Suggested by Colin as being an artist to look at. Most of Joseph Beuys work doesn’t really resonate with me but I had a look at specifically felt work this time , as I will likely use felt in my imaginary tool project.
The article associated with the above image and link states that Joseph Beuys was quoted as talking about felt as a warm sculpture and also looking at the link between everyday objects and art. Colin also mentioned that some of Joseph Beuys work was associated with healing and I can certainly feel the link between felt and healing and care. It’s part of the reason I use textiles – because of their association with care, protection, comfort and warmth.
This information is from an exhibition brochure from 1992.
Tannebaum B (Curator and writer of text in the brochure) 1992, Adam Fuss: Photograms, Akron Art Museum, Ohio
Image references – Robert Miller Gallery, New York
Brochure design Bruce Morrill
Christian Schad used photograms in 1918 for art around objects – need to look him up.
“Photogram is a conveyor of literal fact” but then author then asserts that Adam Fuss has gone beyond that.
Adam Fuss has created the photograms in this exhibition by hanging a light, swinging in a circle over and using coloured filter swinging over coloured paper.
A little bit similar to how I was thinking of creating a wind generated dyeing machine for sculpture and possibly to use. But I could also use light to draw. I would need something that slowly unveiled the work to the light rather than slowly exposing, or I could slowly expose with a uv torch I guess but slow exposing would take a lot of imagination to set up a way of moving the torch.
The photograms are large and evoke a sense of the sublime, colour and suggestion of the universe and orbits. Tannebaum speaks of a sense of mystery, spirituality and references mandalas.
I am using the circle in my painting work but more in its function as a barrier rather than as a spiritual reference, but it will read a bit like a mandala too.
Untitled, 1992 (AF#N92) From back cover of the brochure.
This is a sculpture artist who works with found fabrics and thread. I saw her on textileartist.org stitch club and it gave me some ideas about what sort of thing I could do for my moving sculpture. I’m thing about doing soft hanging rods a bit like these that would make a work called Silenced. It would be the sculptural form of wind chimes but soft made of fabric so that they didn’t make any noise. Could reference hanging and choking by having part of the rod tightened as if around the neck. Done in shades of brown.
I have gone ahead and made my sculpture inspired by the techniques of Clarissa Callesen. It’s only a rough job called Silenced. It was much easier to combine fabric and thread into sculptural form that I expected. I’m going to leave it hanging in the garden now and let the iron wire rust.
Betty is a quilt artist that I’ve admired for a long time. I just watched a video from Lisa Walton that explained how Betty gets such fine raw edge detail.
Her shapes are cut using a silhouette cutter and non woven fabric.
I’d like to do raw edges applique with non woven but I don’t like to use synthetic. Felt is a non woven so maybe I could make my own fine wool/silk felt that I used to sew into.
Entropy, 60 x 40 inches
<bbusbyarts.com/macro> Viewed 7 September 2020
Her non woven is painted prior to being fused to a background and then stitched. A lot of what reads as small appliqued pieces are actually holes through the fused non woven that reveal the background.
A similar effect might be achievable by preparing a background work and then using a stencil to mask out a pattern/imagery and use solarfast, rather than printing a foreground with solar fast. This is a bit similar to what I have sort of done with the current layered photo.
<bbusbyarts.com/vessals> Viewed 7 September 2020
Wondering if I can incorporate textile or quilt work into my final tool sculpture. Don’t want to waste a lot of time making something that I will not pursue in sculpture but happy to try and see if sculptural forms add something to my work, or increase the range of imagery I can create.
Cornelia Parker, Cold Dark Matter: An Exploded View, 1991. Installation view, Museum of Contemporary Art Australia, 2019. Blown up garden shed and contents, wire, light bulb. Tate: Presented by the Patrons of New Art (Special Purchase Fund) through the Tate Gallery Foundation 1995. Image courtesy the artist, Museum of Contemporary Art Australia and Frith Street Gallery, London. Photograph: Anna Kučera
Sadly I went into the Museum of Contemporary art last December when I was in Sydney but I was too stingy to pay to get in to this exhibition. If I had known what I would find I think I might have forked out the money.
Cornelia Parker works in sculptural works that sometimes have an element of destruction. In this work apparently the shadows were a happy accident when the work was assembled but obviously form an intrinsic part of the work.
The everyday objects that may be found in a shed are suspended forever in time at the moment of explosion. To me it has the sense of the last moments of something being contained and together. And the shadows on the wall reflect the future as the individual parts move further away.
I’m interested in the potential of suspended sculpture and the shadows it could cast for use in my solarfast and cyanotype work. Images could be manipulated based on the direction of the light source. I think I’ll make a small sculpture for my suspended sculpture so I can use it suspended below my UV lamps and make a print as well.
I was always thinking of sculpture as a way to make imagery on fabric.
I’m interested in crochet sculpture and found this artist in a book called Unravelled, Contemporary knit art by Charlotte Vannier.
Her work is crochet with twine and often references the body, memories and emotions. Looking through this book it seems that knit and crochet artists often have either a feminist agenda, which doesn’t interest me much, or their work is presented in a comic way.
I am most interested in artists who are using crochet more because it is an amazingly flexible, accessible and aesthetic medium. And artists that are not necessarily referencing its female associations. It can be freeform with plenty of room to adjust along the way and to extend or unpick the work to create anything that can be imagined or evolved.
Vannier C, 2018, Unravelled : Contemporary Knit Art, Thames and Hudson Ltd, London, p 99.
re-member is about imagining across the cracks, filling in the gaps and stringing these fragments together.
Artists know how to make, and with that tactile knowledge comes the understanding that things can also be un-made. Artists are able to collect and reckon with residue from the past through assembling, visualising, performing and vocalising. In doing so they are un-making history, they are refocusing attention on alternative stories and reinvigorating what has been lost.
– Caitlin Fargher, re-member catalogue essay
Went to this exhibition on Friday night. Quite a lot of people there and not very relaxing in this COVID time.
This work appeared to be like a lump of old clay dirt with some rusted metal and old wallpaper embedded in it and moss growing out of it.
Loved the potential of this – assembling, melding and growing your own artwork.
I used home made dough to make impressions – hard, soft, smooth, rough, friable or fragile.
Had a bit of a problem because I made my dough with gluten, trying to be smart but instead it was very elastic and kept springing back and obliterating my marks!
Reflection on this activity:
Hard objects made the best marks as quite a bit of pressure had to be exerted to get a good mark. Others used hard objects to make repeated marks and patterns. I didn’t think of doing this but will in future as interesting patterns could be made from mundane objects. With my photograms I could do the same thing if I was prepared to do multiple exposures with one object or a single exposure with multiples of the same object.
Soft objects only gave a mark if they were also resilient and had a hard surface behind. And again the springiness of my substrate was a problem with these. Next time I will unearth my clay or I will make a lower gluten dough.
Smooth objects were boring unless you wanted to mould around them and get a 3 D structure, which you I did try and would be a way of creating a smooth 3 D surface. Difficult to get off though and there was talk in class about using releasing agents. Guess we’ll find out more about that.
Rough objects were interesting. My impression of bricks showed a lot more subtle detail than I was expecting. I’d like to make impression plates for printing intaglio, collagraphs or rubbings but I’m not sure of the best material. I have put polyclay through the press but it’s a bit expensive for larger size things. I did condition my polyclay yesterday thinking I might use it and I was pleased that it came up well even after years.
Friable objects crushed but did leave remnants which could add another dimension. As someone noted – if you then fired the impression those traces would burn away and leave marks.
Impressions are another way of looking at my everyday objects but difficult to translate to solar printing which is my technique of choice currently for getting my imagery on to fabric, which is my ultimate aim.
I did bake my dough impressions yesterday and then stacked them up on to a solarfast primed piece of fabric and exposed. The impressions didn’t contribute to this at all but I was more thinking of future 3 D works being documented as photograms. If I had wanted to capture the impressions I could have photographed and then printed on to fabric from a transparency.
Installation made from wire frame and red wool. Lots of complexity and the colour really adds to the evocative nature of the work. Her works in black yarn have a different feel. This would be a mammoth technical task and the curvy nature of the final work must be from layers of straight threads at different angles.