religious and secular rules and arbitrary
. Worldly desire is futile
Existentialism is true search and journey for true self and true personal meaning in life.
Found in a text was the description of a new importance that accompanied fifteenth century Europe prints, it was that of the combination of text and print this reading gave me an idea to personalise my responses with abstracted text, after trying to rub a signature into my printed design I realise that I cannot just use any random word as every letter, word and mark has a meaning to the viewer and by doing this it can start to over complicate such a simple message, I know of a saying ‘less is more` so I’ve decided at present unless there is a point to the text I will not add anything.
Through my research I have realised that control is a loaded word, evoking both positive and negative images; in control, out of control, control freak, social control, and political control. I have also found that there are certain meanings behind control and that it is seen to have masculine properties and that controlled is classed as a feminine term. I have been able to find a list of different methods of control; internal, external, positive, negative, over life events, over technology, empowering, dehumanizing, and politically correct- or not. Control is central to the human experience, especially in urban environments, artists are capable of presenting these issues in visual form, creating a public forum for action, reaction, and informed discussions.
New artists I have found since my last evaluation that create work by expressing their ideas of chaos and control and others that I believe feel controlled and chaotic
Arne Quinze – composition starts as a self-portrait, representing what’s going on in his head, his chaos is irretrievably linked with life. He believe his art has no chaos only structure which expresses his inner self fusing passion and chaos with controlled elegance.
Ie Wai We – Aesthetics observed from his exhibited chandelier of bicycle wheels.
Phyllida Barlow – Imposing large scale sculptural installations, uses inexpensive everyday objects, cardboard, fabric, timber, polystyrene, plaster, scrim, and cement, her work embraces mess, absurdity, chance, and precariousness.
I have found added underpinning on the reason for my use of a non-colour palette (black and white);
“Pythagoras, ca 500 BC: There is a good principle which created order, light, and man, and an evil principle which created chaos, darkness, and woman.” (http://nationalwca.org/Control/)
White in art comes replete with meanings, Whiteness equals purity and possibility, emptiness or plenitude, space or flatness. Ben Nicholson’s series of white reliefs express similar principles: art should clear the clutter from our lives so that we can see what is really important, it should change our relationship to the spaces we inhabit, so that we live in a more harmonious, purposeful way. In Neoclassical art, Constructivism and other types of art, t connotes positive values amounting to an aesthetic philosophy. As opposed to colour which often derives from ideas about its nature and the meaning of specific colours. Colour has regularly served as a pictorial element that simultaneously conveys meaning and stimulates the eye. Williem de Kooning an Abstract Expressionist artist is the opposite artist to Pollock and myself as he worked from observable reality, primary from figures and the landscapes, he also used a bold and clashing of colour palette. His technique of application however is pretty similar as he used aggressive paint and brush application, sweeping strokes and no fixed viewpoint on an all-over composition. He devised a rapid, slippery technique of broad impasto strokes with frayed edges, speckled with drips, to convey its fluidity and breaking movement. His actions to medium and material is inspiring to my desire to express my inner self through art.
Abstract Expressionist painters explore new ways of creating art, reinvigorating and reinventing the medium. They changed the nature of painting with their large, abstract canvases, energetic and gestural lines, and new artistic processes. Many artists experimented with non-traditional materials, such as commercial paints and housepainter’s brushes. Working on un-stretched and un-primed canvases Abstract Expressionists sought new forms of self-expression and personal freedom in their work. This is so true to my practice at present and my personal opinion on what I am doing. I see myself as a painter but a 3d painter, this is something I feel is a new improved upcoming form of contemporary painting.
Evaluation of work so far - Part 1.
At present I am looking at the way in which I can incorporate my theme of chaos and control into my studio practice.
Firstly I have had to understand what the meaning of chaos and control means. I have researched the definitions and tried to define what I believe it means, here is my break down
. Chaos - Chaos is a state of utter confusion or disorder, a total lack of organisation or order, apparently random and unpredictable phenomenon. A complex system where tiny changes in the starting conditions can lead to very large changes over time.
. Control - To direct the actions or function of (something) to cause (something) to act or function in a certain way, the ability to restrain one's own emotions or actions, remain calm and reasonable despite provocation.
. Controlled Chaos -This is a phase often used casually to describe something that looks out of control but which functions according to unseen rules or organisations.
Upon researching the definitions I found some great quotes (hltp://www.art-quotes.com/getquotes.php?catid=36#.VtcbP4TOWNg) that I feel reiterate the true meaning and understanding as an artist of chaos and control here are a couple
“When the individuality of the artist begins to express itself, what the artist gains in the way of liberty he loses in the way of order” by Pablo Picasso
“I’m interested in what people do with the chaos in their lives and how they respond to it, and simultaneously what they do with what they feel like are limitations. If they push against these limitations, will they wind up in the realm of chaos, or will they push against limitations and wind up in the world of freedom?” by Phillip Roth
Looking for aesthetical interpretations as a starting point to my project, I have been able to find some practitioners that create work by expressing their ideas of chaos and control and others that I believe feel controlled and chaotic
Jack Dale – Mark making, digging for an image, evokes the viewer’s feelings with his paintings
Shawn McNutty – Uses his feet as a shoe palette knife, discovering new forms, modifying his control
Richard Serra – Sculptures alters viewer’s perception of space and proportion, influenced early on by modern dance
Morris Louis – Pouring oblique lines across corners of paintings
Naum Gabo – Nylon monofilament and Perspex linear constructed sculptures
When I think of chaos and how I can interpret it into art I think of chance. Is it chance that can create the chaos of the medium? Through research I have found some defining evidence that suggests, chance is an automatism which is suppressing conscious control in drawing, painting or writing and discovering meaning in the action of chance. I have found out that in the 1940s and 50s America and Europe automatism had a second flourishing through the practice of what critic Harold Rosenberg termed ‘action painting.’ Action painting was defined as the performative interaction between the artist’s unconscious and material. My main inspiration that has come from this area of research has been artist Jackson Pollock and his drip painting techniques, where he would lay large scale canvases on the floor and dance about it with a stick splattering paint trails straight from the can dissociating himself from all conventional traditions. I have therefore decided that the Chaos side of my project has provided me with plans in which I want to create, due to these plans I do believe my work has not been left to any kind of chance as first thought. Making work during emotional times in my life can relax my mind by the release of all chaos in my head onto the canvas which serves as a way of finding an underlying order in things that appear to be totally random and unpredictable, not by chance but by plans, restriction and process.
After making my first response I decided to research expressing inner states as this seemed to be the way my process was reacting to medium and material. The idea that art can express inner states should have philosophical foundations firstly I found some affirming quotes
“Art does not reproduce the visible, rather it makes visible” Paul Klee
“Composition is the art of arranging… the various elements at the painter’s disposal for the expression of his feelings” Henri Matisse
“The form is the outer expression of the inner content” Wassily Kandinsky
With all that I have researched to point entwined with my inner expressive impulse, I now believe it is more an expression of autobiographical or a social response that I create, although through researching Abstract Expressionism it is said to be a political act, through often a highly self-conscious one. This is something I am still unable to find a link within my work? I do not believe it has anything to do with politics at present and more about freeing my mind of chaos into a controlled form. The most interesting and aesthetically pleasing form I have created has derived from the chaotic application of paint with the influence of Pollock’s technique and the controlled element has formed from the presentation with in the studio space.
At present I am looking at the way in which I can incorporate my theme of chaos and control into my studio practice.
Firstly I have had to understand what the meaning of chaos and control means. I have researched the definitions and tried to define what I believe it means, here is my break down
. Chaos - Chaos is a state of utter confusion or disorder, a total lack of organisation or order, apparently random and unpredictable phenomenon. A complex system where tiny changes in the starting conditions can lead to very large changes over time.
. Control - To direct the actions or function of (something) to cause (something) to act or function in a certain way, the ability to restrain one's own emotions or actions, remain calm and reasonable despite provocation.
. Controlled Chaos -This is a phase often used casually to describe something that looks out of control but which functions according to unseen rules or organisations.
Upon researching the definitions I found some great quotes (hltp://www.art-quotes.com/getquotes.php?catid=36#.VtcbP4TOWNg) that I feel reiterate the true meaning and understanding as an artist of chaos and control here are a couple
“When the individuality of the artist begins to express itself, what the artist gains in the way of liberty he loses in the way of order” by Pablo Picasso
“I’m interested in what people do with the chaos in their lives and how they respond to it, and simultaneously what they do with what they feel like are limitations. If they push against these limitations, will they wind up in the realm of chaos, or will they push against limitations and wind up in the world of freedom?” by Phillip Roth
Looking for aesthetical interpretations as a starting point to my project, I have been able to find some practitioners that create work by expressing their ideas of chaos and control and others that I believe feel controlled and chaotic
Jack Dale – Mark making, digging for an image, evokes the viewer’s feelings with his paintings
Shawn McNutty – Uses his feet as a shoe palette knife, discovering new forms, modifying his control
Richard Serra – Sculptures alters viewer’s perception of space and proportion, influenced early on by modern dance
Morris Louis – Pouring oblique lines across corners of paintings
Naum Gabo – Nylon monofilament and Perspex linear constructed sculptures
When I think of chaos and how I can interpret it into art I think of chance. Is it chance that can create the chaos of the medium? Through research I have found some defining evidence that suggests, chance is an automatism which is suppressing conscious control in drawing, painting or writing and discovering meaning in the action of chance. I have found out that in the 1940s and 50s America and Europe automatism had a second flourishing through the practice of what critic Harold Rosenberg termed ‘action painting.’ Action painting was defined as the performative interaction between the artist’s unconscious and material. My main inspiration that has come from this area of research has been artist Jackson Pollock and his drip painting techniques, where he would lay large scale canvases on the floor and dance about it with a stick splattering paint trails straight from the can dissociating himself from all conventional traditions. I have therefore decided that the Chaos side of my project has provided me with plans in which I want to create, due to these plans I do believe my work has not been left to any kind of chance as first thought. Making work during emotional times in my life can relax my mind by the release of all chaos in my head onto the canvas which serves as a way of finding an underlying order in things that appear to be totally random and unpredictable, not by chance but by plans, restriction and process.
After making my first response I decided to research expressing inner states as this seemed to be the way my process was reacting to medium and material. The idea that art can express inner states should have philosophical foundations firstly I found some affirming quotes
“Art does not reproduce the visible, rather it makes visible” Paul Klee
“Composition is the art of arranging… the various elements at the painter’s disposal for the expression of his feelings” Henri Matisse
“The form is the outer expression of the inner content” Wassily Kandinsky
With all that I have researched to point entwined with my inner expressive impulse, I now believe it is more an expression of autobiographical or a social response that I create, although through researching Abstract Expressionism it is said to be a political act, through often a highly self-conscious one. This is something I am still unable to find a link within my work? I do not believe it has anything to do with politics at present and more about freeing my mind of chaos into a controlled form. The most interesting and aesthetically pleasing form I have created has derived from the chaotic application of paint with the influence of Pollock’s technique and the controlled element has formed from the presentation with in the studio space.